Body and Voice: Somatic Re-Education (Feldenkrais based) [Paperback ed.] 1597565091, 9781597565097

Citation preview

BODY

AND

VOICE

Somatic Re-education MARINA GILMAN

Body and Voice

Somatic Re-education

Marina Gilman, MM, MA, CCC-SLP

Illustrations by Alex Rowe Medical Illustrations by Peggy Firth

_ X P lural O / P u b l ish in g

y*r ^

-------------I N C --------------

Plural P ublishing inc

5521 Ruffin Road San Diego, CA 92123 e-mail: [email protected] Website: http://www.pluralpublishing.com

F SC

www.fsc.org

MIX Paper from responsible sources

FSC* C011935

Copyright © 2014 by Plural Publishing, Inc.

Typeset in 11/13 Garamond by Flanagan’ s Publishing Services, Inc. Printed in the United States of America by McNaughton & Gunn, Inc. All rights, including that o f translation, reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, recording, or otherwise, including photocopying, recording, taping, Web distribution, or information storage and retrieval systems without the prior written consent of the publisher. For permission to use material from this text, contact us by Telephone: (866) 758-7251 Fax: (888) 758-7255 e-mail: [email protected]

Every attempt has been made to contact the copyright holders fo r material originally printed in another source. If any have been inadvertently over­ looked the publishers will gladly make the necessary arrangements at the first opportunity.

,

Library o f Congress Cataloging-in-Publication Data Gilman, Marina, author. Body and voice : somatic re-education / Marina Gilman ; illustrations by Alex Rowe ; medical illustrations by Peggy Firth, p. ; cm. Includes bibliographical references and index. ISBN 978-1-59756-509-7 (alk. paper) — ISBN 1-59756-509-1 (alk. paper) I. Title. [DNLM: 1. Voice Training. 2. Exercise Movement Techniques— methods. 3. Movement— physiology. 4. Voice Disorders— therapy. 5. Voice Quality— physiology. WV 500] RF510 6l6.85'5606— dc23 2014005111

Contents Preface Acknowledgments

ix xiii

PART I

1

Chapter 1. The Somatic Awareness: B ody and Voice W orking as One Awareness—What Is It? The Somatic Map and Self-Image The Role of Posture Stability and Instability Changing Complex Patterns Pedagogical Methods: Outside In Versus Inside Out Parasitic Versus Diversionary Movements Additional Roadblocks to Look For Learning to See References

3 7 12 17 21 23 25 26 27 30 31

Chapter 2. B ody and Voice: Somatic and P h ysiologic Connections Anatomy of Connections Current Research Next Steps: Learning to Recognize and Change Patterns References

33

Chapter 3. The Significance o f the Unremarkable Diversionary, Parasitic, or Unnecessary Preparatory Movements Clothing Anatomy Clothing Tells a Story References

49 52

PART II Introduction

67 67 v

36 42 46 47

56 58 66

vi

Body and Voice: Somatic Re-education

Understanding the Complexity of Movement Basic Principles and Ground Rules

67 71

Chapter 4. Diversionary, Parasitic, or Other Unnecessary Preparatory Movements Introduction When to Use These Lessons Lesson One: Bringing the Head Forward and Back Basic Movements Troubleshooting Case Study Lesson Two: Lifting and Lowering the Shoulders Basic Movements Case Study Lesson Three: Releasing the Jaw Basic Movements Troubleshooting Case Studies Lesson Four: Anchoring the Tongue Troubleshooting Case Study Lesson Five: Externalization of an Internal Process Troubleshooting Case Study Reference

77

Chapter 5. Releasing for Breathing Release of the Breath: Lesson and Variations When to Use This Lesson Basic Movement Discovering the Habituated Pattern Understanding the Action Releasing the Breath— Passive Inhalation Sound Variations— Semioccluded Variations to Increase the Duration and Contour of Voiced Segments Positional Variations to Facilitate Abdominal Release Sitting Variation Standing Variation Troubleshooting Case Studies

77 79 81 82 * 86 86 89 90 92 94 96 99 100 107 110 110 112 115 115 118 119 123 124 125 125 128 130 132 133 134 134 137 139 142

Contents

Breath Holding How to Identify Breath Holding or Constriction of Airflow Troubleshooting and Case Study Externalizing Through Hand Gestures and Movement Complexities of Breath Holding A Word About the Words We Use References Chapter 6. M obilizing the Pelvis Freeing the Pelvis: Lesson and Variations When to Use These Lessons Basic Movements Basic Lesson: Sitting One Hand on the Small o f the Back Variation 1: Sitting with One Hand on Smallof the Back the Other Hand on Top of Head Variation 2: Sitting with One Hand on theSmall of the Back, the Other on the Top of the Head, Head Tilts Up and Down Variation Three: Standing Variation Troubleshooting Case Studies Reference

vii

148 151 157 164 165 171 172 173 177 177 178 179 181 185

190 195 199 208

Chapter 7. Im proving Stability Stability * Stasis What to Look For What to Listen For Balance, Shoes, and Body Physiognomy When to Use These Lessons Lesson One: Pencil Lesson Basic Movements Lesson Two: Circles Over the Feet Troubleshooting Case Studies

209 209 212 213 214 217 218 218 226 232 237

Index

247

Preface A Few Words About This Book This book is intended for voice teachers, acting teachers, speechlanguage pathologists, singers, actors, in short anyone interested in good voice production. The information in this book is equally applicable for purposes of the enhancement of voice use as well as for its rehabilitation. No matter what we call ourselves, or what credentials we have, when working with the voice we are often both teachers and students at the same time. Teaching voice can be accomplished through a wide variety of teaching and learning modalities. We teach through imitation or modeling of sound, posture, and vocal gesture. We teach through imagery evoking sensations, directions for the produc­ tion of sound, or quality of the sound. Teaching voice can be improved through an understanding of the anatomy and physi­ ology of the structures or of acoustic interactions. Students with a strong visual or tactile sense may learn through synesthesia, replacing sound with color or texture. Yet no matter what the modality for teaching and/or learn­ ing there are times when nothing seems to work. Students try, practice, struggle to do what they think they should be doing, but fail. The teacher begins to think the student is lazy, lacking talent, motivation, or awareness. Students view the teacher as incompetent, insensitive, or mean. In short both teachers and students alike are frustrated making the entire situation worse. As teachers we can only suggest change. Students need to learn to em body the changes. They need to understand at a somatic level what they are doing, what their internal processes are, and only then can they effect change. Many have a “ natural” talent or an innate sense of their voice and its capabilities; for others they have to learn through repetition. More often than not, this is not a problem. A suggestion is made; the student begins to do what is asked.

x

Body and Voice: Somatic Re-education

This book is about the times when students cannot effect the change, not because they are stupid, lack talent, or do not prac­ tice, but because they cannot conceptualize somatically. They are not aware of what they are doing so cannot do what is being asked of them. By the same token the teacher needs to be able to see the problem and then guide the student in a process of self-discovery and awareness. The teacher, coach, trainer, thera­ pist needs to be able to sense where and how body dynamics, whether viewed as posture, alignment, or something else, are not > meeting the needs o f the voice or vocal production. The teacher must then be able to effect the necessary changes in the student by providing the appropriate instruction to enable the student to bring about the necessary changes from within. This book is designed to help both teachers and students through these moments. In these situations the student is often stuck in a somatic pattern that neither the student nor the teacher recognizes or understands. Body and voice need to work together yet often they work against one another. Patterns of standing, breathing, strange images of what should or should not hap­ pen result in a body or somatic self-image that inadvertently creates maladaptive patterns o f muscle and musculoskeletal interactions. The following chapters develop both a theoretical and practical framework grounded in somatic education in order to understand and recognize the somatic patterns that create the maladaptive embodiment. These are the patterns that prevent our students from using their voices to the best of their abilities. In the world of evidence-based practice, it is also important to understand the anatomy, physiology, and science that support what we do with our bodies. To this aim I will briefly present the anatomical connections within the body that are important to the physicality o f vocal production. This information is by no means comprehensive, but my hope is that it will provide a backdrop for learning to problem solve with your students. The aim of this book is to help you as a teacher and performer to look to the whole, not just the parts; to be able to sense strain in the sound, effort, or limitations of expression; and to begin to identify the somatic blocks or gaps in somatic map getting in the way of a free voice.

Preface

xi

PART ONE offers a theoretical overview of the importance of our somatic image or body map in voice production and train­ ing. I present a paradigm that for many is new but for some may be similar to what they have been teaching. It stresses somatic re-education from the inside out, helping the student to recog­ nize current patterns of movement, breathing, coordination of sound, breath, and body, through developing a self-awareness through movement lessons and explorations. Only then can alternatives be explored that provide new options. The final chapter in this section focuses in a more concrete way of recog­ nizing potentially maladaptive patterns through what I refer to as “ clothing anatomy.” PART TWO is organized around themes related to breath­ ing and stability. Specific lessons are presented. All the lessons are designed to build awareness o f somatic patterns. They are designed to provide options and new pathways for negotiating the complex somatic associations necessary for effective vocal production. The verbally directed exploration lessons are divided into sections addressing common roadblocks students encoun­ ter. They are intended to provide a framework and context for addressing issues common to students of all levels. The lessons are presented in specific contexts with commentary pointing the teacher how to observe and guide the student through the discovery process. Troubleshooting sections and case scenarios are presented in narrative form, to provide a real world context to the lessons. As you begin this journey remember this book is NOT about direct connections and doing things because they look right. This book is about learning to recognize and change from the inside out. In preparing to write this book, I kept asking myself how much of what I see and teach com es because of the self-aware­ ness I developed during my work with the Alexander Technique and then my training to becom e a Feldenkrais practitioner? Is it possible to teach in a didactic way something that is inherently experiential? I have com e to believe through experience in the private studio as well as providing workshops to voice teachers, singers, actors, and speech-language pathologists that it is pos­ sible to open the door to increased awareness. The awareness

xii

Body and Voice: Somatic Re-education

of teachers and therapists who work with voice can be brought to a level that they are able to ask the question? What is going on somatically with this person? How can I guide my student to become more self-aware? This book will enable you to ask this question and provide the means of altering your student’ s behavior to maximize vocal abilities. Enjoy the journey.

Acknowledgments I would like to acknowledge the help and support of: My beloved husband, Sander Gilman, whose support ; encouragement has allowed me to take this journey. My teachers, Gary Race, Yvan Joli, and Ellen Soloway, v opened the doors for me to enter. Dr. Michael Hutcheon, pulmonologist, opera lover, friend for all his help on sections of this book.

2

My colleague, Edie Hapner, who gave me the final pus! All my students who allowed me to engage with them explorations of the body and voice.

PART I

CHAPTER

1

The Somatic Awareness: Body and Voice Working as One Claiming that we must get body and voice to learn to work together is a silly concept. We ARE our instrument. We are our voice. It is how we communicate our thoughts and emotions. The vocal mechanism or vocal systems complex (respiration, phonation, resonance) depends on the rest of our systems (skeletal, muscular, nervous) to work. We do not have a voice, a vocal mechanism, which is independent of our body. We could have a body without a voice, both metaphorically and literally, or a disembodied voice, but that is part of a very different discussion. However, neither option is in play when talking about voice train­ ing for actors, singers, broadcast journalists, voice-over, or any other voice professional. So, if body and voice are inherently inte­ grated, then why is this or any other book on the topic necessary? As teachers we are trained to listen, to observe, to guide. We com e to our work with ideas and ideals about voice training. We com e to teaching with clear pedagogical models and meth­ ods. We often will borrow freely from these models to construct our own unique approach. Because no two students are the same, it makes sense to use good ideas where we find them. However, no matter how successful a teacher or method of voice training is, there are always those students for whom it does not

3

4

Body and Voice: Somatic Re-education

work. The students will try and try and try, but they just cannot manage to “ get it right.”Are they not practicing enough? Do they lack talent? Maybe, but just as often the problem relates to poor or inefficient somatic organization. It is a lack of aware­ ness of how to find within themselves the coordination needed to achieve the vocal color, freedom, and range both in terms of the pitch and expression desired. In these instances the teacher needs to dig deeper into his or her own experience to help the student move forward. Yet they may not be sure what to look for. They sense something is interfering, but do not really understand what is needed to effect change in the student. Teachers often miss the signs and indications of somatic imbalance signaled by the small giggles and wiggles of the student preparing to sing or recite text, stray gestures, excessive movement, or stiff or reduced movement. But even when these gestures or movements are recognized, frequently teachers do not really know what to do, how to redirect the student to more efficient vocal function. Simply telling the student to stop such activities is not helpful unless the student can also recognize what he or she is doing, and even then there are elements o f the behavior the student is unable to change. As voice teachers, trainers, acting/singing coaches, or speech pathologists we com e to voice training or retraining from the perspective of our fields. For the singing teachers the exqui­ site interaction of the vocal tract and resonance is primary; for the acting teacher it is expression both vocal and physical; and for the coach (vocal and/or dramatic) the emphasis is musical and dramatic. The goals are the same, bringing the student to the place o f maximal expression and communication through voice. In the process of training young singers, actors, or voice professionals we must guide the student’ s discovery of his or her vocal potential toward the ultimate goal developing his or her craft. In the process we must be able to identify and adjust aspects of the student’ s vocal production or performance that are inefficient, inappropriate, or maladaptive. As vocal teachers/ trainers we need to identify and correct technique then retrain new somatic patterns. To do this we must be able to identify the small somatic, physical aspects students bring to performance that interfere with their ability to do what they want to do vocally

The Somatic Awareness: Body and Voice Working as One

5

and dramatically. In other words, learning to “ see”not only with the eyes, but also through our senses. I worked with a young high school student who would stick out her neck as though she were bringing her whole head closer to her audience when she began a monologue. Telling her to stop doing it did not help, as she was truly not aware of what she was doing. I needed to find a way to teach her nervous system that there were other ways she could begin her monologue that did not involve bringing her neck forward. Only then could she stop. This approach to teaching is predicated on having a con­ versation with the person’ s nervous system, rather than through their conscious, cognitive mind. We all have a somatic or body sense. What it feels like to move, our relationship to space both within ourselves and beyond ourselves. Part of this body sense is both a physical self-image as well as a vocal self-image. Voice is sensory, we feel the vibrations, we hear our sound, we experience the emotions imbedded in the text or melody. As we grow from infancy, our somatic sense of self develops through our movements and our experiences. Our neuro-musculo-skeletal system is gradually drawing a somatic map. We both move according to our somatic map or somatic self-image as well as develop our self-image as we move. In the best of all worlds our somatic map will allow us to move, behave, and do whatever we want. In reality there are areas in which it is incomplete or altered, consequently less efficient. I often use the tongue trill or rolled /r/ as a vocal warm-up. It is not unusual for my student to look at me quizzically when I model the sound. “ How do you do that?”They have no somatic sense of how to make the sound. They cannot find it in their sen­ sory somatic map even to recognize what to do with the tongue to get it to vibrate. This also happens with habitual movements such as with the young girl I just mentioned. She was totally unaware she was bringing her head forward when she began to present her monologue. Somewhere in her sense of voice she felt she had to protrude her neck. Perhaps it came from a misguided ideal of projecting her voice. I have no idea. My challenge as her teacher was to help her becom e aware of the pattern, and then help her discover from within alternative means of projecting. Bringing your head forward to initiate speech or song in and

6

Body and Voice: Somatic Re-education

of itself is not bad. Dramatically it could be very effective. But as an unconscious habituated movement it is distracting to her audience. More important, it is distracting to her organization. In doing so she is limiting her range o f expression, her range in general, and she is creating unnecessary strain in the laryngeal muscles as well as the respiratory system. It is important to understand that the body is capable of organizing itself well for most activities. HOW the body orga­ nizes itself around a given task to produce the desired result is the key element. I urge the reader to keep this in mind. The behaviors or postures discussed are presented in the context that they are NOT serving the student well, not well organized or based on a faulty self-image, and therefore need to be addressed. A similar movement or gesture can be accomplished in such a way that neither vocal nor physical communication are impaired. Let us look briefly at the previous example of bringing the head forward on phonation. If the head is brought forward by com ­ pressing the neck vertebrae laryngeal function may be negatively impacted. If, however, the head is brought forward by engaging and lengthening the upper thoracic together with the cervical spine the larynx is able to move with ease. Please keep in mind that the lessons in this book are somatic explorations and not set­ ting up a series of rules and exercises that need to be done right. The nature of voice teaching is experiential. We all, whether a teacher o f singing, acting, speaking (broadcast journalism, voice-over, etc.), or speech-language pathologist working on vocal rehabilitation, take students through a somatic journey of self-discovery, building self-awareness of their voice not only intellectually but through their physicality, sensory, auditory sensations, and perceptions. In the process we are redrawing and expanding their somatic self-image as it relates to vocal performance, no matter what kind. I am not referring to a cog ­ nitive or intellectual awareness, although that is part of the pic­ ture. I am referring to a conversation between the teacher and s nervous system. It is a conversation that results in the student’ changes, sometimes subtle, in movement patterns that allow for increased range, flexibility, or freedom of expression. This con­ versation happens by DOING with attention. I can sing scales on all the vowels for 20 minutes a day for 2 months and if I do not sing them with a certain level of attention to the process, to the

The Somatic Awareness: Body and Voice Working as One

7

“ how does it feel,”“ am I keeping the vowels consistent,”“ what is happening with my breath,”little will change. I will only be reinforcing old muscle memory and habituated patterns. On the other hand, if I sing the same scales with the same vowels but pay close attention to the quality, sound, feeling, and sensation of what I am doing, changes will begin to take place and by the end o f 2 months I will not only be able to sing them consistently and freely but also apply my learning to other patterns and rep­ ertoire. I will have learned how to learn. We know that voice (vocal sounds) is produced by coordina­ tion of three systems: respiration (lungs and diaphragm), phonation (the larynx, specifically the vocal folds), and resonance (the movement of the resulting sound waves through the vocal tract, the supraglottic spaces of the mouth and nose). Because the nature of teaching is linear we focus on one aspect of vocal production or expression at a time. Without intending to, the parts are isolated from the whole. We depend on the student to be able to integrate such information on a somatic level. This is the case most of the time. Students are able to make adjustments within the whole body as they go along. But not always. It is at these points that we as teachers need to be able to engage with students’ nervous systems to help them develop somatic aware­ ness so they can redraw their somatic maps.

Awareness—What Is It? Let us pause for a moment to talk about the nature of awareness particularly as it relates to posture and movement. I am not refer­ ring to a cognitive or intellectual awareness, although that may be a part o f the picture. I am referring to a conversation within the nervous system. It is a conversation that results in changes, sometimes subtle, in movement patterns that allow for increased range or freedom of movement or expression. This conversation happens by DOING with attention. I bend down to tie my shoe. I do not think about how I do it. It just happens. At some point in my life I laboriously had to learn to tie my shoe, but the action of tying my shoe is now so habituated that I no longer need to pay attention. My fingers

8

Body and Voice: Somatic Re-education

know what to do. What about the “ bend dow n”part o f the action? How do I do that? When did I learn to do it? Did I learn to do it—to lean forward folding myself so my arms and hands could reach my feet without losing my balance and falling on my head? We talk about children learning to sit or walk. But we as parents do not teach them. They figure it out. They discover movement options available in their bodies through experimen­ tation and exploration. They learn by doing. We can never know to what extent the child is consciously aware of this process. I for one have no recollection of learning to sit or walk. I cannot ask my granddaughter how she is learning to walk. Aside from the fact that she is preverbal, she is just doing it. I would ask her nervous system how it is happening, but it cannot talk either. Yet our nervous systems know. Our muscles know. Muscle memory, the way we train ourselves to do new tasks— repetition with active attention to or awareness o f the “ what and how ”we are performing the action— is the body’ s way of learning. It is this active awareness of, or attention to, the sensations of movement that provides us with the ability to learn new patterns as adults. These are sensations that we must learn to notice if we are going to make changes that matter. Mere repetition of a task does not guarantee that the task will be learned in the most efficient way, just that it will be learned. Learning to do an action well can only be done with awareness of the quality and ease o f the action to be learned. Somatic learning can be relatively easy when consciously learning a new task. It is not so easy when attempting to change habituated movements. We cannot easily change what we do not sense. Our nervous system relies on movement together with input from our senses to orient us in space. Try this: Stand quietly then close your eyes. What happens to your sense of balance? Can you feel your weight shifting? Do you feel balanced and stable? Or are you a little wobbly? Take a step forward and back keeping your eyes closed. How easy was it to take a step forward? Did you feel steady on your feet? Now open your eyes. Stand quietly. Do you feel more balanced now than when your eyes were closed? Has anything changed? Now step forward and back. What do you feel now? Are you more stable, better balanced with your eyes open? Now continue to stand

The Somatic Awareness: Body and Voice Working as One

9

— notice how your feet connect with the floor? Where is your weight? Is it more to the outside or inside of your foot? Is it more toward the heel or toes? Had you been aware o f this before? Were you aware how much we use our eyes to maintain stability? Do you ever won­ der why the soles of your shoes have an uneven wear pattern? Are you aware that every time you take a step you are placing your foot in a way that creates that pattern? It is so habituated you probably cannot tell what you do. Do you sense how the distribution of weight over your foot changes the relationship of your leg to your pelvis and back? Most o f us do not have that level of awareness. Yet this pattern might be contributing to low back, hip, or knee pain. Until you can sense in some way how you are shifting your weight to create the pattern it is difficult to make changes. You need to develop a sense of awareness, somatic awareness, then it will be possible to change. Awareness also demands a level of familiarity. Babies explore their bodies, playing with fingers through sucking, touching, moving, and exploring their toes in much the same way. They are exploring through internal sensation and external touch. Gradually they go beyond themselves to explore their environ­ ment. They begin, through this experience and exploration, to develop their sensory map. This sensory or experiential map is very important for us. It provides us with a directory of move­ ment options. Within this directory the nervous system knows what to do, how to move, how to integrate new information. We create a somatic body road map of sorts. Inherent in this body map is our knowledge of how our body can move. If an action or movement is not part o f our body map directory, outside the experience o f the nervous system, actions our nervous systems have never encountered, we have trouble learning. We need an internal reference to begin. What do I mean by this? I love to watch gymnastics. Many of the routines I saw I could never do well but at least I had a sense how to move my body to imitate them. Others, like backbends followed by bringing the feet over the head and back to standing, or a handstand ending with the feet balanced on the head, are beyond my somatic understand­ ing. I cannot even imagine how to begin to contort my body into anything resembling those movements. It is simply not in my

10

Body and Voice: Somatic Re-education

movement directory or somatic map. I have no concept how to get my spine to bend backward in such a way that I could get my feet to lift off the ground into a handstand and then finish the circle to bring me back to standing. Even as I write this, I am having trouble describing these movements, as they are not part of my somatic directory of options. A simpler example is the tongue trill or rolled /r/. Whereas many folks can easily imitate the sound, others look at me in wonder as to how I produced the sound. They just have no idea how to organize their breath and tongue to roll the /r/. For me it is a simple action. I lift my tongue to just behind the alveolar ridge and move air so my tongue vibrates. My tongue forms into the shape necessary to vibrate with the air. Adding voice or not is easy too, for me. Yet when I encounter som eone who has never had the experience, whose nervous system has never encoun­ tered the movements necessary, it becom es a very com plex task that their nervous system is not yet equipped to do. Our question here is not just related to learning new move­ ment patterns or behaviors in order to use our voices effectively for singing, stage, screen, or radio or audio. The greater question is how do we learn to change habituated patterns that we are so comfortable with, are so much a part o f how we act and move, that we are not aware of what we are doing. For example, we all clear our throat some of the time. This is a relatively benign habituated pattern used when we feel something in our throat. However, some people clear their throat 10 to 15, even 20 times a minute. It has becom e such a habituated pattern that they are not aware they are doing it. Telling them to stop clearing their throat does not really help, because the act is done before they are aware it has happened. Before they can stop clearing their throat they need to be able to sense when the impulse to clear begins. Only then can they stop the throat clearing or substitute another action such as swallowing, until the pattern is signifi­ cantly reduced. Another common habituated pattern involves holding the abdominal muscles tight or breath holding—talking and talking and talking and never really breathing even in the pauses. They THINK they are breathing, they are pausing, but in reality they are not really renewing the breath. F. M. Alexander, the Australian developer o f the Alexander Technique, referred to this in 1932 as the “ untrustworthiness of

The Somatic Awareness: Body and Voice Working as One

11

sensory appreciation”that then has a “ harmful influence”on the individual’ s use and functioning to the extent that it has a det­ rimental effect on our reaction to stimuli. In other words what we feel is “ right,”what is “ natural”may in fact be a maladaptive behavior (Alexander, 1984). His method is based on establish­ ing what he called “ primary control,”sensing how it could be done before initiating the movement that he refers to as the “ means whereby.” We all know people who are “ naturals.”They seem to have an innate ability to sing, run, play piano, play tennis, and so forth. There is something in their somatic organization, their body, their general sense of self that makes it easy for them to do whatever it is they want to accomplish. Then, there are the rest of us. We want to be able to sing, act, play, perform, but we need to work just a little harder. The drive, the interest is there, but some pieces of the puzzle, some elements are clearly not present. There is a block that prevents us from achieving a level of expression we internally, in our self-image, know we can accomplish. How can we teach the production and experience of voice? How can we enable our students to become aware of the somatic blocks that impede their progress toward excellence and provide options for change? Voice is sound; voice is communication; voice is emotion. It is sound produced and modified in many ways through movements o f the tongue, lips and jaw, palate, and cheeks. It is movement on the most basic level— vibration of the vocal folds; movement o f the muscles of the larynx, phar­ ynx, the base of tongue; the movement of the air that becom es sound. There is also movement of the muscles o f respiration, the movement of the skeleton and those forces o f gravity keeping us upright. The “ natural”singers/speakers just do it. The “ naturals” seem to know what to do, how to produce the voice-soundemotion-communication spontaneously and in the moment. For most of us, however, it is neither so clear nor so easy. Even the “ natural”or intuitive singers/actors are at a loss o f what to do to remedy their situation when things fall apart, when they are ill or develop vocal problems. Learning to identify these blocks, these gaps or misdirec­ tions in our somatic maps, can be very challenging for both teacher and student. It is often very difficult to identify what is wrong, where the solution lies or how to go about making

12

Body and Voice: Somatic Re-education

the necessary adjustments so the student can move forward. As students and performers, we do not all have the patience or the astute sense for self-exploration that led F. M. Alexander to dis­ cover for himself his own unconscious habit of bringing his chin forward and up, causing compression of the back o f his neck (his cervical spine), resulting in his chronic voice problems. The result of this insight is the Alexander Technique, used by singers and actors around the world. Unfortunately we do not all have such epiphanies. That does' not mean that we cannot develop insight into how movement, action within a posture, or position interferes with or enhances our ability to perform well or use our voices to their best advan­ tage. As performers we often stumble over our own bodies in the process of learning to sing or act. We try to do what our teacher or coach tells us, what we have learned is “ correct,”but we just cannot get it “ right.”We feel strain, or are told the tone is too bright or too dark, prosody is wrong, onsets are late, we are out of tune, not expressive or breath support is lacking, voice can­ not project, or accent is wrong. What F. M. Alexander and Moshe Feldenkrais, a generation later, discovered is that the problem lies in the WAY we are trying to do it “ right.”Our nervous system, our somatic map is not sure what to do or organized in such a way that the flow o f the movement is inhibited. Sometimes it is the result of what I think of as “ ought’ a/should’ a’ s,”faulty ideals or ideas o f what one ought to or should be doing that the per­ former is tied in virtual knots. Most of the time, we ARE trying, ARE practicing, but because of an inaccurate body map, poor body dynamics, or inappropriate habituated behavior we are not able to do what is required. Intellectually we understand what is needed, but somatically we are not organized to achieve the desired outcome.

The Somatic Map and Self-Image Our internal body map is to a large extent shaped by HOW we allow for the flow of movement. Over a lifetime we learn to move differently. Cultural and social norms and expectations, stress, injury, aging, and self-image all play a part in the constant,

The Somatic Awareness: Body and Voice Working as One

13

tiny changes of our body map. It is important to recognize that there is a difference between our self-image and our somatic or internal body map. Our self-image is how we think of ourselves, whether per­ petually young or old, slim or not so slim, tall or short, and so forth. Our self-image is shaped by our environment, personal­ ity, upbringing, and gender as well as a myriad of other factors. A young girl, whose growth is earlier than the rest of her class, may always feel tall even though she may only reach a height of 5 feet and her classmates have grown taller. A boy who is underweight but gains weight as an adult may always think of himself as thin, though the reality may be very different. Our somatic map is habituated through our nervous system by the way we move in and respond to the world. As a baby we learn to sense our bodies through touch. The touch of the parent holding and cuddling us; our contact with the floor as we learn to scoot and crawl; the new sense of feeling from the inside and touching from the outside together as we discover our thumb or toes for the first time. Exploration o f our environment initially is through touch. In each instance the nervous system is learning, forming patterns, forming the map that is US. As we grow and begin to use and understand language the map becom es more complex. It is no longer just shaped by our physical environ­ ment. Emotional responses also shape the map. When we feel threatened, self-protective reflexes are activated. If we are con­ stantly told to sit up, sit quietly, and behave, our bodies learn to becom e more rigid and tense. Children who are allowed to explore, allowed to run, jump, and play often are comfortable in their bodies. Their nervous system learns to move with ease. On the other hand children who have constantly been told what they are doing is not right, or not safe or to be careful embody limitation. Those messages are internalized as limited movement and limited flow. Often the body map is changed by something seemingly innocuous or unrelated. An injury or accident, even braces can change the map. Sarah, a young aspiring musical theater student held her mouth in a rectangular shape with the jaw barely open both in singing and speaking (Figure 1-1). The way she held her mouth not only prevented a full range of expression, but also prevented her from using her voice freely. I wondered if her

14

Body and Voice: Somatic Re-education

struggle with range, expression, and endurance might be related to the way she held her mouth. She had been told many times, by me as well as her previous teachers, to let her jaw release, to open her mouth. During lessons she was able to sing and talk with a more open mouth as directed, yet when performing her m onologues and songs the tight jaw and closed mouth persisted. One day I asked her to point to the place where the jaw opens. I was surprised to see that she spontaneously placed her fingers in the middle of her cheeks. She then quickly corrected to the ANATOMICALLY CORRECT place moving her hands to the area below the temple just in front of her ear at the temporomandibu­ lar (TM) joint where in fact the jaw articulates with the skull. It was a quick gesture, one that might have been overlooked as she quickly corrected. But it was an important gesture. Why did she spontaneously go to the mid-face? What was the reason her internal somatic map initially chose the mid-face? It is clear that

The Somatic Awareness: Body and Voice Working as One

15

intellectually she knew where the TM joint was because she quickly corrected her hand placement. Why would som eone think that the jaw opened from the middle of the cheeks? It turned out that for many years she had worn braces with rub­ ber bands connecting her upper and lower teeth! The bands provided resistance to opening the mouth from that mid-cheek spot. Even though she had not worn braces or the rubber bands for several years, her body map continued to function as though she was still wearing them. Her muscle memory retained the resistance o f the rubber bands to opening her mouth. She had been singing and acting for years prior to getting braces. She had always opened her mouth more to sing and speak. Yet once she got braces, with rubber bands holding her upper and lower teeth close together, she always met resistance at that spot. Her body remembered. It was only through lessons to reeducate her nervous system that she was able to change her pattern. Tell­ ing her had not been enough. Intellectually Sarah understood what was necessary, but her nervous system continued to open her mouth against what was now an invisible resistance that no longer was there. In this case her internal muscle memory or somatic map was interfering with her ability to open her mouth. Changing her internal map together with her self-image was the key to changing what appeared to be a simple problem in her behavior. Explore for yourself: Open your mouth as though the joint was mid-cheek. Then open your mouth normally with the sense of the joint in front of your ears. Self-image and somatic map, although independent to some extent, can be mirror images or they can be at odds with each other. When they are not in sync difficulties arise. “ I think of myself as being young and flexible. I should be able to do cart­ wheels on the lawn.”The reality is that I am no longer young and flexible, have not worked out or kept in shape consistently, my body has gotten stiff and I have forgotten how to coordinate myself to do cartwheels. Here the self-image, young and flex­ ible, bumps up against the somatic reality of a body that has lost the “ flexibility”o f the internal map for doing cartwheels. This may be an exaggerated example, but I think we can all relate to aspects of it. Vocal self-image is a variation on our general self-image. It is very powerful. As a young high school student, it may be easy to

16

Body and Voice: Somatic Re-education

sing high. Young singers just sing. More often than not they sing spontaneously and with a degree of freedom. The same singer even 5 years later may find that what was easy in high school is not so easy in college. Unless their vocal self-image can keep up with the reality of vocal maturation and change there will be frustration. Finding “ spontaneous and easy”requires a new body map of options. Males undergo a vocal self-image transformation when tran­ sitioning boy to man during puberty. Changes in the female voice' are much more subtle. An actress may find it difficult to get roles as she matures in part because her self-image, her self-identity, is linked to sounding young. For both males and females the somatic map needs to be able to adapt to the changes. Sometimes changing the somatic map is rediscovering the old patterns. Patterns we knew at one point but became redi­ rected in some way. Often students will rediscover a sensation when singing they had lost or thought was wrong. For whatever reason they had felt it was bad, or did not produce the appro­ priate sound demanded at the time by the teacher, coach, or the students themselves. It is then necessary to explore with the student the rediscovered sensation and resultant sound in light of the student’ s internal censor. In this way students can expand their vocal options and better understand somatically what options they have. In the process of developing or rebuilding a vocal technique somatic patterns must change. Both the vocal self-image and the somatic map are asked to change and be redrawn. But they need to be redrawn together. I once performed with a soprano whose voice always had a strident tight edge. It was a quality that pre­ vented her from moving forward in her career. Her teacher tried very hard to get her to add warmth and resonance to her sound. Every time the soprano “ found”the quality the teacher wanted, she would pull back. Teacher after teacher tried and failed. Finally she had a thorough assessment by an otologist (a physician spe­ cializing in hearing and the vestibular sensory system). It turned out that the problem was one o f self-perception. When she was producing the sound her teachers liked it sounded unpleasant and distorted to her ear. She was able to produce the desired sound, but she was not able/willing to make the neces­ sary adjustments. Her vocal self-image, vocal self-perception,

The Somatic Awareness: Body and Voice Working as One

17

rejected the rounder, more resonant sound her teachers were working toward. When our self-image changes often the somatic map (ner­ vous system) does not keep up. A clinical example is the phan­ tom limb effect. In this case the brain believes that it is receiving signals from a part of the body that has been amputated when it is the internalized brain map that is generating pain or sense of presence in the phantom limb. A less dramatic example might be a baritone finding he is really a tenor, or alto discovering she is really a dramatic soprano. Learning to trust the upper range, to allow it to be free, and to make subtle adjustments in vocal selfimage is not always easy. Actors are confronted with the need for an adaptable somatic map as they take on different roles. Playing the tough guy all the time does not demand the same level of change that playing the tough guy in one show and then switching to the suave romantic interest in the next does. The actor needs to be able to embody through gesture, walk, stance, and voice the two very different characters. If he does not know what suave feels like in his internal organization the result will appear forced or at best appear to be a tough guy trying to look suave. Auditory, somatic, and personal self-images all need to be retuned and refined. Ultimately however, it boils down to what we DO: how we physically produce the sounds, how we embody the act o f performance.

The Role of Posture We are not trained to think in terms of somatic organization. We have been raised on the notion of proper posture based on the ubiquitous plumb line represented by an imaginary line that runs from the top of the head, through the external meatus of the ear, the acromion of the shoulder, the highest point of the pelvis, and to the front of the ankle. This representation has becom e the gold standard by which we define “ g o o d ”or “ correct”posture. We are led to believe that this alignment puts us into the best alignment for movement. In fact, this ideal o f posture is an arti­ fact of the late 19th century and com es out of a military tradition, dating back to 1607, o f the optimal positions for handling weap-

18

Body and Voice: Somatic Re-education

ons on parade (Gilman, 2013). The scientific measurement of the plumb line was introduced by the German anatomists Chris­ tian Wilhelm Braune and Otto Fischer in their 1898 monograph: liber den Schwerpunkt des menschlichen Korpers mit Rucksicht a u f die Ausrustung des deutschen Infanteristen (On the center o f gravity o f the human body as related to the equipment o f the German infantry soldier) (1899) (Figure 1-2). Posture now could be measured and normative data provided. Any posture that did not adhere to the proscribed form was deem ed to be deviarit, slovenly, or bad (Gilman, 2013). When teaching we are by definition looking at the person from the outside. We see structural relationships; we can see or sense tension. We feel we can assume the efficiency of internal relationships based on what we see. Our tendency is to make comments or try to effect changes based on our training and understanding of posture. Up to now we have been talking about the nature of our internal body map. But the instructions we give as teachers and receive as students are based on external observation and preconceived notions of posture. Let us shift gears and examine these notions of posture. The 1947 Posture Committee for the American Academy of Orthopedic Surgeons defines both go o d and ideal posture: G oo d Posture: “ the state of muscular an d skeletal bal­ ance which protects the supporting structures of the body against injury or progressive deformity irrespective of the attitude in which these structures are working or resting.” Ideal posture: “ an alignment o f maximum physiological and biomechanical efficiency, which requires a minimum of stress and strain”(Kendall, 1952) (italics this author’ s). It is interesting to note that GOOD posture is defined here in terms of structures, whereas IDEAL posture is defined in terms of biomechanical efficiency. Mabel Todd, founder of what is now known as ideokinesis, came to prominence in the 1930s among dance and health professionals with her ideas on physi­ ology and psychology of movement. Her work influenced the thinking of many somatic educators today. Todd emphasized the importance o f understanding the mechanics of the human body.

Vw

OrUttt.

Die militdrische Stellung okne Gepdck.

(ProfUansicht.)

Prqjectionm dor GthnkmitteipunkU. 8 Pnyoetumon dm- Sekmorpunkh von K opf %md Hdndm. Q S Prqjodion dot Sohomptmkht dot gam m S»rport. •

F ig u re 1 -2 . Braune and Fischer developed the plumb line to scientifically mea­ sure posture. (Braune & Fischer, 1898). 19

20

Body and Voice: Somatic Re-education

Todd stressed the need to organize the body within the constraints not only of gravity, but also its ability to react to external forces. The resulting “ postural pattern is that of many small parts mov­ ing definite distances in space, in a scheme perfectly timed, and with the exact amount o f effort necessary to support the individ­ ual weights and to cover the time-space-movement”(Todd, 1937, p. 22). Moshe Feldenkrais (1949) expanded on the idea of bio­ mechanical efficiency defining proper posture in terms of rela­ tive movement within the whole body. He wrote about the “ ease of dynamic adjustment to the position o f maximum potential energy.”Optimal rotation around the vertical axis, that is, the spine, allows for easy movement in all directions because the activity is uniformly distributed. He agreed with Todd that no segment of the body could move without adjustment o f the rest of the body to a new organization. The complexity of these interactions makes simple description difficult as they involve many muscles to complete. He described the resultant function such: (1) that the proper posture of the body is such that it can initiate movement in any direction with the same ease; (2) that it can start any movement without a preliminary adjustment; (3) that the movement is performed with the minimum of work, that is, with the maximum of efficiency. (Felden­ krais, 1949, p. 90) If the muscles overwork, that is, attempt to do the work of gravity, they expend more energy and at the same time inhibit the ability of the body to move easily. Feldenkrais found that in some instances o f poor organization the muscles are “ doing a part of the job of the bones,”attempting to hold up the body. These patterns can be altered or improved by retraining the ner­ vous system through increased self-awareness through carefully directed movements (Feldenkrais, 1972, p. 68). Based on these definitions dynamic posture is the ability to make constant small adjustments throughout the entire neuromusculo-skeletal system (i.e., the body) with minimum effort. These constant adjustments result in the sense of ease and lack of effort, a sense that it “ just happens.”Therefore movement, no matter how small, in one part o f the body will affect the rest of

The Somatic Awareness: Body and Voice Working as One

21

the body in some way. By the same token, a sense of increased effort often felt as strain, muscle fatigue, or effort is most often indicative of poor efficiency or organization. We are trained to think linearly. We may understand how adjacent structures and muscles interact. We may understand the linear interconnections of muscles, ligaments, tendons, and bones. We may understand intellectually that although each muscle, tendon, or ligament acts on and is acted upon by many others we still believe they need to be proximal one to the other. We often cannot understand or sense how a remote part of the body can possibly be involved in voice production. For example, we generally understand that shoulder tension can contribute to laryngeal tension, because many of the muscles of the shoulder girdle attach to the cervical spine and neck. Yet linear thinking does not readily allow the possibility that locking our knees could also contribute to laryngeal tension. When we begin to think o f posture not in terms o f how the connections o f bones, muscles, and tendons directly interact, but in terms of the flow o f movement, o f the constant interrelation­ ship between stability and instability in relation to gravitational forces, our ability to problem solve will be very different. To accomplish this paradigm shift we must becom e comfortable with and able to constantly refine our internal body map. This paradigm shift allows for the development o f new vocabulary for voice training. Physiological and anatomical muscular and skeletal interactions becom e the background to somatic learn­ ing and discovery. (These interactions are discussed further in Chapter 2.) The role o f the teacher does not change, but the vocabulary and tools used take on a very different quality and direction.

Stability and Instability Gravitational forces flow proportionally through the body. It is these forces that allow us to be upright, walk, jump, sit— in other words to move in space. We are constantly adjusting our position in space moving from stability to instability and back to stability. This feeling becom es more pronounced when we are standing

22

Body and Voice: Somatic Re-education

on an unstable surface such as a boat gently moving in the water or on a balance board. We find ourselves constantly adjusting our balance to remain upright and balanced. If we tense our legs or the muscles of the upper trunk, maintaining balance becom es more difficult. This same phenomenon happens constantly, just in tinier increments, but we are just not aware it is occurring. We can observe tension or stiffness in a person. We can easily recognize when a person is stiff when arising from a chair or that his or her body appears generally tense when it i6 in motion. Their movements are simply not smooth and fluid. Watching som eone who appears to be ill at ease also makes us uncomfortable. Watching and listening to a performer who is obviously making an effort to sing leaves us exhausted. In very subtle ways we begin to em body their tension, their effort. By the same token we admire dancers who seem to glide across the dance floor. Fluid movement appears to be effortless. We watch with wonder but also with a sense of comfort in our own bodies. Indeed a well-organized movement IS effortless or at least is executed with minimal effort. The effort com es with impeded flow where the movement is stopped, diverted, or diluted result­ ing in poorly coordinated action. As a result, structures or mus­ cles upstream of the gravitational flow then need to compensate and may becom e overtaxed. Once we can begin to sense and observe the blocks or detours in the flow, options for change open to us as teachers and for the student. Imagine a stream flowing. The course o f the stream may bend and twist, get wider or narrower, but the water keeps flow­ ing. Now place a series of boulders in the middle of the stream. The water may try to go over the boulder, but more likely it will try to go around seeking the path of least resistance. The path may just be a minor inconvenience or it may change the entire course of the stream. This is what happens to us. In the “ simple” act o f standing, gravitational forces must be transmitted through the entire skeleton. A well-balanced person is able to move in any direction at any time with minimal shift in position. We are prepared for action. Movement from this position is easy. We do not need to shift our weight or position in order to move forward or bend down. In walking or running as our feet hit the ground the forces of the impact travel through our skeletal structure to our head. If for some reason the gravitational flow stops at the

The Somatic Awareness: Body and Voice Working as One

23

hip or along the spine the muscles of the back begin to tense to maintain stability. Walking may becom e cumbersome and effort­ ful. Watch people walk or run. Can you begin to sense where the flow of movement is inhibited or diverted?

Changing Complex Patterns Vocal production is a complicated series of coordinated actions. We can feel the oppositional forces when pushing into the ground to stand or when our leg straightens to push a spade into the ground. Both are movements in which working against gravity is more easily sensed. In the production of voice the process is subtler. As we know, voice is produced by moving air up from the lungs. The moving air then brings the vocal folds into vibra­ tion at which point the air becom es sound. The sound waves then move through the vocal tract where they are shaped to form vowels, consonants, with a variety of resonant colors. Even at the level of the vocal folds there is subtle movement. The vocal folds stretch and contract allowing them to vibrate at different frequencies, intensities, and qualities— periodic and aperiodic. When we think about the complexity, the number of muscles and the delicate coordination necessary, the challenge for teaching som eone to use their voice in a new way— as enhancement or rehabilitation— is somewhat daunting. We intuitively learn to speak as children. Infants begin producing sounds at birth. The feeling of air moving through closed vocal folds to make sound happens with the first cry. As they grow the larynx changes position in the neck, the tongue becom es more agile. As babies begin to babble, to imitate the sounds around them, new movement and resonance patterns are established depending on their linguistic and sound envi­ ronment. Through encouragement, trial, and error they begin to associate meaning with the sounds. If that innate sense o f our voice and how to produce it is there from birth why is it so hard to teach and train people to sing and adapt their speaking for acting or public speaking? Some can do this without effort. But there are even more who want to explore new vocal options for singing and acting but feel they cannot or those who have been

24

Body and Voice: Somatic Re-education

successful but reach a certain point where they feel stuck. It is likely that they are “ tripping over their bodies,”interfering with the flow necessary to meet their professional vocal demands, or bumping into som e aspect of their self-image or body map that does not allow them to fully embrace the new learning. Because almost all of us can make sounds, speak, and even sing (although it might not be wonderful) learning to use our voice in new ways is not acquiring brand new behaviors such as those needed when we begin to learn an instrument. Stu­ dents learning a new instrument may never have held the instru­ ment. They are starting fresh in shaping their bodily map so that they can automatically reach for the correct keys to produce the appropriate sound. When we teach people to use their voice in new and different ways for singing, learning accents, new prosody, or projection for stage or screen (big and small), we are changing a behavior already familiar. Learning theory suggests that learning something such as a language that is very similar to one already known can be more difficult than learning an unrelated language. One would think that voice use for acting should be easy because we always speak. However, if learning theory is correct, then actors might have more difficulty learn­ ing to hone their instrument because when on stage they are speaking differently than when just talking. Talking for stage or screen is similar to, but not the same as talking in everyday life. Even our beginning voice and acting students have been singing and talking before they com e into our studios. We as teachers are in essence retraining patterns that are ingrained. Our job is to help students make what they do more efficient, easier, and more stylistically appropriate. Think about this for a moment. In order to change an ingrained behavior— make it better or more efficient— innate ability is not good enough. Intellectual understanding is helpful but not sufficient. The student already has an internal vocal selfimage, an internal map, an internal sense, of how his or her voice sounds, how the sound feels in the mouth, throat, and head or chest. Students already have an auditory and muscle memory of the task. They have listened to thousands o f singers and actors, watched and tried to imitate voices. What we as teachers need to do is give them new somatic options on how to organize the air and the resonators to make what they have better, more fac-

The Somatic Awareness: Body and Voice Working as One

25

ile, more agile, more versatile. They need a choice. They need to be able to explore new ways to move the air, to allow the vocal folds to vibrate and to create the supraglottic space for resonance. Students already have a somatic understanding of voice production although they might not be aware of it. They already have a vocal self-image. The internal map for voice use in the context of singing and acting at a higher level, however, is inadequate, incomplete. Our job is to make them more aware on some level of the feeling, sense, or images they need in order to have the voice they want in performance. Our job is to help our students discover new pathways that make it easier and bet­ ter. Some individuals possess this intuition or rapport with their body; others do not. The challenge for the teacher is to find a way to bring the student to a new level o f awareness; to provide the somatic environment in which the body MUST DO what is required and then help the student feel or sense change. The student may not be able to articulate what he or she is doing or feeling; they just need to be able to do it. I would argue that it is NOT necessary for students intellectually to explain what they do. It is much more important to feel what they do and be able to internalize the “ how.” Teachers on the other hand must be able, intellectually and somatically, to understand what the student needs to do in order to improve. They must be able to guide the student through ver­ bal imagery, modeling, or specific exercises or some other means to discover the target sensations. To be effective the teacher must be able to recognize where along the pipeline of air and sound the student is blocked, is taking unnecessary detours, or is diverting energy.

Pedagogical Methods: Outside In Versus Inside Out Teaching any physical act is a challenge. Pedagogical meth­ ods vary widely. Some are based on modeling, some on verbal description, imagery or an understanding of anatomy and physi­ ology, some on physical demonstration or hands-on manipula­ tion, or combinations of these or other approaches. Many of the methods are based on theories of motor learning. All of these

26

Body and Voice: Somatic Re-education

methods work some of the time for some people for some things. What they share is an outside in approach. The teacher demon­ strates, tells or physically moves the student from the outside. The student repeats the movements as directed. Intrinsic to these methods is the assumption that the student can internalize the information, can feel and understand what is required. As we have seen this is not always the case. If there are incomplete sensing or habituated patterns that “ feel”right but in fact cause inhibition or blockage of movement flow the student is not able to progress as expected. The nervous system is capable of generating different types of movements or actions. There are the innate or reflective actions such as blinking, the Babinski or plantar reflex found when you stroke the bottom of the foot or the motor reflex when a rubber hammer strikes the knee. These are generally involun­ tary responses to a stimulus. (Although some recent research suggests that even they can be controlled to some extent [Mann, 2013].) Habitual and conditioned actions are formed through experience. These actions are regulated by the nervous system in the higher centers of the brain. There is another set of actions I believe are as important if not more important to recognize in the context of teaching students to retrain habituated patterns. These are parasitic actions or elements that attach themselves to other actions and also what I think of as diversionary actions that replace the desired movement or action.

Parasitic Versus Diversionary Movements Parasitic movements often result from a poorly constructed somatic map or may result from compensation due to weakness or injury. As described by Feldenkrais, (1949, p. 20), a para­ sitic movement is an extraneous movement that attaches itself unnecessarily to another action or learned pattern of action or learned movement pattern resulting in increased effort or work. For example, looking to the right can be done only with the eyes, with the eyes and head together, or by the entire upper body moving involuntarily as one with the eyes and head. If there is voluntary joining o f the movement of the head and eyes together, there is no problem. If, however, the eyes can ONLY

The Somatic Awareness: Body and Voice Working as One

27

move together with the head, there is increased effort and a loss of range of vision because the eyes usually or normally have the ability to move further than the head alone. The pattern is often seen in individuals who have had neck injury or severe back pain. They turn with the whole body and do not allow the eyes to lead in twisting. Parasitic movements can be seen in singers who lift their eyebrows to reach high notes. The movements of the eyebrows have nothing whatever to do with singing high notes. Lifting the head when opening the mouth to breathe is also a common parasitic movement. We often think o f these extraneous movements as “ tics.”We dismiss them as perhaps odd, or often we do not notice them at all. Diversionary movements are those that replace the desired action. Susan would habitually bring her head forward when beginning to sing or act. When I presented her with a constraint (placing her forehead against the wall) that prevented her from bringing her head forward she wiggled her pelvis! This action surprised me, as it was unusual for her to move her lower body. In the past she would sometimes sway, shifting her weight back and forth while singing, but generally she was fairly still. I placed my hands on her hips so they too could not move. ONLY THEN did she release her abdominal muscles on inhalation, allowing her diaphragm to contract appropriately. At that moment I real­ ized that both the head forward movement and the pelvic wiggle were diversionary movements. Her body sensed that it had to move, but was not sure what or how. Common diversionary movements include movements of the shoulders and excessive jaw opening. When the shoulders are lifted on inhalation, generally only the shoulder girdle moves and the ribs do not engage at all. In the instance o f excessive opening of the mouth from the lower jaw to access the upper range, the shape of the mouth is distorted, potentially inhibiting movement of the tongue and palate necessary for optimal resonance.

Additional Roadblocks to Look For Lack of movement or insufficient movement can be just as prob­ lematic as too much movement. Students are frequently told not to move the upper body. (What is meant is that there is no need

28

Body and Voice: Somatic Re-education

to lift the shoulders on inhalation.) As a result the student does not allow the chest to move at all. In fact the lower ribs and lower sternum DO need to move at the beginning of the exhalatory cycle with the initiation of sound. They will release the abdomi­ nal muscles on the inhalation but not allow the follow-through of the breath in the chest for easy support. Up to now examples have focused on the upper body. Stance, stability, and standing balance are just as important. Locking the knees or balancing on either the heels or the front of the feet inhibits g o o d breathing, increases tension in the trunk in an attempt to maintain balance. As we will see in sub­ sequent chapters, how one stands or sits makes a difference. Several years ago in my capacity as voice therapist, I saw an elderly lady w ho complained that her voice was rough and unstable. Laryngeal examination did not reveal any pathology, so she was referred to me for therapy. During the session she commented that her voice was worse when standing having a conversation. I asked her to walk around a little before standing still. As she stood I noticed that her pelvis was slightly forward of her trunk with her weight more on the back o f the foot. Her hands were interlaced in front (Figure 1-3). As she contin­ ued to talk, her voice became weak and her breath more shal­ low. I asked her to shift her weight slightly forward toward the front of the foot and bring her upper body slightly forward. At once her voice became strong and clear. Shifting back and forth several times from the old posture to the new posture was all she needed. It is not always so easy and dramatic to make changes. A young actress came for lessons because she was experienc­ ing unusual vocal fatigue, reduced range, both pitch and loud­ ness. She also found singing while standing and moving more challenging than sitting. We began to work with releasing the abdomen on the inhalation by bending at the waist so she could feel the release of the abdominal muscles. After working for a few minutes she was able to release and contract the abdominal muscles appropriately. She appeared to be releasing her knees, yet there was no change in vocal quality. She continued to com ­ ment that her breath felt blocked. What was I missing? She was doing what she was told. I had her walk around the room then com e to standing. Her knees were soft, but as I watched her in

The Somatic Awareness: Body and Voice Working as One

29

F ig u re 1 -3 . Female standing with her weight on her heels and pelvis forward.

standing I sensed there was increased tension in her upper legs. When standing she would tighten her thigh muscles! Before we go on let us take a moment to review. We move according to our self-image in conjunction with or in opposition to our somatic inner map. If that is incomplete or confused we are not able to complete target actions as efficiently as we might wish. Bones, muscles, tendons carry the flow for motion through the body that is in constant transition between points of stability and instability in relationship to gravitational forces.

30

Body and Voice: Somatic Re-education

Vocal training for singing, acting, or related endeavors is different from learning an instrument in that we have already established and etched into our nervous system certain speech and phonatory patterns, behaviors, movements. Teaching sing­ ing is therefore not as much creating new somatic patterns as it is adapting established patterns for new tasks. By the same token, teaching voice for actors is in some respects more com pli­ cated because speaking is our primary mode o f communication since early childhood. Neural and motor patterns are even more engrained. It is known that it is often easier to learn a completely new task than a task that is similar to one already learned such as learning new accents, vocal colors, or learning to project in order to send the voice to the audience even when speaking softly. Likewise singing demands neural patterns that are slightly different from speaking. It requires attention to coordination of specific pitches, rhythms, and resonance with communication. These are all internal processes. Learning to use the voice dif­ ferently is an internal process, yet voice training is based on an outside in approach whether through m odeling or imitation, imagery, intellectual explanations, or hands-on guidance. Even the application of learning theory and the necessity for repetition often ignores the subtle signs o f an incomplete somatic map.

Learning to See To begin to understand the inside out paradigm for teaching or helping students to redraw their internal somatic map, it is nec­ essary to recognize the often subtle movements or lack o f move­ ments in our students. These movements may indicate problems of blocked or redirected flow, parasitic movements, diversionary movements, or the absence o f movement. This requires that you learn to see, to observe and sense students in a different way. Looking to see if their posture is “ correct,”if they are standing or sitting straight, if their shoulders are relaxed, and so forth, is not enough. Becoming aware o f these invisible inefficiencies, blocks, and diversions is very important to training voice users of all

The Somatic Awareness: Body and Voice Working as One

31

kinds, but especially for elite performers. Chapter 2 discusses some of the physical anatomical connections that we might not associate as contributing to vocal inhibitions. Current research will be described as it relates to our growing understanding of somatic connections. Chapter 3 explores in detail how to learn to look in this new paradigm. We need to learn to see what our students are doing and what we can do to change ingrained behaviors. The remain­ ing chapters will provide concrete lessons with case studies that can be used as a model for how to help your student discover new options from the inside out. These awareness-building les­ sons can be used in the studio or in class settings. I refer to them as lessons rather than exercises because when done with appropriate attention changes begin to happen. Each repetition then provides new information and new learning. When the movements are done with appropriate attention, the nervous system is recruited to retrain our actions. When we think about doing exercises our expectation is that the same action will be repeated again and again most often in the same way. The accompanying CD contains these lessons to facilitate teaching.

References A lexander, F. M. (1984). The use o f the se lf (reprin t ed.). L on don , UK: O r io n B o o k s. Braune, C. W., & Fischer, O. (1898). Uberden Schwerpunkt des menschli-

chen Korpers mit Riicksicht a u f die Ausrustung des deutschen Infanteristen [On th e cen ter o f gravity o f th e h u m an b o d y as related to th e e q u ip m e n t o f th e G erm a n infantry soldier]. L eipzig, G erm any: S. Hirzel. F eld en k rais, M. (1949). Body a n d mature behavior (R eprint ed.). L on ­ d on , UK: R o u t le d g e a n d K a ga n Paul Ltd. F eld en k rais, M. (1972). Awareness through movement: Health exercises f o r p erson a l growth. N e w York, NY: H a rp e r & Row. G ilm an , S. L. (2013). “ Stan d u p stra ig h t”: N o te s to w a r d s a h isto ry o f p ostu re . J ou rn al o f M edical Humanities. A d v a n ce o n lin e p u b lic a ­ tion. d o i : 10.1007/s10912-013-9266-0 K endall. (1952). R e tr ie v e d fr o m h ttp :/ / w w w .p t.n tu .ed u .tw / h m ch a i/ K in es0 4 /K IN a p p lica tion / S ta n d in gP ostu re.h tm

32

Body and Voice: Somatic Re-education

Mann, M. (2013). The nervous system in action. R e trie v e d February, 2013, fr o m h ttp :/ / w w w .m ich a lem a n n .n et T od d , M. (1937). The thinking body: A study o f the ba lan cin g fo rce s o f dynam ic man. P en n in gton , NJ: D a n c e H o r iz o n s B o o k P r in ce to n B o o k Co.

CHAPTER

2 Body and Voice: Somatic and Physiologic Connections In a world of evidence-based practice, it is more and more impor­ tant to understand the why of what we do. Over the recent past there have been many advances in our understanding not only of the anatomy and physiology of voice, but also the com plex­ ity of the interrelationships within the neuro-musculo-skeletal systems that define our bodies. Advances in technology have changed the scope and nature of research as well as our under­ standing of vocal mechanics, physiology, and function down to the cellular level. The world of voice and voice training has undergone a major transformation in the past 20 years with the advent of new technology. With the development of the laryngeal mirror in the mid-18th century it became possible to visualize the vocal folds as a small V-shaped structure in the throat. On phonation one could only see a blur similar to the movement of tiny but­ terfly wings. It was not until the technological revolution in the late 20th century that stroboscopic laryngeal imaging arrived in the voice clinic (and more recently on the Internet for all to

33

34

Body and Voice: Somatic Re-education

see) and turned the world o f voice upside down. We can now visualize not only the gross movement of the vocal folds, but also see and appreciate the details including subtle asymmetries in the mucosal wave. We can now not only see lesions but also hitherto elusive anomalies such as adynamic segments or sulci on the vocal folds. Innovations in microbiology have brought new understanding of the impact of vocal fold vibration at the cellular level. Research at the micro level is shedding light on the nature of vocal fold wound healing, providing new insight into how to pace voice use, as well as on vocal health in general. Magnetic resonance imaging (MRI) has allowed us to see the simultaneous movement of the internal structures of articulation such as the tongue and palate. These technological advances provide valuable insight into the movement of the larynx, vocal folds, tongue, lips, and palate in relation to the bony structures of the head and neck. Through innovations in audio technology, we can visualize not only the waveforms but also the harmonic spectra or overtones and energy peaks or formants that make up resonance. As a consequence of this extraordinary explosion of information, our understanding of voice, vocal production, and health has increased exponentially. We are learning more about the interrelationships between the vocal folds and the other structures of the head, palate, tongue, jaw, and spine. Similarly, although not quite as revolutionary, our under­ standing of posture and body dynamics has also shifted. The “ whole body movements”that began at the end of the 19th century spawned new ways of thinking about the body. In the early 20th century Mabel Todd examined the importance of body mechanics not only in relation to good posture, but also to dynamic movement in space. She explored how gravitational pull impacts our structure not only in stasis, but as we move, run, ride, jump, in short, live our lives. Ida Rolf, the developer of the deep tissue massage method that bears her name, found that although it was possible “ to look at a body as though it were an architectural unit. Such constructions manifest strain to the degree in which they deviate from an optimal relation to gravitational pulls”(Rolf, 1962, p. 10). Unlike a solid structure, our bodies need to be flexible; they need to move requiring an internal symmetry that requires the body masses constantly to counterbalance themselves. In this process, muscles and tendons

Body and Voice: Somatic and Physiologic Connections

35

must be able to contract, to adjust to the movements of contigu­ ous structures of the body. About the same time Mabel Todd was exploring the effects of gravitational pull on the body dynamics, F. M. Alexander was discovering how positions of the head, neck, and spine changed laryngeal function. The work o f Todd, Rolf, and later Moshe Feldenkrais introduced new understanding of postural relation­ ships in relation to the whole body. A lexander’ s work began specifically directed at vocal production and then evolved as he realized the greater application to the body. Many of the ideas that they had explored experientially have been recently vali­ dated by neuroscience. In the past decade a small but increasing number of peerreviewed research studies have appeared examining the impact of posture or stance on voice production from the standpoint of effort, acoustic output, and self-perceived voice handicap or limitations. Although small in number, these studies are provid­ ing data validating what singers, singing teachers, and voice users in general have known for centuries. What is new is the recognition within the scientific community that these relation­ ships are worth investigating. The findings validate the often amorphous relationships between balance, stability, and vocal production. These studies relate the function of the whole body, the neuro-musculo-skeletal systems, to voice production. The bridge between research and practice is slowly being crossed. In the previous chapter we discussed posture in relation to the somatic map. A recent research study demonstrated that “ p oor”posture is related to persistent voice complaints and voice-related time off work among schoolteachers. The authors stated “ the extrinsic laryngeal muscles as a whole can be consid­ ered as a chain of interconnected muscle and structures, which establishes equilibrium”(Kooijman et al., 2005, p. 135). They go on to say “. . . phonation is not only the result of activity inside the larynx. Muscle activity of the whole body is also responsible for the appropriate functioning o f the larynx”(p. 144). Voice production according to these statements is the result of an ever-changing dynamic within the body. It is affected by the interplay of all parts of our body, not just the muscles, ligaments, bones, but also the nervous system that directs and responds to movement in relation to gravitational forces as we move through

36

Body and Voice: Somatic Re-education

space, that is, our posture or relative positioning o f the body. Posture therefore cannot be static. It can be seen from a position of rest or of “ stillness,”but never stasis. This definition of posture as dynamic allows us to think about posture from the perspective of the efficiency of move­ ment through the body, rather than alignment of the bony skele­ ton alone. We can redefine “ posture”as our physical organization from the inside out rather than the outside in. When we do, we can have an entirely new approach for thinking about the role of posture in general and vocal production in particular. We are trained to think about the body— both skeletal and muscular connections— as linear. It is not always easy to under­ stand how muscles and structures such as the pelvis or the legs that are remote from the larynx can affect its functioning. We tend to think in terms of proximal or close connections such as the neck muscles or jaw impacting the laryngeal muscles, but not always the more remote connections o f the ribs, pelvis, or feet. The underlying premise of this book is becom ing aware of and understanding these distal relationships and how we can use them to change and improve voice production. Before beginning our journey o f learning to see and assess those aspects o f a person ’ s vocal production that are interfering with their vocal goals, it may be useful to take a more specific look at some of the important direct, and indirect muscular con­ nections within the body.

Anatomy of Connections The notion that muscle activity at the level o f the pelvis, back, or legs can influence the movement and function o f the vocal folds as much as muscle activity at the level o f the chest, neck, tongue, or shoulders is foreign to most o f us. We are trained to think in linear terms. This line of thinking leads us to believe that if there is not a direct, proximal connection, there is no relationship. It is easy to forget that although the knee bone IS connected to the thigh bone, as the old spiritual goes, the thigh bone is also connected to the hip bone, the hip bone also connected to the spine, and so forth, thus forming a wonderful and yet com plex

Body and Voice: Somatic and Physiologic Connections

37

kinematic chain o f movement that travels through the body. Small movement in one place can, if allowed to flow, becom e a relatively large movement elsewhere. By the same token if the original small movement is not allowed to flow in one direction, it will turn and move somewhere else as we saw with the case of Susan in the last chapter who wiggled her pelvis when she was no longer able to bring her head forward. We all have a sense of how the gross muscles and bones connect. The following discussion is not intended as a com pre­ hensive anatomy and physiology lesson. There are too many excellent texts available that describe the individual muscles, their attachments and function. It is not in the scope of these texts to relate their function to the rest of the body. Muscle interrelationships and interactions or the chain effect of contraction of a muscle or groups of muscles are not generally identified. So it may be helpful to briefly discuss some o f the not-so-obvious anatomical connections. Let’ s begin at the top with the hyoid bone. The hyoid is for me the Grand Central Station of the neck. It is the only free-floating bone in the body. As a result you do not see it on anatomical skeletons, as there are no bony attachments to hold it in place. The hyoid is the bony structure just above the laryngeal cartilage (Reminder: the larynx sits on top of the trachea or windpipe. The only way air can go in or out of the lungs is between the vocal folds.) The hyoid anchors the tongue and is involved in the elevation of the larynx during swallow and speech. The extrinsic muscles of the larynx form a sling support­ ing the hyoid and larynx. The suprahyoid muscles connect the hyoid bone to the mandible (lower jaw) and the mastoid process of the temporal bone of the skull. These include the two-part digastric muscle attaching to the mandible and mastoid process; the mylohyoid and geniohyoid muscles that attach to the man­ dible forming the floor of the mouth (Figure 2-1A); and the stylo­ hyoid (Figure 2-1B) muscle connecting to the styloid process of the temporal bone o f the skull. The infrahyoid muscles provide the muscular attachments to the sternum (breast bone); the ster­ nohyoid muscle (Figure 2-1C) connecting the sternum and hyoid directly, the sternothyroid (Figure 2-ID) connecting the sternum and the larynx, the thyrohyoid muscle connecting the top of the thyroid cartilage to the hyoid, and finally the omohyoid muscle (see Figure 2-1B), which is a muscle that runs down the side of

F ig u re 2 -1 . A. Digastric, geniohyoid , and stylohyoid m uscles connecting the hyoid bone to the jaw and skull. B. Suprahyoid m uscles, omohyoid, sternocleidomastoid, and another view of the stylohyoid muscle, continues 38

F ig u re 2 -1 . continued C. The sternohyoid muscle attach­ ing the sternum to the hyoid bone. D. The sternothyroid attaching the sternum to the thyroid cartilage of the larynx. 39

40

Body and Voice: Somatic Re-education

the neck under the clavicle and attaches to the front of the scapula (shoulder blade). As you can see from this description, if there is tension or strain in the ribs or chest, tongue, neck, or shoulder the hyoid cannot easily move. If the hyoid does not move, the larynx underneath cannot elevate properly. As a result actions such as swallowing, pitch, and resonance change, which depend on the flexibility of the hyoid, becom e difficult. Other connections we do not immediately think about involve the diaphragm. The diaphragm is a dome-shaped struc­ ture with a central tendon and muscle fibers. The muscle fibers extend from the central tendon outward and down to attach to the sternum, ribs, and spine. Although we know that the dia­ phragm is essential for go o d breath support we don ’ t always think how it physically relates to the larynx. The diaphragm helps to regulate the airflow through the larynx via the lungs and trachea. It is also the floor o f the chest cavity and roof of the abdominal cavity, attaching to the sternum, lower ribs, and to the spine by bifurcated tendons, the right and left crus. These attachments are on the inside o f the spine at the level of the lum­ bar vertebrae. The major muscle involved in lifting the leg, the psoas muscle (Figure 2-2), runs from the femur through a hole in the bottom of the pelvis where it attaches to the spinal cord. The large muscle that allows for bending, the quadratus lumborum, runs from the top o f the iliac crest and also attaches to the spinal cord at roughly the same place. The importance for us is that these are the muscles that allow for movement of the pel­ vis, diaphragm, and upper leg all intersecting at about the same point on the lumbar spine. Many people view the diaphragm as a postural muscle given its position at the floor of the chest cavity (Hoit, 1995; Kolar et al., 2009; Kolar et al., 2010). If one imagines a cylinder with a central membrane acting as middle support it is easy to see why people might think of the diaphragm in this light. On inhalation the diaphragm contracts downward and the lower ribs expand, drawing air into the body as the lungs expand with the change in pressure between the inside o f the lungs and the outside atmosphere. As the diaphragm contracts (inhalation), the abdominal contents, which have limited capacity to change volume, becom e compressed. Restriction of either the rib cage or the abdominal muscles will limit full expansion o f the lungs. Respiration is discussed in more detail in Chapter 5.

F ig u re 2 - 2 . The diaphragm. Notice the long crura on either side of the spine and the attachment of the p soa s muscle from the spine to the inside of the femur (thigh bone). The quadratus lumborum (not seen here) attaches from the iliac crest to the side of the spine near the attachment of the p so a s and the crura.

41

42

Body and Voice: Somatic Re-education

Current Research I mentioned that there is a growing body of research studies examin-' ing the role of various muscles in relation to voice production. Many validate what singing teachers and performers have suspected for a long time, and others suggest connections and interrelationships that we might not have suspected. Let’ s look at them in more detail. Viggo Pettersen and his colleagues have undertaken very exciting research concerning the connections to the diaphragm. They are very interested in learning how the movement of the diaphragm impacts on and is related to the function of the mus­ cles of the neck involved in singing. They have published several excellent studies in this area. Their work to date suggests that the muscles of the neck and trunk involved in singing include the trapezius, the sternocleidomastoid, and the scalenes at the level of the head and neck and the rectus abdominis and the lateral obliques in the trunk, in addition to the diaphragm. (Pettersen, 2005). The sternocleidomastoid muscle (the big bilateral muscle that is prominent on either side o f the neck when we turn our head) and the scalenes (the muscles in the back o f the neck running from the spine to the first or second ribs) appear to be activated in some subjects with increased loudness and pitch. They appear to be involved during inspiration as well as act as a counterforce to the compression of the upper chest (Pettersen & Westgaard, 2004a; Pettersen, Bj0rk0y, Torp, & Westgaard, 2005). The trapezius (a major muscle of the upper back that reaches from the base of the skull down along the spine to the base of the rib cage or lower thoracic vertebrae) is involved more during long breathing cycles as the chest compresses on exhalation. In their 2004 study on muscle activity in the shoulder, neck, and trunk during classical singing, Pettersen and Westgaard found that activity of the trapezius muscle during phonation is habitual and not necessary to the respiratory mechanics of singing. In fact they found that reduced trapezius muscle activity led to an increased thoracic expansion on phonation because the tra­ pezius was not acting as an antagonist to the elevation of the ribs (Pettersen & Westgaard, 2004b). As a result subglottal pres­ sure and possibly position of the larynx was altered. Intercostal muscle activity was found to be idiosyncratic and to some extent dependent on vocal pitch and intensity of phonation.

Body and Voice: Somatic and Physiologic Connections

43

A more recent study by Macdonald, Rubin, Blake, Hirani, and Epstein (2012) found that periabdominal muscles (specifi­ cally the transverse abdominus and the internal oblique mus­ cles, both deep abdominal muscles) play a significant role in support of the performing or athletic voice in healthy subjects (Figure 2-3).

F ig u re 2 - 3 , Internal oblique m uscles are interme­ diate muscles of the abdomen attaching to the iliac crest and the lower ribs.

44

Body and Voice: Somatic Re-education

A study by Sundberg, Leanderson, and von Euler (1989) points to an interaction between the tracheal pull and activa­ tion of the cricothyroid muscle (one of the muscles in the larynx responsible for pitch regulation.) The trachea can stretch as th£ larynx moves due to its structure of cartilaginous rings. Kera and Maruyama (2005) evaluated the effect of posture on respiratory activity. They found that patients with COPD (chronic obstructive pulmonary disease) were able to breathe easier when sitting with their elbows and forearms resting on their knees (Figure 2-4). They suggested that the accessory inspiratory muscles around the pectoral girdle were more easily

F ig u re 2 - 4 . The position found by Kera and Maru­ yama to most facilitate breathing in patients with COPD. In this position the trunk has maximum stability because the arms are resting on the thighs.

Body and Voice: Somatic and Physiologic Connections

45

activated because of the placement of the limbs on the thighs. It may also be easier because this position provides increased postural stability as the relationship of the trunk to gravity is shifted, making it easier to release the abdominal muscles. This is a very important study as it affirms the role of postural stabil­ ity of the trunk in respiration. Many of the lessons that follow in this book are based on their findings. The relationship between “ p oor”posture and/or hyperto­ nicity of the extrinsic laryngeal musculature in patients with a history of voice disorders was examined by Kooijman et al. (2005). They found a correlation between hypertonicity of the extrinsic laryngeal muscles (trapezius, sternocleidom astoid, thyrohyoid, and geniohyoid), deviant posture, and complaints of voice handicap. Ternstrom, Andersson, and Bergman (2000) found some effect o f massage on speaking, fundamental fre­ quency, and loudness. All these studies confirm experimentally what some voice teachers, coaches, and voice trainers have claimed and practiced, that posture or extraneous tension in the body, not just in the head and neck region, influence the way we produce voice. Recently researchers have begun using MRI and ultrasound to allow us to visualize what is dynamically happening in the body. Research in other fields is finding similar connections. A Ger­ man study looked at the effect o f foot positions on the spine and pelvis. Their findings support the existence o f a kinematic chain, in which changes of foot position also led to significant alterna­ tions of the pelvis position (Betsch et al., 2011). The implications of their findings will be discussed in relationship to respiration and balance in later chapters. In yet another field, an interesting review article on the relationship between dental occlusion, TMJ (temporomandibular joint disorder), and general health suggest that dental occlusion status influences the ability of the muscles of the head and neck to coordinate with other postural muscles and can influence body and gaze stability (Moon & Lee, 2011). The relationship between TMJ and voice disorders is known, but we do not often consider the effect of jaw position and balance in voice production! Up to now we have been discussing the obvious and not so obvious connections within the body potentially relating to the delicate balance of forces present in the coordination that results

46

Body and Voice: Somatic Re-education

in voice production. But on a very practical level, what does this mean? How do we know that we are not using “ correct”posture? How do we know that we are engaging muscles in such a way that they increase the perceived effort of voicing or producing vocal fatigue? How do we know when our somatic map is not in line with our desired outcome? When movement patterns or behavior patterns becom e habituated we don ’ t notice what we are doing. It just feels “ normal.”When I raise my arm I just do it. I don ’ t notice how. I am not aware that my inability to lift my arm up is because my upper ribs may not be moving together with my shoulder in a synchronous movement so that once the degrees of freedom in my shoulder joint are exhausted my arm can not lift further. To move further, I need to allow my clavicle and upper ribs to move. If I am not aware that I am making extra effort to lift my arm because my clavicle or ribs are not sharing the load, how can I learn to do it differently? We can’ t change what we don ’ t know.

Next Steps: Learning to Recognize and Change Patterns So far we have defined posture and discussed the need for think­ ing about the whole body as participating in vocal production. To this end we examined some o f the areas of the body that are remote from the larynx but still in some way affect voice produc­ tion or influence the way we breathe for singing or speaking. Finally we have talked about the com plex nature of somatic learning and need to develop a level of somatic self-awareness. That may all be interesting, but it does not address the real question: How can that information help me as a voice and speech trainer, singing teacher, coach, or speech-language pathologist? When all goes well, when there is optimal coordi­ nation and interplay of all the parts, vocal production is easy. Our students can sing or recite anything they want in any way they want with the sound we all want. Unfortunately we do not live in a perfect world. We are not perfectly organized for all tasks, including singing or acting. As a result the breath control, range— pitch, dynamic and emotional— endurance, flexibility, and physicality of performance may be com promised in some way. In other words, technique or approach to vocal production

Body and Voice: Somatic and Physiologic Connections

47

is not what it should be. So what do we do? Most o f the time solutions fall into the scope o f our teaching approach or method, our ability to problem solve. But not always, so what then? How do we learn to recognize the somatic patterns that inter­ fere with accomplishing our goals? As acting or singing teachers, coaches, or speech therapists our tools include vocal exercises designed to improve breath support, resonance, and laryngeal function. We employ flowery images or gestures to guide our stu­ dents or clients. We provide them with physical release, stretches, or movement lessons. Most of the time these work. Most of the time voice production improves. Most of the time. Sometimes though, these techniques do not work. Sometimes we see or feel something is wrong but cannot identify what is wrong, or having identified it, do not really understand how to change the behavior. What do we do then? How do we, as teachers, coaches, or therapists, figure out what is wrong? How do we learn to sense or see where the organizational flow is stuck? Once we can iden­ tify the problem or break in the flow chain, learning to change the pattern becom es possible. Learning to change habituated patterns or somatic re-education cannot happen intellectually. It must be em bodied both by the teacher as well as the student. The basic questions that will be addressed in subsequent chap­ ters are: What is goin g on somatically with this person? How are they interfering with the flow o f air, sound, and voice? How can I guide them to a place where they internally recognize the habituated pattern? And finally, how do I provide the somatic environment fo r them to explore new options that result in new and more efficient patterns?

References B etsch , M., S c h n e p p e n d a h l, J., D or, L., J u n gblu th , P., G ra ssm a n n , J. P., W in dolf, J., . . . W ild, M. (2011). In flu e n c e o f f o o t p o s it io n s o n th e s p in e a n d pelv is. Arthritis Care & Research, 63(12), 1758-1765. H oit, J. D. (1995). In flu e n c e o f b o d y p o s t u r e o n b r e a th in g a n d its im p lic a tio n s fo r th e ev a lu a tio n a n d trea tm en t o f s p e e c h a n d v o ic e d iso rd e rs. Jou rn al o f Voice, 9(4), 341-347. Kera, T., & M aruyam a, H. (2005). T h e e ffe c t o f p o s t u r e o n r e sp ira to r y activity o f th e a b d o m in a l m u scle s. Jou rn al o f Physiological Anthro­

p ology a n d Applied H um an Science, 24(4), 259-265.

48

Body and Voice: Somatic Re-education

Kolar, P., N euw irth, J., Sanda, J., S u ch a n ek , V., Svata, Z., V olejnik, J., & Pivec, M. (2009). A n a ly sis o f d ia p h r a g m m o v e m e n t d u r in g th e tidal b r e a th in g a n d d u r in g its a ctiv a tion w ith b rea th h o ld in g u s in g MRI s y n c h r o n iz e d w ith spirom etry . Physiological Research, 58, 383-392. Kolar, P., Sulc, J., K ynchl, M., Sanda, J., N euw irth, J., B ok a riu s, A. V., . . . K o b eso v a , A. (2010). S ta b ilizin g fu n ctio n o f th e d ia p h ra g m : D y n a m ic MRI a n d s y n c h r o n iz e d s p ir o m e t r ic a sse ssm e n t. J ou rn al o f Applied

Physiology, 109, 1064-1071. K ooijm an, P. G. C., d e jo n g , F. I. C. R. S., O u d es, M. J., H uinck, W., van Acht, H., & G raam ans, K. (2005). M u scu lar te n sio n a n d b o d y p o s tu r e in rela­ tion to v o ic e h a n d ica p a n d v o ic e qu ality in te a ch e rs w ith p e rsisten t v o ic e com p la in ts. Folia Phoniatrica et Logopedica, 57(3), 134-147. M a cd on ald , I., Rubin, J. S., Blake, E., Hirani, S., & Epstein, R. (2012). An in ­ v e stig a tio n o f a b d o m in a l m u sc le s recru itm en t fo r s u sta in e d p h o n a tio n in 25 h ea lth y s in g e r s .Journal o f Voice, 26(6), 815.e819-815.e8l6. M oon , H-J., & Lee, Y-K. (2011). T h e r e la tio n s h ip b e t w e e n d en ta l o cclu s io n / te m p o r o m a n d ib u la r join t status a n d g e n e r a l b o d y health: Part 1. D en ta l o c c l u s io n a n d TMJ statu s e x e rt an in flu e n c e o n g e n e r a l b o d y health. Jou rn al o f Alternative a n d Com plem entary Medicine, 1 7(11), 995-1000. P ettersen , V. (2005). From m uscles to singing: The activity o f a cces­

sory breathing muscles a n d thorax movement in classical singing. ( U n p u b lish e d d o c t o r a l d issertation ). N o r w e g ia n U n iv ersity o f S c i­ e n c e a n d T e c h n o lo g y NTNU, D e p a r tm e n t o f In d u stria l E c o n o m ic s a n d T e c h n o lo g y M a n a gem en t; U n iv ersity o f S ta v a n ger D e p a r tm e n t o f M u sic a n d D a n ce, S ta v an ger/ T ron dh eim . P ettersen , V., B jorkoy, K., T orp, H., & W estgaard, R. H. (2005). N e ck a n d s h o u ld e r m u s c le activ ity a n d th ora x m o v e m e n t in s in g in g a n d s p e a k in g ta sk s w ith v a ria tion in v o c a l lo u d n e s s a n d pitch. Jou rn al o f Voice, 19(4), 623-634. P ettersen , V., & W estga a rd , R. H. (2004a). T h e a s s o c ia t io n b e t w e e n u p p e r tr a p e z iu s activ ity a n d th o ra x m o v e m e n t in c la ssic a l sin gin g . Jou rn al o f Voice, 18(4), 500-512. P ettersen, V., & W estgaard, R. H. (2004b). M u scle activity in p r o fe s s io n a l cla ssica l sin g in g : A stu d y o n m u s c le s in th e sh ou ld er, n e c k a n d trunk.

Logopedics Phoniatrics Vocology, 29, 56-65. Rolf, I. (1962). Structural integration: Gravity, an unexplored fa cto r in a m ore hum an use o f hum an beings. N e w York, NY: Rolf. S u n d b erg, J., L ea n d erson , R., & v o n Euler, C. (1989). A ctivity r e la tio n ­ s h ip b e t w e e n d ia p h r a g m a n d c r ic o th y r o id m u scle s. Jou rn al o f Voice, 3(3), 225-232. T ern strom , S., A n d e rsso n , M., & B ergm an , U. (2000). An e ffe c t o f b o d y m a s s a g e o n v o ic e lo u d n e s s a n d p h o n a t io n fr e q u e n c y in rea d in g.

Logopedics Phoniatrics Vocology, 25, 146-151.

CHAPTER

3 The Significance of the Unremarkable In the previous chapters we have talked about our sense of self in relationship to our internal somatic map. We have discussed the role of this body map and the importance of somatic aware­ ness of the way we move and behave. The concept of diver­ sionary or parasitic behaviors was introduced as part o f our sometimes faulty understanding of our bodies. This chapter as well as subsequent chapters will provide more detail as to how the teacher can learn to identify roadblocks or blanks in our somatic awareness and the resulting poor body dynamics. Let us now turn our attention to how looking in from outside is perceived from the standpoint o f the teacher. Earlier I spoke about the difference in the outside in versus the inside out nature of learning. In other words, being told what you are doing and asked to do something different versus feeling or sensing what you are doing and then being able to explore somatically other ways to achieve your goal. Let’ s look at some examples: John always lifts his shoulders when initiating a breath before talking. It is particularly evident when presenting a monologue. As his coach I could tell John “ don ’ t lift your shoulders.”That would most likely get nowhere because he is so habituated to lifting his shoulders that he is not aware of the action. He might begin to hold his shoulders tight so they cannot lift, but then he would only generate another pattern that is just as detrimental as the first. 49

50

Body and Voice: Somatic Re-education

If I think about John’ s shoulders lifting not from the stand­ point of “ stopping that action”but rather about causation, I would ask myself WHY is John always lifting his shoulders to breathe. In this way the path to solutions changes from “ do not do that”to “ why is it happening”and how can John learn to find a new, more efficient way to breathe. In other words, real problem solving. For John, lifting his shoulders when he begins to breathe is the only way he knows how to breathe, the only way he somatically understands how to expand his lungs. The issue for him is not WHAT he is doing, but WHAT HE IS NOT DOING. The shoulder lifting in this case is a diversionary move­ ment. In other words his body knows he needs to do something to expand the lungs. Instead of releasing the belly so the dia­ phragm and lower ribs can move, he “ diverts”the movement to the shoulders and upper rib cage. Ida never really opens her mouth when singing and appears to have a lot of jaw and neck tension. She has been working on freeing her jaw, but it is just not working. There is another element that is preventing her from being ABLE to open her mouth. She was raised in a large family with limited means. As a child she became very self-conscious about her misaligned teeth so she would not open her mouth in any way that might reveal her crooked teeth. As a result she became habituated to keep­ ing her teeth covered as much as she could while speaking and singing. Once the pattern was identified, she was able to work on her self-image and eventually felt comfortable to free her mouth and lips so her jaw could release as well. As teachers, coaches, or therapists our challenge is to notice the small and large anomalous movements or gestures and in addition sense our students’strain or increased effort. We must begin to recognize and identify extraneous movements that may be interfering with the goal o f optimal vocal performance. When we recognize a pattern or movement the next challenge is to decide whether it is important, whether it really interferes with the student’ s ability to use his or her voice well, and then find a course of action that will provide the somatic learning neces­ sary for change. Learning to see, learning to notice misplaced movements, unnecessary tension, or disrupted flow begins by paying atten­ tion to the small, quick movements, to the subtle changes in posi-

The Significance of the Unremarkable

51

tion, and then being able to assess their importance. Everything and yet nothing may have significance. Clearly as voice trainers there are elements of our students’ presentation, stance, charac­ terization, vocalization, or presence that we do notice. I am chal­ lenging you to pay attention in a new way. To look more closely at those movements or lack o f movements that seem random or like tics, those movements you might otherwise dismiss as unimportant or trivial. I am challenging you to learn to add to your assessment tools and problem solve in a new way. Paying attention, learning to notice what goes by quickly or harder yet, what is not there, not apparent, not happening, is a skill developed over time and with experience. Many of you already notice many of the things I am talking about. I encour­ age those of you for whom these are new concepts to begin with any one aspect discussed in this book and work with it. You will find that once you begin to look differently more aspects will becom e apparent. Sometimes we see something but discount it, like the detective who will subconsciously notice something, but does not place any value on it because there is no context at that point in his/her investigation. However, as more facts and evi­ dence com e to light the clue begins to take on meaning. (Think of the “ aha”moment in a TV mystery show.) Learning to “ see” in this way happens as much through an inner sense o f tension or intuition on the part of the teacher as actually seeing. In the course of voice training whether for singing, acting, or any other vocal performance task, we as teachers develop a sense of what the student is doing. When I talk about seeing, I do mean seeing, but also recognizing that intuition, sensing plays a part as well. Many o f you might be thinking: “ OK, what should I notice? Tell me what to look for? Give me a list and I will follow it.” Unfortunately it is not so easy. Often the small preparatory move­ ments, or small quick gestures or breaths can be indicators of disorganization or they may be just that— quick preparatory movements or gestures. Begin to pay attention to how the stu­ dent walks into the room. How free is their body as they enter and begin to talk? How are they standing? Do you sense tension even when they are casually standing and talking? How are they breathing as you begin to chat? How does their breathing change the moment you ask them to begin to warm-up? Do they shift position when going from talking causally to beginning to

52

Body and Voice: Somatic Re-education

warm-up or beginning prepared material? What is the quality of the voice when they are not paying attention, when they are “ just talking” ? Do they talk and talk and talk, pausing, but never really breathing? What do they do when it gets hard, when they move into a range— pitch, loudness, or emotional— that is dif­ ficult? Do they move a lot or not at all? Often a spontaneous cough or throat clear mid-phrase can be a sign of mild laryngeal or throat tension. Notice how they are standing— on one foot, knees locked, very still, or with random movements? Are the arms hanging freely, hands relaxed? What about the eyes, where is the focus— soft or staring? This list is not exhaustive and can be overwhelming at the beginning. However, these are only places to look, to notice. Some of these may be significant and some may not be signifi­ cant. Ask yourself do the movements or gestures interfere with vocal production and expression. If the response is “ maybe,” then ask how do these gestures, movement, or stillness inter­ fere with vocal production, expression, or the physicality of the character? Finally the most important question to ask yourself is: “ How can I guide the student to a level of self-awareness to help them to discover new options that will move them toward their goal of being the best performer they can be?” Learning to see with new awareness is not so difficult once you get a sense of how to see. It then becom es easier for you to contextualize what you are seeing with what you are hearing from the student. Let’ s take a look at different kinds o f move­ ments that might signal problems.

Diversionary, Parasitic, or Unnecessary Preparatory Movements We have briefly described these in Chapter 1. Movements may be congruent, part of the flow of the action, or they may dis­ tract from the flow or just not match the action, not be part of the picture. Initial movements set the tone for what is to come. A fast preparatory movement sets up an expectation of highenergy lively or forceful action to follow. By the same token, slow delicate initiation of action sets up the expectation of a very

The Significance of the Unremarkable

53

different kind. Preparatory movements that do not match or are discordant with what follows or what came before, draw our attention. For example, take the singer whose breath includes a lift and roll o f the left shoulder. The discordance can also relate to the task, such as a speaker who emphasizes each point with a shake of his head but otherwise has limited movement. Or the singer who tightens his jaw when approaching high notes. Sometimes these movements are innocuous, other times they suggest somatic confusion. Often the small, quick gestures, or movements to which we don ’ t really pay attention are significant. A quick breath, shake of the head or shoulder, or a small readjustment in position can be an important indicator that all is not yet ready for action. We often miss or don ’ t think these are gestures that are important. Yet very often they provide the key to the students’disorgani­ zation. These small gestures appear during preparation, at the ends or middle of phrases, at pauses, in short— at any time. They can suggest that the performer senses that “ something needs to move, just not sure what,”or result from a sudden release of unwanted tension. The student may begin seemingly “ relaxed,” but at the end of a phrase or during a pause there may be a shake of the head, shoulder, or jaw. I have seen many singers and actors rapidly move their jaw forward and back or side to side during a breath pause or at the end o f the phrase. The gesture may initially result from a relaxation exercise or an attempt to release tension, but then is habituated to the point that it hap­ pens with every breath or pause. The body needs to move. If we hold ourselves too stiffly, locking the knees, gripping toes, stiffening the back of the neck, shoulders, or jaw at some point the body will need to find a way to release the built-up tension. This release can com e at any moment with any kind of gesture, bend, swallow, wiggle, or blink. We don ’ t pay attention to these subtle moments, in part because they are quick, but also because we don ’ t realize their potential significance. Too much movement can also be an indicator o f somatic confusion. Moving, walking, swinging the arms, shifting weight on the feet all need to be connected to the whole. If only the arms move with no connected or related movement in the trunk, the movement is meaningless.

54

Body and Voice: Somatic Re-education

Stephanie returned for lessons after several years’hiatus. Beginning to sing again after a break of several years is always a challenge. Often our somatic expectation, our somatic memory is how free and easy it was when we last sang. We forget that those muscles have not worked in that way for quite a while. Yet we talk all the time, sometimes we even sing a little, but the organization, the demands on the muscles, vocal folds, and body is very different when really singing or acting. She was “ stiff,”her vocal folds were not used to the sustained vibration needed for singing. In order to release tension she would con­ stantly shift her weight, rocking forward and back or alternately swing her arms around thinking that she was staying loose in her body. In reality her trunk was held stiffly and the peripheral movements only pulled her away from her center rather than freeing her body. (I often ask students to swing their arms, but the swinging must include the ribs and spine, not just the arms from the shoulder joint.) She always complained o f not having enough breath to get through a phrase. However, the movement she needed for breathing was in her chest, abdomen, and spine, not the disembodied arms. She first had to feel the movement of her abdominal muscles, ribs, and chest; feel how she was balanced on her feet, then her movements freed her rather than inhibited her. Quick gestures are generally assumed to be tics or “ just” stray movements. However, more often than not they are diver­ sionary or parasitic movements described in Chapter 1. Susan, the young woman whose neck would com e forward as she pre­ pared to sing or read lines, is a go o d example of a diversionary movement. The forward head movement diverted the brain from finding the true movement needed for a go o d breath. It was only when she could not move either her head or pelvis that she was able to find the appropriate movement in the middle, that is, release o f the abdominal muscles and activate her ribs. The consistent quick lifting and lowering of the shoulders on inhalation might be another. It is important to note them, to observe when they occur and to figure out what should be happening instead. Once appropriate movement that supports voicing is established, these diversionary movements subside. Parasitic movements are extraneous movements attaching themselves to otherwise useful movements. A common parasitic

The Significance of the Unremarkable

55

movement is dropping the jaw (opening the mouth) when mov­ ing from /i/ to /a/. It is not NECESSARY to open the mouth or drop the jaw for the /a/. All that is needed is for the tongue to change shape. On the /i/ the tongue tip is down near the lower teeth and the back o f the tongue arches. On the /a/, the back of the tongue flattens. By the same token, it is not necessary to spread the lips on the /i/. When the tongue does not carry its share of the movement, the jaw or mouth will move to create the required shape in the mouth. I often see acting students warm up with quick alternating /i/-/a/-/i/-/a/, a lovely exercise to increase articulatory efficiency, but not if the jaw is unnecessarily coming along for the ride! Singers are notorious for over-opening their mouths on high notes. Yes, they do need to find the resonant space, but the space in the back o f the mouth, the space above the larynx is as important as the space at the front of the mouth. If they over open the front of the mouth it is more difficult to lift the tongue for an /i/ vowel, especially in the upper range. What I call “ biting the air,”the quick opening and partial closing of the mouth on inhalation, is another example o f a para­ sitic movement. I am always reminded of a frog catching a fly. Finally there are the preparatory gestures. When I teach, I will spend time at the beginning of the lesson talking to the student. Checking in with how they are doing, what problems they encountered during the week, and so forth. More often than not the student is standing comfortably, sometimes with one knee bent, or hands hanging by his or her side. The moment I indicate that the “ real”lesson is beginning, by turning to the piano, or beginning the warm-up their posture changes. They pull themselves upright, stand “ straight,”chest up and neck long. They were “ preparing”to sing. I have noticed similar behavior coaching actors. They stand relaxed until the moment before they begin their m onologue and then their whole body posture changes. The changes are not really about “ getting into charac­ ter.”Rather I have com e to believe the shift in posture relates to a need for preparation, for reorganizing for this other task we call singing or acting. More often than not this conscious reorga­ nization detracts from the task at hand, making it more difficult or at least delaying optimal performance. I am sure many of us have seen an actor or singer just begin to sing or act. Launch­ ing into an aria or m onologue from where they are in space.

56

Body and Voice: Somatic Re-education

They just start. They are ready in their body. Sometimes move­ ments are used to get ready. The batter will feel the bat, swing it several times to get a sense o f the bat as an extension of his arm before the pitcher sends the ball in his direction. But even before these movements, these trial swings, he is balanced and ready for action. When the somatic educator Moshe Feldenkrais was a teen­ ager, he and his friends learned jujitsu to protect themselves against rival gangs. Feldenkrais relates that one day when he and his friends were in the village square a rival gang attacked them. To his shock, dismay, and surprise the other gang quickly had the advantage. He could not understand what had happened. After all, they were skilled in unarmed combat; they should have won. It did not make sense until he realized that the nanosec­ onds of time it took to prepare himself to fight was all the time it took his opponent to gain the advantage. The same applies to singing and voice use. If we begin to speak or sing before we are really ready, we can make sound, but our systems will be off balance. It is what we do in the nanoseconds before the act— whatever the act is—that is important. The follow-through is then easy. It is not always clear whether the movements are diversion­ ary, parasitic, or preparatory. The designations only provide a context for our observations, a means for us to categorize or con­ textualize these quick, small, seemingly irrelevant movements. We all make movements that are not part of the context of what we are doing. Brushing our hair out of our eyes, shifting our weight, lifting our shoulders on a breath. It is when we do them all the time in conjunction with the same task that we need to ask ourselves as the teacher WHY is this happening, WHETHER it is interfering with vocal expression, and if so HOW.

Clothing Anatomy So far we have been focusing on movements or gestures that interfere with optimal organization. How do we see or assess what is happening on the inside? Postural changes if big enough are relatively easy to spot. How then do we learn about the more

The Significance of the Unremarkable

57

subtle changes in balance, stance, and position that are harder to see? Clothing anatomy can tell us a lot about what the person is doing. How the clothing drapes and more importantly how it shifts shape as the student breathes, prepares to perform, or gets to a difficult place while performing. One way to identify poor body dynamics is through “ cloth­ ing anatomy.”We are all aware that the way clothing hangs or shapes to a person ’ s body is important. We don ’ t buy clothing that does not “ sit”or drape well. Clothing might not seem to fit a person although the size is “ correct.”Three individuals with the exact same measurements will look different in the same gar­ ment (Fan, Yu, & Hunter, 2000). Why is this? From the perspec­ tive of measurements change in posture will change the distance from the back o f the neck to the shoulder blade or from the base o f the neck to the apex o f the bust. A sway back resulting in a protruding belly will alter the distance from the shoulder to the waist and the amount of fabric needed in the front to cover the protruding belly. Stance will alter the length or the way the pant leg drapes. Browsing the Internet recently, I came across a website with diet/weight loss recommendations. One of these recommenda­ tions was to use better posture to look thinner! The text read: “ No matter how toned those abs might be, slouching curves the spine forward, creating rolls on the belly. It can also make you appear inches shorter than you truly are”(May, 2013). Small adjustments in body posture will transform the look and the clothing will appear to be a perfect fit. The same principle applies to voice; the better the postural ‘ fit,’ the better the voice! As we move or even just breathe our clothing will not only hang or fit differently, but it will reflect how we are moving or breathing. It will tell a story about our bearing, posture, and breathing patterns. If we hold ourselves in a very rigid straight position our shoulders are often pulled back or back and down. Our chest will be lifted but held rigid, as in an exaggerated mili­ tary posture. The back will be “ straight”and rigid. Our clothing will hang straight in front with few if any wrinkles. On the other hand if we stand or sit in a more slouched position with the sternum slightly sunk, our shoulders rounded and belly muscles lax, the front of our shirt, blouse, or T-shirt will have horizon­ tal wrinkles mid-trunk. Looking at the lower body in standing

58

Body and Voice: Somatic Re-education

when the knees are locked, the pelvis is tilted forward, and the pant or trouser will hang straighter in front since the knees are slightly back. There may be fullness in the upper thigh as the muscles contract. With the knees soft the leg o f the pant hangs softer and looser. From a somatic perspective we can learn a lot about the effi­ ciency of movement and sites of tension by observing clothing. As we move clothing moves. It is easy therefore to understand that clothing reflects how we bend and move. How clothing hangs can reveal a great deal about general stance or structural anomalies. Creases on one side or the other of the shirt or blouse may suggest a raised hip or minor spinal anomaly. Most often the person is standing with his or her weight on with one leg with the other knee bent. No creases in the front o f a shirt or blouse suggest a very straight, upright posture. It is easy therefore to understand that watching how the creases and wrinkles in the clothing CHANGE will reveal a great deal about how we are breathing or where we are holding ten­ sion. Subtle shifts in the way clothing folds or creases in the clothing also tell a story about stance and balance.

Clothing Tells a Story George, a young acting student, was preparing a monologue. He was constantly running out o f breath and by the end often felt vocal strain. He thought he was taking adequate breaths, but his clothing told a different story. When sitting quietly, there were small creases in the front of the shirt and folds at the bottom where it had bunched up as he was sitting. On inhalation, the front of his T-shirt became smooth over his chest. As soon as he began to speak, horizontal creases began to appear just below his sternum, increasing and deepening as he continued to talk (Figure 3-1). What was his shirt telling us? The clothing fell smoothly as his chest lifted on inhalation. This initial movement of raising the chest, which smoothed the shirt, suggests that he was lift­ ing his chest, instead of releasing his belly to allow for a good abdominal breath. As he began to speak, however, the rib cage

Figu re 3-1. A. George, on inhalation, sitting upright, chest lifted, clothing smooth over chest. B. On exhalation and phonation, chest sinks and wrinkles appear in T-shirt. 59

60

Body and Voice: Somatic Re-education

would pull in (recoil) so his sternum and ribs would pull down toward the pubic bone. This is the same action we see all the time when people sigh— the chest and sometimes shoulders elevate on inhalation, then collapse downward. While this fs a perfectly normal way to breathe, it did not serve him well when acting. There is something very satisfying about this kind of breath. But for George even though he thought he was taking appropriate breaths, he was not.

There are two actions at play here. The action of the ster­ num and the coordination of the inspiratory and exhalatory muscles on the exhale. Internally as the sternum moves down the movement of the larynx is inhibited by the laryn­ geal strap muscles attached to the larynx (.sternothyroid and sternohyoid). This impedes the ability of the vocal folds to easily stretch and contract with pitch changes. At the same time if the muscles of inspiration do not lift the rib cage, then the recoil action of the rib cage dominates. As the air is exhaled the chest and the ribs collapse. Remember that exha­ lation involves a combination of passive recoil of the chest wall, including inward movement of the rib cage and upward movement of diaphragm and viscera as well as resistance by the muscles of inhalation. Slight movement of the upper chest on inhalation can mani­ fest itself in several other patterns. Sharon, an accomplished soprano, complained of instability in her voice. She was not having trouble with her range per se, but she was sensing strain and intermittent episodes when her voice would suddenly “ cut”out during sustained high singing. During her lesson she was wearing a knit shirt that hung smoothly and softly. On the inhalation in preparation for a sing­ ing her chest elevated slightly so her shirt hung very smoothly even over the lower ribs. As she began to sing no movement was observed at first. However, as she continued to sing through the phrase, wrinkles began to appear over the lower ribs (Fig­ ure 3-2). Her vocal quality was lovely until suddenly as she approached the peak o f the phrase her sound would stop, her

Figure 3-2. A. Sharon, on inhalation; her clothing is smooth over the chest. B. Sharon, on exhalation with phonation wrin­ kles appearing near the lower ribs as they begin to collapse. 61

62

Body and Voice: Somatic Re-education

voice sometimes cut out. What was happening? As she began each phrase she would elevate her chest on inhalation. At onset of phonation the sternum pulled downward, slightly pulling down on the laryngeal strap muscles. At the same time she expanded her ribs against the recoil action o f the rib cage. She had been trained to keep tension, that is, outward pressure on the abdominal muscles and ribs during phonation. The wrinkles in the clothing near the lower ribs suggest that either she was not able to maintain sufficient subglottal pressure or she was plac­ ing increased tension on the vocal folds that they would close in spasm, at the crucial moment at the end of the phrase. Although vocal instability and/or “ cutting out”occurred because o f a com ­ bination of a downward pull on the laryngeal strap muscles by the sternum and increased laryngeal squeeze, it was the inhalatory chest elevation immediately followed by slight downward pull o f the sternum and the outward push on the lower ribs and abdominal muscles that was the issue. Tom is a talented actor. He was cast in a major role in a local community theater production. His character was highly em o­ tional in several key scenes. Tom did not feel as though his voice had the power he wanted in some of these scenes. As the scenes became more intense he felt as though his voice lost power yet he thought he was expending good energy. As we worked on the scene I began to notice his shirt wrinkled in one dominant horizontal line at the base o f his rib cage. Watching him breathe, I saw his chest lift on inhalation followed by downward move­ ment of the chest and little or no movement in the lower abdomi­ nal area resulting in a “ folding”movement of the upper rib cage (Figure 3-3). Unlike George, where the wrinkles appeared in several rows as the chest and ribs collapsed, only one dominant horizontal line appeared at the base o f the rib cage. In this case there may be slight movement or tightening of the lower abdomen on inhalation, but no movement on exhala­ tion. Instead Tom is “ folding”the base of the rib cage. This can result from pulling the abdominal muscles (most likely the rectus abdominis, which runs from the pubic bone to the base of the sternum ) straight in and allowing the chest to collapse, or from the sternum collapsing down against immobile abdominal mus­ cles. In other words, the movement o f the abdominal muscles

The Significance of the Unremarkable

63

Figure 3-3. Tom begins to fold, bringing his chest down on the exhalation with little or no movement of the abdominal muscles.

on exhalation leads to a folding action instead of an “ in and up” movement of the trunk. All these cases tell a similar story. The breathing pattern is inefficient or restricted because of the recoil action of the upper chest on exhalation. This action will either restrict the airflow and/or result in unintended pull on the laryngeal strap muscles. The way fabric hangs cannot only tell us about respiratory function but also about postural relationships. The way the fabric hangs at the tip of the shoulders near the armpits can suggest that the shoulders are too far back (fabric somewhat smooth or tight) or too rounded (fabric with vertical folds or loose across the chest. If the shoulders are lifted one sees vertical folds from

64

Body and Voice: Somatic Re-education

the shoulder seam. Observing how the folds increase or decrease can be very informative. Alice is a young soprano working on her upper range. She was struggling with her upper range, especially her transition into the upper passaggio. Most recently she was hired to sing a modern musical theater role requiring a strong belt for which she was never really trained. As she approached her upper range, she would bring her shoulders back and her chin ever so slightly forward so the fabric of her shirt became slightly stretched across her chest. The movement was very subtle. As a result of this action she was pulling the clavicle and scapulae back at the same time she was pulling her head forward (Figure 3-4). Remember from our earlier discussion that the omohyoid muscle connects

Figure 3-4. Alice brings her shoulders back and her head forward on phonation.

The Significance of the Unremarkable

65

the hyoid to the front of the scapula under the clavicle. If the omohyoid is being stretched by the backward movement of the shoulders and the forward movement o f the head one can imagine that the larynx will not have the flexibility to move up demanded by high belt singing. In the above examples the complaints or problems the stu­ dents were having included reduced endurance, increased vocal effort, a sense o f vocal instability, characterized by the voice cutting out when singing high, or diminished range (pitch and intensity) and expression. All o f these students are accomplished performers. All had “ good technique.”Yet they were not able to perform at their best. Breath support or resonance exercises might help them improve to some extent. But until the underlying postural somatic disorganization was addressed these problems would persist. Somatic disorganization is often difficult to identify. Learn­ ing to observe clothing anatomy is a good way to start. Observe the way clothing moves and falls at the moment of inhalation, during exhalation, watch it move through the range o f motion or at difficult moments. Noticing the small changes in the way fabric drapes or the slight changes in folds o f stiffer fabric will provide you with insight into what the student is doing. These patterns may only present themselves with specific repertoire. I recently attended a musical theater master class. Bob, a very talented young tenor, opened with “ Something’ s Com ing”from Leonard Bernstein’ s West Side Story. He sang nicely, but his presentation was stiff. What drew my attention was a very slight crease at the shoulder suggesting that his shoulders were rounded, pulling his chest back. His gestures and move­ ments were not at all connected to his trunk. The next song was an original song. He sang it with a freedom and ease that allowed his considerable talent to shine. As I watched him sing the second song, I realized that his chest was open, no crease at the shoulder, body free and clothing hanging beautifully. His gestures were all of a piece, connected to the whole body and to the text. I was struck by how his physicality was a key to his per­ formance. In fact when asked about the Bernstein, Bob admitted that this song was difficult for him. As his teacher, the challenge would be to help him discover what happens physically when he is not comfortable with the repertoire he is performing and help

66

Body and Voice: Somatic Re-education

him to discover how to maintain the free efficient organization throughout all his performances. In essence to “ fool his body” into believing all is well. I have outlined some of the aspects o f the patient’ s physical presentation that will help guide your assessment and under­ standing of what the student is doing. The more you are aware and notice even the small gestures, the easier it will be. I live in Georgia and never noticed until recently how many amaryl­ lis flowers were growing in the gardens in my neighborhood. When I lived in Chicago, the amaryllis was for me just a plant with beautiful flowers that I enjoy having indoors during winter. I never thought about planting it in the garden when they were done blooming. Yet now that I am aware, I am seeing more and more clusters of them. In the same way once we know to look we will notice subtle movements or lack of movement in the chest, ribs, and shoulder as well as the pelvis, back, and legs. We will begin to observe how the clothing folds and shifts. Our attention may be drawn to one area or another. Sometimes our eyes will be drawn to how the clothing hangs or an area that moves too much, or the part that moves too little. Small move­ ments often sensed more than seen, can be important cues to somatic disorganization. Sometimes these movements can be seen in the clothing anatomy depending on the quality, drape of the fabric, or shape of the neckline. Other times one just needs to watch and observe the overall shape of the chest-rib-shoulder relationships.

References Fan, J., Yu, W., & Hunter, L. (2000). Clothing appearance andfit: Science and technology. C a m b r id g e , UK: W o o d h e a d P u b lis h in g w ith T h e T ex tile Institute. May, S. (2013, M arch 23). The no-diet bikini secret. R etriev ed fro m http:// w w w .fitsu ga r.com /L ook -1 0 -P oun ds-T h inn er-G ood-P osture-8 9 8 1033

PART II Introduction Understanding the Complexity of Movement “ It’ s important to distinguish between exercising and learning, . . . when you do the exercises you do the thing you already know; it becomes familiar and better . . . [it’ s] only what you know .... No other choice, ... no improvement. . . . We want ... a ‘ eureka’ experience. For that, you must turn your exercise into self-observation”(Feldenkrais, The Master Moves, p. 102). In the previous chapters a theoretical framework for understand­ ing and looking at the problem solving necessary was presented. Now it is time to learn to interpret what you see and learn strat­ egies to guide the somatic reorganization process the student needs to move forward. All the lessons in this book are based on the principle that changes in one part of the body will result in changes in the rest of the body. The lessons should be explored with the goal of optimizing function. Addressing the pelvis, the upper body will becom e more flexible; addressing the shoulders may change weight distribution over the feet. We often do not know if the discoordination is at the bottom or the top o f the chain. Although the chapters are organized around specific aspects o f our bodily organization relating to extraneous movement, breathing, and balance they do not only address those specific aspects. The lessons provide learning for the entire system.

68

Body and Voice: Somatic Re-education

The GROUND RULES AND PRINCIPLES FOR SOMATIC LEARNING provide guidelines for teaching the lessons. Guiding the somatic re-education process is different from other types of learning, because the emphasis is on the student’ s exploration and self-discovery rather than simply demanding that the student get it right or just repeating tasks. As tempting as it may be for the teacher to tell the student “ you should feel this”or “ should do that,”that is not our role. We as teachers are there to provide direction through guided movement explorations to let the stu­ dent gradually build a new somatic map and an awareness of what works for them. This section outlines the basic principles while providing a loose structure for teaching the lessons. Each chapter in this section begins with an introductory section explaining the specific nature o f the lessons in that sec­ tion. The lessons themselves are presented with commentary to guide the teacher’ s attention when teaching the lesson. WHEN TO USE THIS LESSON and TROUBLESHOOTING sections help further guide the teacher as to when to teach the lesson and how to deal with questions. These sections, as well as the CASE STUDY section, are presented as narratives and discussions to provide real life scenarios. Although the lessons are grouped by theme, it is important to keep in mind that there is considerable overlap in the effect a lesson can have. For example a lesson on stability will also be useful for releasing the breath. What follows are lessons— not exercises— to promote new somatic awareness in your students. Observing the clothing and random diversionary gestures or movements is only the first step for the teacher. The first step for the student is to becom e aware of his or her pattern of movement. This must be followed by the discovery of new pathways, new options o f movement before the patterns can be changed or improved. The goal of these lessons then is to guide the student in the process of self-discovery. There is no right or wrong in this process. Be patient. It often takes the nervous system time to integrate the new information. These are not exercises in the traditional sense, to be done daily. However, they can and som e­ times should be done more than once. Each time will be a little different, as the nervous system has already changed. If after a few sessions one set o f movement sequences does not work

Part II Introduction

69

to change the target behavior, try something else. The goal is improving the ease and joy o f singing, talking, speaking, being. In order for the body/nervous system (not necessarily the cognitive, conscious brain) to develop the necessary level o f awareness the movements must be done slowly and with atten­ tion. This is difficult for many. We are not taught to move slowly and generally not taught to move with intention and attention. Having observed and taught many movement classes, what I have learned is that “ movement for m ovem ent’ s”sake does not change behavior. The quality of movement is essential for change. Attention should be paid to the quality o f the movement, not the goal of the movement. The object is not to get somewhere but to focus on the process of getting somewhere—to teach the body, the nervous system a new way of being and moving in space. Without attention one cannot notice the quality of the move­ ment, the direction of the movement, or what is happening else­ where as a result o f the movement. With this in mind the lessons need to include ways to guide the student’ s attention, including the direction, the quality, and suggestions for what the student should notice. The student is asked to notice qualities of move­ ment as they repeat them. No answer is expected from the stu­ dent. This is important as students often feel as though they need to respond. Remind them that your questions are only to direct their attention. Sometimes as we begin a simple movement the movement is jerky as though the muscles do not want to do, or are not ready to do what we are asking. For example, while lifting and lowering one shoulder, slowly and with attention, we may notice an erratic or uneven movement. We feel the muscles pulling in a slightly different direction. After multiple repetitions a new trajectory presents itself that results in smoother movement. In order for the student to be attentive to the quality o f the move­ ment you might ask: “ Is your . . . movement smooth? Straight? Is the movement uneven? Do you sense resistance?” Use statements to remind them not to push or rush the movements: “ Be sure to go only as far as it is easy ...”“ Go slowly so you can notice . . . ”To help them expand their attention to other areas you can suggest that other areas need to be attended to. For example, if the lesson asks the student to repeatedly and slowly nod the head up and down, suggest they becom e aware

70

Body and Voice: Somatic Re-education

of ancillary movement of the sternum, the back rounding, or the pelvis rocking. Suggest that attention may even be drawn to changes in the quality o f the breath. “ What is happening with your breathing?” Let the student repeat the movement for at least five to ten times. It takes several repetitions to identify what is happening and several more for the body to begin to discover options. If we just do the movement quickly we will never discover what is going on. We will just be reinforcing existing patterns. Remember, somatic learning is a process that cannot be rushed. The brain, the nervous system, needs time to figure out how the various pieces fit together. Repetitions done too quickly do not allow the brain to really sort out what is happening. The level of active awareness begins to fall away when there are too few repetitions or if they are done too quickly or without suf­ ficient attention. For these lessons to be effective keep in mind the following: 1. While there are generally agreed upon principles of voice use, physiological realities, or other presumed universal truths, each student embodies these in his/her own unique way. 2. Learning styles are highly variable. Some students learn well by rote and can subconsciously fill in the context, others need to understand, and still others need to feel. Yet som e­ times these preferred or habituated learning styles interfere with the type of somatic learning we are talking about. 3. Somatic learning is not trained in school; it is not a skill that is generally well developed. So it is incumbent upon the teacher to develop and nurture this new and often strange way of learning. Respect their need to know, but do not let it dominate the process. (Sometimes needing to know why may be a way o f avoiding doing.) 4. Some of you reading this book already understand somatic learning. For others it will be a newer concept. I encourage all my readers personally to take the time do the lessons suggested here, feel for YOURSELVES what changes happen. By experiencing the lessons you will be better able to sense some of the inner connections targeted by these lessons. It is very important that you keep in mind that your sensations and experience will be very different from your student’ s experience.

Part II Introduction

71

Basic Principles and Ground Rules Finally there are some basic principles and simple but essential ground rules for teaching these lessons as you begin to learn to see differently and apply what you are seeing into the context of teaching the student new options. Keep in mind that for many students this type of learning, the attention to internal change is very new and strange. They don ’ t know what to expect. Remind them that it is the “ doing”that is important. But the “ doing”must be the right kind. 1. GO SLOWLY: For the student, movements must be done slowly. In order for the appropriate awareness to develop the movements need to be done slowly and with attention. Many students do not understand “ slow.”We don ’ t really see the countryside from a fast train. We don ’ t appreciate a good meal if we don ’ t take the time to savor the tastes and textures of the food. By the same token we can’ t fully appreciate or recognize the quality and flow of movement if we go too quickly. 2. REST OR BREAK DURING THE LESSON: The rest time dur­ ing lessons is essential for the nervous system to process the information. The rest can take many forms. It can be getting up and moving around, just sitting or standing and feeling, or if appropriate lying on your back. Many of these lessons or movement explorations in this book can have a very powerful effect on the nervous system. Taking a break, engaging in a completely different activity— going over rep­ ertoire for example and then returning to the lesson— are options. Breaks can be a few minutes, or even to the next meeting. Taking a break by engaging in som e very different activity gives the student and the student’ s nervous system time to digest. It may be surprising what has changed! 3. WATCH THE STUDENT CAREFULLY: As the teacher you need to be vigilant. Watch the student carefully. Provide adequate time for the rests. Do not layer too much too soon. Even though the movements may appear simple, the nervous system is very busy assessing and digesting the new experience. It is easy to underestimate the power and impact a somatic lesson can have on the nervous system. A sim­ ple movement o f nodding the head can be very powerful

72

Body and Voice: Somatic Re-education

and have a significant effect on the student. Acting teach­ ers are very aware that certain exercises can trigger deep emotional responses in students. Release of tension, new freedoms o f movement, however small, can evoke a wide variety of responses. As teachers we need to be aware of the range of these responses, recognize them for what they are, and respect them. Students will respond differently. They may have an emotional response, experience fatigue, or becom e energized. They may appear to “ go inside”and becom e meditative. The same lesson taught at different times or to different people will evoke very different responses depending on what is happening within the nervous system at any given time. Respect these responses. D on’ t push the students. If you see their eyes glaze over, skin tone change, or other indications of overload STOP THE LESSON. Give them a break. You can switch to another kind of activity if they are up to it. 4. VOCAL COMPONENT: Some of these lessons do not have a vocal component that is an integral part of the lesson. Voice can be added, but only once the student has had time to explore the movements and integrate them. In the lessons in which the movement is primary make sure the student is ready before adding a vocal component. It is important to allow the student time to focus on the learning involved in the movement sequence alone without too many layers of complexity. As we discussed earlier these movements are retraining the nervous system. Like any learning it takes time, it happens in stages, and too much information can­ not be layered too quickly or it becom es a jumble without any real change. 5. GUIDE THEIR AWARENESS: DO NOT TELL THEM WHAT THEY SHOULD BE DOING OR FEELING: In each lesson, there is a comment section, indicating suggested areas for the student to notice. These are suggestions. Remember there is NO RIGHT WAY to do the lesson. Suggest areas of the body to pay attention to or notice. Ask them to notice the quality of the movement. Is it easier or harder, freer, more or less effort. In this way you can begin to guide their atten­ tion. Guide the process by drawing attention to the quality of the movement, the speed of the movement— slower is

Part II Introduction

73

better— and the direction of the movement. Getting there is not the object— finding out how to get there easier is what we are after. Students need to find their own sensation and their own way of identifying what is going on. 6. LET THEM PROCESS IN THEIR OWN WAY: Many students will sense change, but have no idea what or how they got there. That is fine. As long as the nervous system (not the conscious brain) can eventually tell easy from hard the goal is met. It is their experience and should be articulated in their words, images feelings, colors, shapes, and so forth. (One caveat is if they talk in terms of effort— push, pull force, etc. Self-talk is powerful. If they don ’ t have a rich somatic vocabulary, they will search for words they know. We move according to how we talk and think. If my self-talk is about pushing, I will begin to push even if that is not quite what I intend.) Sometimes students can’ t talk about their experience. FINE. Silence is processing. They sense something is different, let them stay with the experience— don’ t force verbalization. Allow for “ I don ’ t know.”That is valid. They may or may not sense change even though you as the teacher may hear or see change. Sometimes they will be able to answer, other times not. Awareness is not about the ability to verbalize, but rather it is about feeling, sensing, teaching the nervous system. It will come. 7. PATIENCE: LET LEARNING EVOLVE: Remember learning to feel takes time. Changing well-ingrained and habituated patterns takes time. Both student and teacher need to be patient. We cannot change posture, change somatic patterns in one lesson. This is especially true for somatic re-education of well-ingrained patterns. Think about how easy it is get in the car and begin to drive to the office or school if you are not paying attention to where you want to go. We are on automatic pilot. The most habituated pattern will always win. We rehearse scenes, monologues, and arias so that the body will know what to do in the moment because it has been well trained. Changing blocking the day of the opening night requires the actors to be fully on their toes during the perfor­ mance or else they will revert to the older rehearsed pattern.

74

Body and Voice: Somatic Re-education

I was coaching a show several years ago. Rehearsals were going well until the final production week when the lead sopran o’ s husband came to the rehearsal. The r\ext rehearsal the soprano completely changed her interpretation of her role. She told the director that her husband did not like the director’ s interpretation so together they changed it. The director decided not to say much. He knew that the well-rehearsed characterization would win over the newly and not yet established interpretation. He was right. She sang the role as they had been rehearsing it! 8. LEARNING COMES IN STAGES: You cannot change what you don ’ t know. This phase is particularly difficult for many students who really want to get it right. As students begin to recognize their existing pattern they will com e in for lessons very discouraged. I frequently hear: “I c a n ’ t let g o o f m y breath. I am a lw a y s h o ld in g it. W h y can ’ t I learn to let it g o ? ”

My response is always: “ Great! Y ou are b e c o m i n g a w a re o f h o ld in g . N o w that y o u are a w a re o f w h e n a n d h o w y o u are h o ld in g , y o u ca n b e g in to ch a n ge. I s u s p e c t that y o u are a lre a d y m a k in g th e ch a n g e s, just d o n ’ t r e a liz e it. Y ou ca n th in k o f it as a g la s s h a lf e m p t y — ‘ O h m y g o o d n e s s , I a m a lw a y s h o ld in g m y b r e a th ’ — o r h a lf fu ll— ‘ Great! I a m r e c o g n iz in g w h e n I d o h old , b u t o b v io u s ly n o t h o ld in g it all th e tim e!’Y ou n e e d to p u t y o u r s e lf in th e h a lf full ca m p . T h e first s te p in le a r n in g is a w a re n e ss.”

Remember: SLOW WATCH LET THE STUDENT DISCOVER GUIDE— DO NOT TELL I cannot emphasize enough, how far each lesson or varia­ tion progresses depends on the ability of the student. Sometimes just getting a hint at the different possibilities of movement is

Part II Introduction

75

enough for their nervous system to begin to change. These les­ sons do not have to be done perfectly and there is NO RIGHT WAY TO DO THEM. They are explorations. One of the most difficult aspects o f these lessons is the speed in which students do the lessons. The movement MUST BE DONE SLOWLY and WITH ATTENTION. In order for the body and nervous system to discover alternative movement pathways, it is important that they take the time to move slowly enough for them to begin to notice change. Otherwise they are just rec­ reating and reinforcing their habitual patterns. The questions or indications o f where to focus attention are also very important. Just moving is not enough. Learning, somatic learning comes in part through the movements themselves, but MUST be linked to the attention that is paid to the quality, ease of the movement. Learning to “ listen”to the effect of the movement on the whole is an integral part of somatic re-education or learning. Accept the students’ self-observation as just that, their own altered sense o f themselves. Their nervous system will need time to make the adjustments. Do not feel as the teacher you need to comment or change what they are doing. These lessons are complex. They demand a lot o f the ner­ vous system. Change happens at highly variable rates. Do not expect major changes at once. Sometimes the body needs time to digest what was learned. It may take days or longer, with repetitions of the lesson or similar lessons until the awareness bubbles up to the conscious “ ah ha”moment: “ Oh, I’ m hold­ ing my breath,”“ I’ m locking my knees.”Or whatever it is they recognize they have been doing. At that moment change has already begun.

CHAPTER

4 Diversionary, Parasitic, or Other Unnecessary Preparatory Movements Introduction In the previous chapters we have discussed the general nature of extraneous movements. These movements or gestures are the easiest to identify. They are distracting not only to the audience but also on some level to the performer. They generally suggest some misdirected or incomplete somatic pattern related to vocal production. These gestures include shoulder movements, head or jaw movements, facial expressions such as lifting the eyebrows, overarticulation, or a constant shifting of weight in standing. Sometimes these movements, gestures, and so forth, are related to more fundamental problems relating to freeing the breath, stability, or balance. Other times they are just tics or habituated random gestures. As their teacher, we cannot really know their origin. However, once having identified a movement, block, or gesture that appears to interfere with vocal production and/or expression, the next question is how to change such behavior. The lessons in this section address some of the most com ­ mon diversionary, parasitic, or extraneous preparatory move­ ments. As we have discussed, these movements interfere with 77

78

Body and Voice: Somatic Re-education

the ability of the body to organize itself for optimal performance. As I have stated before the behaviors discussed below are not WRONG, they are not BAD in and o f themselves. There rpay be times when they can even be very appropriate. However the whole system must be well organized around these movements. There is a vast difference between a movement or gesture that is intentional and one that is habituated and unintentional. The intentional movement is generally, although not always, well mapped. That is the movement is well integrated and organized. The unintentional movements, at least the ones we are discuss­ ing here, are often replacements for or attached to other move­ ments. For example, think of students who lift their shoulders to breathe instead of releasing the belly or those who raise their eyebrows to sing a high note. In neither example, do the move­ ments efficiently contribute to the task, whether breathing or singing high notes. Many of the lessons in this and other chapters are organized around the idea o f creating constraints. Constraints can be a very effective way of creating an awareness o f these seemingly random, distracting, or extraneous behaviors. When movement in one part o f the body is restricted, other parts will take over if they can. For example, if I lift my shoulders high toward my ears, preventing them from lifting on inhalation, the ribs below will have to expand in order for me to get my breath. My nervous system will begin to understand that I do not have to lift my shoulders to breathe, but will find the movement in my rib cage. When using constraints it is important to allow time and mul­ tiple repetitions for the student to tune in to the difference. The movements must be slow and performed with attention. Very often students g o too quickly and consequently cannot sense the difference. It is VERY important to keep in mind that the goal is NOT getting the job done, NOT about expanding range of motion, NOT about doing it right. Rather it is about discovery —discovering patterns, discovering new options by paying atten­ tion to the quality of the movement not the range. These lessons have two objectives. FIRST, to develop aware­ ness of the action and SECOND, to provide the conditions for exploring new options— “ inviting”other parts o f the body to participate. The teacher’ s role is to talk the students through the

Diversionary, Parasitic, or Other Unnecessary Preparatory Movements

79

lesson movement sequences so they can figure out internally how to move more efficiently. Common diversionary, parasitic, or extraneous preparatory movements are often easy to identify. They include large gestures or movements such as bringing the head forward on initiation of voicing or inhalation, lifting the shoulders on initiation of voicing or inhalation, bringing the shoulders back and the head forward at extremes of range (pitch, loudness, or emotional). They can also be expressed with more subtle movements, such as quickly jerking the head back on an audible shallow inhalation, a quick wiggle of the jaw at the ends o f phrases, the clinching o f the hands or holding the fingers stiff with the fingers extended. Constantly shifting weight from one foot to the other or frequent extraneous gestures are often an indication of poor organization. Some of these movements are addressed in the next sections. This section provides lessons to address extraneous movements of the upper body, jaw, and tongue.

When to Use These Lessons These lessons are designed to facilitate the student’ s ability to notice and becom e aware of extraneous diversionary or para­ sitic gestures or movements and then to help them explore new options for DOING rather than NOT DOING. These lessons can be taught when you notice or sense the student engaging in extraneous habituated movements or ges­ tures you feel may be interfering with expression or vocal quality. For example: ■ Bringing the head forward on initiation of voice and or with each breath. ■ Lifting the shoulders on initiation of voice. ■ Limited jaw movement. ■ Excess jaw movement during text (sung or spoken). ■ Excess jaw movement at the ends of phrases. ■ Stiffness in the hands or arms. The following lessons are designed to address these issues.

Diversionary, Parasitic, or Other Unnecessary Preparatory Movements

81

The movements should be done slowly. As the teacher it is important that you watch carefully and make sure that the movements are smooth and slow. It is only then that the stu­ dent will be able to retrain his or her nervous system. The rest p eriod s are very important. They allow the person’ s nervous system to integrate what is being explored. As you teach these lessons keep in mind that keen obser­ vation on your part and feedback from the student are essen­ tial. None of these lessons are foolproof. None are THE KEY to success. They are provided as a guide for change. During the guided lessons questions are asked to guide the student’ s attention. These questions are not presented in order to be answered aloud by the student, rather they are being asked to stimulate an internal monologue in the student. They are also not intended to indicate what is right or wrong, only to aid the student in his or her discovery of options.

Lesson One: Bringing the Head Forward and Back Bringing the head forward when beginning to speak or sing is commonly seen in young students. There is an internal logic in that they are bringing their voice to the audience. They are “ projecting.”After all we tell them to “ speak up,”“ sing out,”“ proj­ ect.”What better way than literally to bring their voice closer to the audience? As an occasional gesture bringing the head forward is fine. However, when habituated more often than not bringing the head forward actually can dampen the sound and make it harder to “ project.”How much additional vocal effort is expended with the head forward depends in part on the angle of the head. It is possible to bring the head forward in such a way that the internal organization of the larynx is maintained. Most of the time, however, the head is brought forward at less than advantageous angle constricting the cervical spine, depress­ ing the sternum negatively impacting airflow, or constricting the movement of the larynx.

82

Body and Voice: Somatic Re-education

Basic Movements The basic movements are moving the head forward and back from the student’ s own neutral. The angle of the head is explored to help students discover their own pattern. (Some people will tend to hold their head slightly forward; others slightly back.) Voicing is added so the student can discover and feel the effect of the head movement in relation to voicing and breathing. In this lesson students are seated comfortably in a chair. It is better if they are not leaning back, but upright. If they are comfortable sitting up with their back resting on the back o f the chair that is OK as long as their feet can rest on the floor and their back is straight. If (as in many cases) the chair does not fit the person, they should sit slightly forward so their feet can rest on the floor.

A W ord A bout Chairs Chairs are not made for everyone. They are either too high or too low depending on the length of our legs. The seat is either too short or too deep again depending on our body size. In terms of working with posture there are two issues of which you need to be aware. First, can the student’ s feet rest comfortably on the ground when sitting? It may mean that they are sitting near the front of the chair but they should not t eas­ be sitting resting on their toes. If the students’feet don’ ily touch the ground, if possible get a small stool, roller, or books to put under their feet. In this way they will have bet­ ter skeletal stability. Second, when they sit back, is their back relatively straight or are they leaning back with their pelvis in the middle of the chair so their feet can touch? A person may appear to be sitting comfortably, but if you look carefully you notice that they are actually leaning back with a wider than 90-degree angle at the hip joint. As in standing if someone is standing with the pelvis forward the rectus abdominis muscle is stretched so the abdominal muscles can’ t release.

Diversionary, Parasitic, or Other Unnecessary Preparatory Movements

83

1. Please begin to move your head SLOWLYforward and back. Repeat several times. Notice what it feels like to move your head forw ard then back. Go slowly so you can feel the angle o f the movement in the head. Be sure to stay within an easy range. Notice: Pay attention to the quality o f your movement. Where do you begin to feel strain? Stop when you begin to strain. RESTfor a moment. 2. Resume moving your head forw ard and back. Pay attention to your breathing as you move your head. Repeat five to ten times slowly. Notice: What happens in the chest? In your neck? Is there a position in which it is easier to breathe? REST. Notice: How does your neck feel? Is there any change in the way you are sitting? 3. Resume moving your head forw ard and back. Each time you bring your head forw ard change the angle o f your head just a little. Bring your chin up as you come forw ard and back. Bring your chin down as you move forw ard and back. Find other angles. Repeat each angle several times. Notice: Pay attention to what changes as you do these movements slowly and gently in other ways. What happens to your breathing? Notice any strain in the neck or movement in the chest. Is there an angle o f your head that feels easier than others? REST. Make sure as you verbally guide students that they are not straining. The movements should be slow and easy. Each series should be repeated five to ten times. 4. Go back to moving your head forw ard and back as you did before. Notice: Which direction does your chin want to go? Which is easier, going forw ard or going back? 5. Stop the movement o f your head. Begin to vocalize. Stop and start the sound several times.

84

6.

7.

8. 9.

10.

11.

12.

Body and Voice: Somatic Re-education

Notice: Pay attention to your breath. Where do you sense that you are breathing? Do your ribs move? How about your shoulders, neck, head', belly? REST. Start just moving your head back and forth several times. Then add voice but keep moving your head forw ard and back. This time pay attention to where your head is in space when you begin the vocalization. Notice: Is it forw ard, back, or neutral? Do it several more times. Is your head always in the same place when you take a breath, when you start voicing? Take a break. Now begin again. Start to move your head and add voice at the same time. Do this several times. This time pay attention to what happens as you take a breath in preparation f o r vocalizing. Notice: When you prepare to vocalize how is you r breathing? Does the movement o f your head change in any way? Where do you sense movement? In your shoulders, ribs, head, neck? REST. Now move your head from neutral backward several times. Stop and REST a moment. Begin again moving you r head from neutral backward. After a few repetitions begin to vocalize. Do this several times. Notice: Where was your head when you took the initial breath? When you began to vocalize? REST. Reverse the movement and bring your head forw ard then only back to the middle several times. Notice: Is it easier? Harder? Begin the movement again bringing your head slowly fo r ­ ward then back to neutral. Add voice after a few repetitions. Stop and start several times. Notice: Where in the cycle are you breathing? Where are you adding voice? What happens to your breathing? What moves as you inhale? REST. Bring your head forward. Keep it there. Now begin to vocal­ ize. Stop and start several times keeping your head forward.

Diversionary, Parasitic, or Other Unnecessary Preparatory Movements

13.

14.

15.

16.

85

Notice: What happens to your breathing. Is there move­ ment in your ribs? Chest? Is it easier; harder, how about your sound? Just notice. Stop and REST. Now bring your head back and keep it there. Begin to vocal­ ize. As before stop and start several times keeping your head back the whole time. Notice: How easy is it to breathe, what about your tone? Move your head forw ard and back once or twice. Stop in the middle place where it is easy. Keeping your head in the middle at your neutral begin to vocalize. As before stop and start. Gradually make the vocalization a little longer or add text if you didn't before. Notice: What happens when you breathe? Where is the movement? Vocalize again once or twice with your head forward. Then once or twice with your head back. Notice: In which position is it easier to breathe? Easier to vocalize? Where is your head in space? REST and walk around. Come to standing and begin to vocalize. Notice: What is happening as you begin to make sound? Where do you feel your breath? Is it different than when sitting?

If you notice that the student is bringing the head forward in standing let the student take a break, then repeat part o f the lesson in standing then proceed with the rest of the lesson. 17. Keep your nose, eyes, and head looking forw ard but swing your arms and shoulders side to side. Do this a few times, so you can feel how you move your shoulders and trunk, keep­ ing your head forward. Make sure your arms and hands are loose. The movement is from the shoulders and the ribs. You are moving your shoulders around your head. Do not stare, it will inhibit your movement. 18. Keep twisting, moving your shoulders side to side, swinging your arms. Add voice. Notice: How is your breathing? 19. Keep the movement going and get louder.

86

Body and Voice: Somatic Re-education

20. Get softer. Notice: Does that change anything? Can you keep the movement fluid? 21. Stop and rest. Walk around. Notice if you sense anything dif­ ferent as you walk. Start talking or singing. See if you sense any change. This lesson can be incorporated into text or song work. Have students keep their head forward through several phrases, then back through several phrases, and finally in neutral. If the movement of the head is a diversionary movement related to a full release of the breath, the student may need additional les­ sons to help fully release the breath. If so please refer to the RELEASING THE BREATH lessons in Chapter 5.

Troubleshooting Some people’ s necks are very flexible; others are not. Pay atten­ tion to how they bring their neck forward and back. Notice if they are just moving their chin up and down, whether their head is com ing forward by lengthening the neck, or by collapsing the chest. There are many ways it can be done. The vocalization should be in full voice, not too loud but not tentative. If students complain about pain stop the lesson at once.

Case Study SAM IS A YOUNG ACTING STUDENT who always brought his head forward as he began to perform. Telling him to stop did not work, because he really could not sense the forward move­ ment of his head. So what strategies do we use to: (a) help him becom e aware of the action and (b) teach his nervous system new options? In this case there are several constraints one could use. It is important that you as the teacher let the student figure it out internally. TEACHER: Sam, please begin to move your head forw ard and back. Repeat that several times. Notice what itfeels like

Diversionary, Parasitic, or Other Unnecessary Preparatory Movements

87

to move your head forw ard then back, go slowly so you can feel what other parts o f your body are involved. Be sure to stay within an easy range. Good. Rest fo r a moment and begin to vocalize. Stop and start again, notice what you are doing. SAM: I am not sure. It feels normal to me. TEACHER: Go back to moving your head forw ard and back as you did before. Once you have done it a few times begin to vocalize. Stop. Start again moving your head then add vocalization. When you begin the vocalization notice where your head is in space. Is it forward, back, or neutral? Do it several more times. Take a break then begin again. Stop and start several times. Are you beginning to sense where your head is when you begin vocalizing? SAM: I am not sure, but I think it is forward. TEACHER: OK, now move your head from neutral back­ ward several times. Stop rest a moment. Begin again moving your head from neutral back. After a few repetitions begin to vocalize. Do this several times. How did that feel? Where was your head when you began to vocalize? SAM: For some reason that was harder. Ia m not sure where my head was. TEACHER: Now let’ s reverse the movement and bring your head forw ard then only back to the middle several times. REST. Begin the movement again slowly then gradually add voice. Stop and start several times. SAM: Boy, that was easier. I could sense my head com ing forw ard as I began to vocalize. TEACHER: Good. REST a moment. Bring your head forward. Keep it there. Begin to vocalize. Stop and start several times keeping your head forward.

88

Body and Voice: Somatic Re-education

What are you noticing? It is easier; harder, how about your sound? Just notice. Stop and REST.

s

Now bring your head back and keep it there. Begin to vocal­ ize. As before stop and start several times keeping your head back. How easy is it to breathe, what about your tone? REST. SAM: Wow, that was strange! TEACHER: D on ’ t talk. Let your body figure out what hap­ pened. Take a walk and let’ s begin to work on your pieces. SAM (after beginning work on his material): I feel that my head wants to come forw ard a little when I begin, but when you had me keep my head forw ard it did not feel right. TEACHER: OK, let’ s try something else. Keep your nose, eyes and head looking forw ard but swing your arms and shoul­ ders. Do this a few times, so you can feel how you move your shoulders and trunk, keeping your head forward. Do not stare since that will inhibit your movement. Does that change anything? SAM: Yes, something changed in my body. I feel my sound is clearer. TEACHER: Good, now begin your piece looking forw ard but swinging your arms and shoulders as you did before. Stop and breathe when you need to, but keep the movement going. Stop and REST. When you are ready begin your piece again. SAM: I d on ’ tfeel my head move as much. Sam began to sense the movement of his head when I asked him to contract the head forward and back in the context of the contrasting movements. It was important for him to move his head forward and backward initially with attention to the movement with and without voice. The forward and back move-

Diversionary, Parasitic, or Other Unnecessary Preparatory Movements

89

ment helped him sense the changes in sound and sensation in a variety of head positions. Contrasting the forward movement that was easy for him with the head back movement amplified his awareness. Keeping the head stable in either position told a different story. In a sense it brought him into his pattern and then away from his pattern. When his head was stationary either forward or back, he seemed very uncomfortable. Once he could feel the movement through his body, he could allow his head to remain connected to the whole. Adding the shoulder movement at the end is important. It shifted the movement from the neck to movement of the trunk and arms AROUND his head. In part it provided alternative movement, but also kept the ribs free for the expansion of his breath.

Lesson Two: Lifting and Lowering the Shoulders Students will often lift the shoulders on inhalation. This is often referred to as clavicular or shallow breathing. Sometimes, how­ ever, only one shoulder is lifted suggesting that the movement is not related to respiration at all. In this case the movement of the shoulders on inspiration is parasitic. If we look at the anatomy of the shoulder girdle (clavicle and scapula) we find that the only bony attachment to the axial (central) skeleton is at the sternoclavicular joint, that is, at the sternum. Ligaments and muscles connect the top o f the sternum and clavicle with the first rib by means o f several ligaments. In addition the scalene muscles, considered ancillary muscles of inspiration, insert into the first or second rib. They lift the first rib and clavicle when the neck is fixed. As the upper ribs lift or lower on respiration the sternum and clavicle move as well. (See any go o d anatomy text for details.) This movement does not really affect the shoulder, which is at the other end of the clavicle. It is the shoulder move­ ment, not the sternal movement, that draws our attention. When the shoulders lift beyond the degrees o f freedom joint in the joint (as far as the joint can go) then expansion of the ribs allows the shoulder to lift further. In this lesson it is the involvement of the ribs that is used to explore other options for breathing other than lifting the shoulders.

90

Body and Voice: Somatic Re-education

Basic Movements As in the previous lesson, this lesson revolves around a constraint. In this case it is constraint of the movement of shoulders and ribs. The basic movement involves lifting one or both shoulders and the reaching with one or both arms. The lesson is easiest done sitting. 1. Sit quietly and observe your breathing. Pay attention to your breathing. What is moving when you breathe? 2. Take a breath and begin to sing or speak. Do this several times so you can notice what you do differently when prepar­ ing to sing or speak than when you are just breathing quietly. What is different? 3. Lift your right shoulder up toward your right ear and bring it down. It is not necessary to go very far, just lift it to the extent that it is comfortable and bring it down. Do this sev­ eral times. Notice: Be sure the movements are slow so you can feel what you are doing. Pay attention to your breathing as you do this. 4. Keep lifting and lower your right shoulder and begin your song or text. Stop and start several times so you can feel what happens when you begin to vocalize. Notice: What do you notice? When do you breathe, when your shoulder is lifting or when it is lowering? As you begin to vocalize does the movement o f the shoulder change in any way? Get harder? Slow down? Get easier? Faster? REST. 5. Now lift only your left shoulder toward your left ear and bring it down. It is not necessary to go far, stay in your comfort zone. Do this several times, paying attention to your breathing. 6. Keep lifting and lowering your left shoulder. Begin to vocal­ ize. Do it with energy as though you are in performance. Stop and start several times. Notice: Pay attention to how your voicefeels and sounds as you lift and lower your shoulder. Pay attention to where you are in the movement when you breathe. Does the move­ ment o f the shoulder change in any way? 7. REST. Pay attention to how you are breathing now.

Diversionary, Parasitic, or Other Unnecessary Preparatory Movements

91

It is important for the teacher to make sure the movements are not too fast. Remind the student to take a breath each time he or she begins to vocalize. Notice when they do not breathe as this may be a sign of breath holding. 8. Lift both shoulders and keep them up. Breathe easilyfo r a few minutes. Keeping your shoulders elevated listen, pay atten­ tion to how you are breathing. Notice: What is moving now? 9. Stop let your shoulders relax down. D id something change in your breathing as you relaxed your shoulders? I f you are not sure lift your shoulders again fo r a moment while you breathe, then let them go. Notice: Did you notice any change in your breathing? In the way you are sitting? Was it harder or easier to breathe with your shoulders elevated? 10. Lift both shoulders again. Keeping them up begin vocalizing with the same material you used before. Stop and start mak­ ing sure you are breathing each time. Do this several times. Notice: What do you notice now? Do you feel your voice is as clear or strong? What about your breathing? Has that changed? Is there movement elsewhere in your body— ribs, back, abdomen? Stop and REST. 11. Lift your right arm up into the air as though you are reaching fo r something. Keeping the arm up reach and relax the arm but keep the arm and fingers long pointing toward the ceiling. Do this a few times. Can you sense movement in your ribs as you reach up? In this part of the lesson it is important that while students are reaching with their arm up they are not overreaching so their body overextends or are making extra effort. 12. Reach up with you r right arm again, keeping the arm extended and begin to vocalize as before. Send the energy out from your fingers. Notice: Pay attention to your ribs as you breathe. Do they move? Do you sense any expansion or contraction o f the ribs as you breathe? Is there any change in your voice in quality or ease? Do you feel strain anywhere?

92

Body and Voice: Somatic Re-education

13. Bring your arm down and REST 14. Repeat the same movements with your left arm. First reach up as though you are reaching fo r something. Reach and relax the arm several times paying attention to your ribs. 15. Reach again with you r left arm an d keeping the arm extended, begin to vocalize as before. Notice: Pay attention to your ribs as you breathe. Do they move? Do you sense any expansion or contraction o f the ribs as you breathe? Is it different on this side? Stop and REST. 16. Bring your arms over your head and cross them so the right hand is near the left elbow and the left arm is near the right elbow. Your forearm s are resting on your head. Your shoul­ ders are relaxed. In this position begin once again to vocalize using the same material. Stop and start several times. Speak or sing the material with more energy or louder then softer. Feel what happens in your rib cage as you change dynamic or energy. Let it go and REST. Take a moment to sense any change in how you perceive your shoulders, neck, or breathing. 17. You might want to repeat this in standing as well. The intention of the lesson is to bring awareness o f the movement of the ribs rather than the shoulders on inhalation. This lesson can be applied in truncated form just using the constraints of the shoulders up and/or the arms crossed over the head. It is best to have done the entire lesson at least once before using the truncated version, so the student already has some awareness of the relationship between shoulder movement and rib movement on inspiration.

Case Study JOHN IS A MUSICAL THEATER ACTOR who came for lessons to prepare for upcoming auditions. The first thing that caught my eye was his habit of raising his shoulders on inhalation. He was using his shoulders to breathe. Although this is a perfectly functional breath for many tasks, it is not useful for voice. I also noticed that John would hold his breath, keeping phrases going

Diversionary, Parasitic, or Other Unnecessary Preparatory Movements

93

and going and going. However, I felt that the first priority was to get him to stop lifting his shoulders all the time. (I will describe some more com plex lessons later that would help John figure out how to breathe better, but sometimes it is best to start with simple solutions first.) TEACHER: John, please sit quietly and observe your breath­ ing. Notice any movement in your chest, ribs, belly or shoul­ ders?Just notice. Do you sense any movement as you breathe? JOHN: I am aware o f slight movement in my chest. TEACHER: Begin to vocalize and sense what you were doing as you breathe. What do you notice? JOHN: I am not sure. TEACHER: Try it again. Stop and start. See if you notice any movement when you breathe to vocalize. JOHN: I am still not sure. I think I am breathing from my diaphragm. TEACHER: OK, let’ s look in the mirror. What do you see? JOHN: My shoulders are goin g up as I breathe. TEACHER: OK. Since they want to go up, put them up. Lift your shoulders very high and keep them there. Now take a breath and start vocalizing. Do this several times Stop and REST. Do it again and begin to notice where you move when you take a breath. JOHN: I am starting to feel some movement in my chest. TEACHER: Good now let your right shoulder drop. Keep your left shoulder up. Stop and start vocalizing as you were just doing. Stop. REST. Drop your shoulder and sense if there is any difference in the way you feel. Just notice.

94

Body and Voice: Somatic Re-education

Now bring your right shoulder up and let your left shoul­ der drop. Keep them in this configuration as you start and stop vocalizing. Make sure you take a breath each time you begin to vocalize. Stop and REST. Is anything different? JOHN: Maybe. I am not sure. TEACHER: Good. Let's do it again. This time when your shoulders are lifted pay attention to how you are breathing. Repeat with your right shoulder up and few times. Now with your left shoulder up a few times. What did you notice? Was it any different when only one shoulder was raised? JOHN: I began to sense my breathing change. I felt more movement in my chest and lower ribs. Funny, but it was easier with my right shoulder up than my left. I felt there was more space to breathe on the right side. TEACHER: Good. Remember that feeling. Now sing a little and see what happens. JOHN: That was much easier at the beginning. As I contin­ ued to sing, I could feel my shoulders want to go up again. TEACHER: Yes, that is your habit. It will take some time to change your behavior; but now you are recognizing the pattern, which is good. During his next session we began to work on the RELEASE OF THE BREATH lessons presented in the next section. How­ ever, for John it was important to first identify his pattern and at the same time begin to learn to listen to his body in a new way.

Lesson Three: Releasing the Jaw Stress manifests itself in many ways, both physical and em o­ tional. The physical embodiment of stress can include breath holding, neck or back pain, or clinching or tension in the jaw. A clinched or tight jaw can interfere with voice in several ways.

Diversionary, Parasitic, or Other Unnecessary Preparatory Movements

95

If the jaw is held tightly the space in the mouth, particularly the space at the back of the mouth, is reduced, which is important for optimizing resonance. (Imagine the “ inverted megaphone” concept used successfully by Arthur Lessac.) In addition the muscles of the neck and face tense, at the very least reducing expression. To release the pent up tension, quick jaw movements will often be noted at the beginning or ends of phrases. As we have seen in other extraneous movements, people have little awareness of these patterns.

It might be helpful to briefly discuss the dynamics of the TM (temporomandibular) Joint. It is a hinge and gliding joint. As the mouth opens the hinge or condyle of the lower jaw (the mandible) glides slightly forward and down in the fossa or socket. This forward movement is very slight. If the jaw is tense or pulled too far back in the joint it may “ p op ”or “ click” as it moves forward. IF there is tension in the temporal muscle (the muscle on the head at the level of the temple), the masseter muscle (the big muscle that goes from the cheek bone to the base of the jaw) or the pterygoid muscles (small muscles on the inside of the jaw attached to the condyle), the jaw will not be able to easily open. (For more detailed information you can refer to the many anatomy reference tools, both texts as well as videos.) F. M. Alexander developed “ The Whispered /a/”to help reduce base o f tongue, jaw, and neck tension. In a well per­ formed whispered /a/ the jaw releases gently forward and down at the same time as the head moves slightly and imperceptibly up as well. The improved resonance sought by Alexander com es with release of the TM joint together with the muscles of the palate. In other words, this exercise trains the jaw muscle to release in much the same way as the following exercise. The following lesson, as you will see, explores additional movement of the jaw. Many will find the whispered /a/ easier to do follow­ ing this lesson. TMJ or temporomandibular joint disorder affects people in many ways. The symptoms include soreness or pain of the tem­ poromandibular joint, difficulty opening the mouth, clicking or

96

Body and Voice: Somatic Re-education

popping of the joint when chewing or opening of the mouth, among others. Generally treatment includes bite guards, physi­ cal therapy, pain management, or in some cases surgery. When the student presents with severe symptoms he or she should be referred to a dentist. Generally symptoms are related to tension in the jaw or as we saw in the cases of Sarah and Ida, related to a redrawn somatic map. The following lesson MUST be done slowly and gently. The movements MUST be small. This lesson can have a powerful effect on the nervous system. Repetitions should be limited and time taken for frequent rest periods. This is a version o f a longer Feldenkrais Awareness Through Movement® lesson. It is con­ nected with the FREEING THE PELVIS lesson in Chapter 6 that relates the movement of the head to the pelvis. I present the first part here as I have found many students have benefited from this variation.

Basic Movements This lesson can be taught in sitting or lying on the floor with the knees bent feet standing. Anchor the lower jaw by holding the jaw with your hands—between the thumb and first finger with the elbows resting on the chest. The upper jaw, that is, head, moves around the TM joint in a very non-habitual manner. I can­ not emphasize enough the importance of using SLOW, GENTLE, and SMALL movements especially if the student manifests jaw tension. Although it is generally important for you as teacher to have done these lessons yourself before teaching them, so you also have a sense of the changes and movements, it is especially important for this lesson. Some people have no idea how to lift the upper jaw (head and nose) away from the mouth. Although I generally do not model movements, in this case it may be useful. 1. Sit comfortably on the fron t o f a chair, feet fla t on the floor. Take hold o f your chin with both hands so that you are hold­ ing your chin between the thumb and first finger. Anchor your elbows gently on your chest. 2. Look up toward the ceiling as though you want to see some­ thing above and behind you. Let your head and nose fol-

Diversionary, Parasitic, or Other Unnecessary Preparatory Movements

97

low. Allow you r mouth to open. Do not move your lower ja w (chin.) SLOWLY open your mouth by taking your eyes upward to look at the ceiling behind you. Guiding the move­ ment with your eyes look down at the flo o r so you close your mouth SLOWLY. Be sure to breathe. Go very slowly. It is not necessary to go far. This is a strange movement to make, so be kind to yourself. Your chin does NOT move. Stop and REST. It is VERY important that the student is coached to go slowly with a small range of motion. Some students will only be able to open a few millimeters; others will attempt to open wide. Some individuals have a hard time conceptualizing even how to open their mouths in this way. They will lift the lips or oth­ erwise contort the mouth. Make sure the lips and cheeks stay relaxed. Sometimes the image of the cartoon characters whose head moves when talking is useful. I may also place my hand at the base of the skull on the neck to indicate that the movement can com e from the skull. 3. With your chin anchored open and close your mouth several times VERY SLOWLY guidin g the movement by looking up toward the ceiling as you open your mouth and then looking down at the floo r as you close your mouth. Pay attention to the sensations o f your mouth and neck. Stop and REST. Do you notice any change in your mouth, jaw, or neck?fust notice. 4. Take hold o f your chin with both hands so that you are hold­ ing your chin between the thumb and first finger; anchoring your elbows gently on your chest as you did before. Now take your eyes to the RIGHT so that your upper ja w (head) and nose follow. Move slowly to the right. Then taking your eyes to the LEFT let your upper ja w follow back to the CENTER. You are moving your upper ja w (head and nose) to the right and back to the middle guided by the eyes. Go SLOWLY. Repeat this several times. Pay attention to the quality o f your movement. Do not attempt to go far. Keep the range o f movement small. REST. What do you notice? Pay attention to the space in your mouth? Is there a sensation in your fa ce?

98

Body and Voice: Somatic Re-education

5. Take hold o f your chin with both hands as you did before. Now reverse the movement. With your eyes guiding the move­ ment take your eyes, head, and nose to the LEFT, and then back. Remember to lead with your eyes. Do not allow fhovement in your chin. Keep it anchored with your hands. Repeat the movement to the left several times. Notice: How is the movement on this side? Is it different? How is it different? Range o f motion or ease o f motion? What about the feeling o f your mouth? REST. Be sure the student does not g o very far. The head and nose will follow the eyes so it is important that the movement begins with the eyes. Often the range is greater on one side. This is normal. 6. Anchor your chin as you did before. Combine the movements o f the upperjaw (head and nose). Begin looking to the RIGHT so your eyes guide the movement o f your head and nose to the RIGHT. Look to the LEFTallowing your head tofollow. This time go all the way to the left. GO SLOWLY. Do this several times. Notice: Is there a difference between the movement to the right and to the left? Is one easier than the other?Just notice. Keep the range o f motion small so you do not strain. Remember always guide the movement with your eyes. REST. Notice how your mouth, neck, and ja w feel. 7. Take hold o f your chin with both hands so that you are hold­ ing your chin between the thumb and first finger, anchoring your elbows gently on your chest as you did before. Using your eyes to guide the movement take your head and nose up then down to OPEN and CLOSE your mouth as you did before. Is there a difference in the range or ease o f the movement? REST. Take a moment to feel the inside o f your mouth, your face, jaw, and tongue. Pay attention to any change in feel­ ing or sensation. 8. Keeping your chin anchored, begin to vocalize by gliding up and down in pitch. Do not let your lower ja w move. That means that you will have to open in this new non-habitual way as you begin to sing or vocalize on vowels. REST.

Diversionary, Parasitic, or Other Unnecessary Preparatory Movements

99

What if anything has changed? Sense the space in your mouth. Pay attention to the muscles o f your fa ce and jaw ? Does anything feel different? Once the student has a sense of the movement from the upper jaw, the idea o f opening from the top can be incorporated into text and song. Opening the mouth from the top or open­ ing equally from the top and bottom is very freeing for singers approaching the upper range. The lower jaw is then not over opened or dropped and pulled back as so often happens.

Troubleshooting If students have significant TMJ, I would not use this lesson. Many students have a great deal of trouble figuring out how to open their mouth without using the lower jaw. Lifting the upper jaw or head away from the chin is not in their somatic map. The wording of this lesson is important. If you say: TEACHER: Take hold o f your chin with both hands so that you are holding your chin between the thumb and first finger; anchoring your elbows gently on your chest. Now slow ly begin to open y o u r mouth but do not move y o u r chin (lower jaw). The student may either drop the jaw to open or contort their mouth trying to figure out what to do. If you say: TEACHER: Take hold o f your chin with both hands so that you are holding your chin between the thumb and first finger; anchoring your elbows gently on your chest. Look up tow ard the ceilin g a s though y o u w ant to see som e­ thing up a n d behind y o u let y o u r h ead a n d nose follow . As y ou com e dow n begin by sh iftin g y o u r eyes to look dow n tow ard the floor. Then the movement of the eyes will guide the head to the cor­ rect movement. If the student is still having trouble, sometimes

100

Body and Voice: Somatic Re-education

I will place my hand on the nape of the neck to indicate that the movement needs to com e from the base of the skull and involve the entire head. Students will try to make the movements too big or too fast or both. Keep cuing to go slowly, gently and make small movements.

Case Studies Let’ s look at the cases o f Ida, who learned to keep her mouth closed to hide her bad teeth, and Sarah, who did not open her mouth because her inner representation of opening her mouth continued to feel resistance from the rubber bands. On the sur­ face these issues are the same. Neither one opened their mouth when performing. However if we look more closely there are significant differences.

Ida IDA NEVER REALLY OPENED HER MOUTH when singing. There also seem ed to be increased neck and shoulder tension (Figure 4-1). During a conversation she mentioned she did not like to show her teeth because they were crooked and she never was able to get them fixed. As a result she held her lips tightly around her mouth. Inadvertently this tension extended to her face and neck. We live in an age in which perfect teeth are to be flaunted. One rarely sees a headshot or picture of people smil­ ing without showing the pearly whites. The idealized smile with perfect teeth made it even harder for Ida since her teeth were anything but straight and beautiful in her mind. Not opening her mouth was less of a problem than the tension around her mouth radiating to the jaw and neck. TEACHER: Anchor you r chin between your thumb and first fin ger with your elbows resting on your chest. Look up toward the ceiling as though you want to see something up and behind you. Let your head and nose follow. Let your mouth open. Do not move your lower ja w (chin). Guiding the movement with your eyes by looking down at the floo r SLOWLYclose your mouth. Be sure to breathe. Do this several

Diversionary, Parasitic, or Other Unnecessary Preparatory Movements

101

Figure 4-1 . Ida in an attempt to hide her teeth did not allow for opening her mouth, resulting in increased jaw and neck tension.

times. Do you feel your lips parting? Can they stay relaxed? Do the movements again very slowly. Do not move your chin. Let your lips move with your head. Go very slowly. Remember your chin does NOT move. IDA: This is hard. I keep trying to keep my lips together. TEACHER: OK, do the movement again, take your upper ja w away from your lower jaw, but d on ’ t let your lips part. Use your eyes to help you. Do you sense that your ja w CAN move just a little? IDA: Yes, but only a little. TEACHER: That is OK. Now do the movement again, but let your lips part just a little. It is OK. Focus on the bringing

102

Body and Voice: Somatic Re-education

your lower lip away from your upper lip as you take your eyes up toward the ceiling. Do it several times so you can figure it out. Keep your lips relaxed. s Stop and REST. IDA: That was interesting. When I focused on the lips mov­ ing apart as my eyes looked up it was easier. Have her continue the lesson taking the eyes and head, first to the right then to the left. When you ask her to combine the movements have her do it once with the lips apart, then with the lips together. REST. TEACHER: Combine the movements o f the upper ja w (head and nose) taking the movements first to the right then through the midline to the left. GO SLOWLY. Do NOT allow your lips to part. Do this several times. Now repeat the move­ ment, always leading with your eyes but LET your lips part just a little bit. Are your lips passing each other as you move your head right and left? Has anything changed, range or motion or sense o f ease? Do the movement once more keeping your lips together and then again letting them come apart. Is there a difference? IDA: It feels easier when my lips part. I was not aware how much I was preventing movement with my lips. REST. In this part of the lesson, the attention was not so much on the movement o f the jaw, but rather the lips. Having her open and close her mouth in the non-habitual way with the lips closed then allowing them to part helped her to understand that the jaw could move yet the lips could be passive. TEACHER: Now do the movement again, but purse your lips as though you are drinking through a straw. Keeping your lips pursed take your eyes up toward the ceiling letting your

Diversionary, Parasitic, or Other Unnecessary Preparatory Movements

103

mouth open and close guided by your eyes. Do it several times so you can figure it out. Keep your lips pursed. Now repeat the same thing but spread the corners o f your mouth. Just the corners, let your lips stay relaxed. Open and close your mouth from the top as we have been doing. REST. What did you notice? Open and close your mouth normally a few times. What are your lips doing? IDA: It seems strange. But they are more relaxed. I can move them and I think my teeth are still covered. What a strange feeling not having to intentionally cover them. In this section, I added the constraint of the mouth. I had her round the lips then spread the lips while she engaged in the same movement of opening and closing her mouth.

Sarah SARAH IS THE MUSICAL THEATER STUDENT WHO HAD WORN BRACES. You will remember from Chapter 1 that at the time I worked with her she had been braces free for several years. Both her previous teacher and I had noted that she rarely opened her mouth. As a consequence her voice lacked resonance and power. I always imagined the inside o f her mouth as a wide rect­ angle so she was not getting the inner space for resonance she needed. As I reported in Chapter 1 it was only when I asked her to show me where her jaw opened that we discovered she felt the “ joint”to be mid-cheek or at the masseter muscle, the muscle that goes from the cheekbone to the jaw line. The challenge was to find a lesson that would help her redraw her somatic map. We began with the RELEASING THE JAW lesson as described above. She was able to do the lesson and felt as though it helped, but it was not quite enough. She still did not spontaneously open her mouth. We began the lesson as described above. Since she was familiar with the lesson I asked her to take her jaw up and down several times, then side to side several times.

104

Body and Voice: Somatic Re-education

TEACHER: Anchor your chin between you r thumb and first fin ger with your elbows resting on your chest. Look up toward the ceiling as though you want to see something up and behind you. Let your head and nose follow. Let your mouth open. Do not move your lower ja w (chin). Guiding the movement with your eyes by looking down at the floo r SLOWLYclose your mouth. Be sure to breathe. Do this several times. Are you aware o f any resistance to tension as you open your mouth? Let your attention go once to the middle o f your fa ce and then shift it to the area in front o f your ears where the join t is actually located. Go very slowly. Remember your chin does NOT move. Stop and REST. Take hold o f your chin with both hands as you did before. Leading with your eyes move your head and nose first to the right then through the midline to the left. GO SLOWLY. Do this several times. Are you aware o f any tension in your cheeks or mouth? REST. SARAH: It is interesting. When I was opening my mouth paying attention to any tension in my cheek I sensed a slight resistance. But when I moved my upper ja w side to side it was gone. TEACHER: OK, so let's try something else. Take hold o f your chin again. Slowly open your mouth, now keep it open with your eyes looking up and bring your chin or lower ja w to meet your upper jaw. Keep your lips relaxed. Now open your mouth from the lower ja w helping with your hands then bring your upper ja w to meet it. Repeat this several times. REST. The movement here is to open from the top, bring the lower jaw UP to meet the upper jaw. Then reverse the movement drop­ ping the chin and bringing the upper jaw (head) to meet it. This

Diversionary, Parasitic, or Other Unnecessary Preparatory Movements

10 5

adds an additional non-habitual movement, closing the mouth with the head up and bringing the chin up to the head. SARAH: That is so interesting. Ia m not sure what la m feel­ ing, but something is different. TEACHER: OK, enjoy it. Do you feel you can add another piece? Or is it too much? This lesson can be very intense. Watch for changes in skin tone (pale or drawn) or changes in the eyes (that glazed over look) indicating they have had enough. Then it is better to stop the lesson. Give them a break and then com e back later, rather than overtaxing them. SARAH: Ia m OK. TEACHER: Take hold o f your ja w as you did before. Part­ ing your lips and teeth just a little move your ja w ever so slightly to the right. Remember to guide the movement with your eyes. Keep your eyes looking to the right. Now look up and to the right while you let your mouth open. Repeat that once or twice more. Be sure to use your eyes looking right then up or down and right. Come back to the middle. Repeat the movement, look to the right so upperja w moves to the right, opening your mouth from above, then bring your lower ja w up to close it like we did before, but this time your ja w is at an angle. Open your mouth from the chin, then without moving the chin bring your eyes down to let your mouth close. Relax your mouth to the middle. Repeat this sequence once more. Stop and REST. What do you notice? Does your fa ce or ja w feel the same on the right and on the left? SARAH: Not really. I feel a little off balance. TEACHER: REST a moment. Close your eyes, put your hands on either side o f yourface cupping your ja w in your hands. Keep it there fo r a few moments.

10 6

Body and Voice: Somatic Re-education

Cupping the jaw in the hands provides a rest for the jaw and facial muscles because the chin is supported by the hands. The tactile contact with the hands redefines the jaw and cheeks as a whole and allows the muscle to release. When you are ready, repeat the movement to the left side. Anchor your ja w as we have been doing. Take your eyes, head, and nose to the left. Then take the eyes up and left to open your mouth from the top, that is, head and nose help­ ing with your eyes. Then bring your lower ja w up to meet your upper jaw , closing your mouth. Reverse the movement. Open your mouth from your lower ja w (lowering the ja w in the habitual way), and using your eyes by looking down bring the rest o f your head down to close your mouth. Repeat this once more then REST. Just notice what attracts your attention. Sense the shape o f your mouth inside. Open and close your mouth a few times. See what that feels like. SARAH: It feels different. I am not sure what is going on. TEACHER: That's OK. L et’ s take a break. In this lesson we expanded on the non-habitual movement of opening mouth from the top, from the head. First by opening and closing the mouth in the non-habitual way lifting the head and then in the normal way moving the lower jaw to the upper jaw, but with the head already elevated so muscles of the jaw had to move further to close and then open. The second variation was taking the jaw to the right and left then opening with the jaw to the side demanded an entirely new coordination. During subsequent lessons we also added movement o f the pelvis. Both of these case studies used the same basic lesson. The difference was in the point o f attention. For Ida the movement or in this case lack of movement in her lips was key. Sarah on the other hand needed to learn to differentiate movement in a nonexistent joint (at the masseter muscle) from the real TM joint when opening her mouth. The power in these lessons is the attention to the quality o f the movement and the attention brought to the HOW of the movement.

Diversionary, Parasitic, or Other Unnecessary Preparatory Movements

107

Lesson Four: Anchoring the Tongue There are times when the movement of the jaw is restricted not because of problems with the TM joint, but because of excess tension in the tongue or floor o f the jaw.

Remember that the tongue consists of four paired intrinsic muscles making up the blade of the tongue. These muscles allow the tongue to change shape. There are four extrinsic muscles that form the root or base of the tongue and are responsible for protrusion, retraction, and side-to-side move­ ment of the tongue. These muscles attach to the mandible, the palate, styloid process, and the hyoid bone. As we saw earlier there are two other muscles at the floor of the mouth that attach to the hyoid bone— the mylohyoid and the geniohyoid. If we place our thumb under the chin and then swallow we can feel the muscles at the base of the tongue contracting. They will often contract on certain vowels as well. Retraction or narrowing of the tongue is also a sign of tension. Because the jaw, hyoid, larynx, and tongue are all intertwined both in terms of muscular connections as well as function it is easier to understand that tongue tension may not only affect voice but also movement of the jaw.

There are many exercises to reduce tongue tension. I have found the following lesson to be very effective. The tongue needs to be very flexible during speech in order to form all the vari­ ous speech sounds, both vowels and consonants. Vowels are divided into high, central, and low as well as front, middle, and back. The “ high-low”designations relate to the elevation of the mid-back portion of the tongue. The “ front-back”designations relate to the angle o f elevation o f the mid-back of the tongue. Consonants are identified by placement (where the constriction occurs) and manner of the sound production (voiced, voiceless, nasal, fricative, etc.). The important point for this discussion is that the blade o f the tongue needs to be free to move. When

108

Body and Voice: Somatic Re-education

there is parasitic movement o f the jaw or lips one might also suspect tension in the tongue. The /a/ and /i/ are the easiest vowels to use as examples. The movement of the lips is not nec­ essary on the /i/ unless one wants a brighter sound. Widening of the lips for every /i/ is not necessary as long as the tongue is changing shape. Very often the jaw is opened and closed when a person moves between the /a/ (open) and the /i/ (more closed). The /i/ demands less space between the top o f the tongue and the roof of the mouth. If the mouth is closed, the space will be small, when the jaw drops opening the mouth the distance will be increased forming the /a/. In other words it is possible to alternate between the /i/ and /a/ with very little movement of the tongue. Because the jaw is bone and the tongue muscle, it stands to reason that more energy is expended trying to move the jaw rapidly than it would allowing the tongue to move. If the tongue is not fully engaged in changing shape for the vowels, it has a tendency to retract and becom e tense. Or maybe it is not moving because it IS tense. Either way movement is restricted not only in the tongue but also the larynx and jaw. The following lesson is designed to mobilize the back of the tongue, preventing retraction as well as a narrowing of the tongue. 1. Sit comfortably. Stick out your tongue so it is resting on your lower lip. GENTLY bite down on the tongue so it cannot move. See if you can bite down on the sides as well as the tip o f the tongue. 2. Keep your tongue between your teeth. Now just exhale an /h/ sound without voice. Do it several times. Notice what your tongue is doing. Do this a few times. Notice: Does your tongue want to move or can it just be passive? 3. Stick out your tongue so it is resting on your lower lip. GEN­ TLY bite down on the tongue so it cannot move. Sustain a sound f o r a few seconds. Keep your tongue in place. Do not let it move back or become narrow and fat. If the tongue is very tense, it will begin to retract and/or sausage as soon as voicing begins. This is one of very few lessons in which looking at the mirror can be useful. It is important to

Diversionary, Parasitic, or Other Unnecessary Preparatory Movements

109

keep coaching the student to keep the tongue wide and forward. If the student is having trouble keeping the tongue wide and forward stop the lesson here. Have the student practice only this part then once he or she can keep the tongue more or less forward and wide complete the lesson. 4. Keeping your tongue anchored between your teeth, sustain an /a/. What does your tongue want to do? Do you sense it retracting, or getting narrow and fatter like a sausage? 5. Keeping your tongue anchored between your teeth, now sus­ tain an /i/. Notice: What does your tongue want to do now? Do you sense it retracting, or getting fatter like a sausage? Is there movement in back o f the tongue? 6. Relax your tongue in your mouth and place it between your teeth again. Make sure that it is wide. Alternate between the /a/ and/i/slowly so you can feel what happens as you change vowels. Be sure to keep the tongue wide, sticking out between your teeth resting on your lower lip. In my experience the vocal world is divided between /i/ people, for whom the /i/ vowel is free and easy and the /a/ is very hard and the people for whom the /a/ is free and easy and the /i/ is hard. 7. I f you can keep the tongue forw ard and wide as you change from /i/ to /a/ begin to fill in the mid-level vowels. Begin with /i/—/e—/i/ then expand to /i/—/e/—/a/—/e/—/i/. Notice: Is it getting easier to keep anchored? What is happening in the back o f your tongue? Is there movement? REST. 8. Place the tip o f your tongue behind and below your lower teeth so the middle o f the tongue can roll slightly forward. In this position, keeping your tongue gently pressed against the lower teeth alternate /i/ and /a/. Don't let your tongue retract. It might be helpful to rest your tongue on the sides o f upper molars. Notice: What part o f your tongue moves in this position? Is it the back or more in the middle? Be sure to keep breath­ ing. Feel the air moving in your mouth.

110

Body and Voice: Somatic Re-education

9. Once you can say /i/—/a/—/i/ without retracting, begin to say to / i/ /e/ /a/ / 2/ /i/ , REST. 10. Gently bring your teeth together, let your lips relax open. Rest the tip o f your tongue behind your fron t lower teeth. In this position begin to say /i/—/a/—/i/ without retracting the tongue. Gradually add/i/—/e/—/a/—/e/—/i/. REST. The hardest part o f this lesson is keeping the tongue for­ ward and wide. For some just phonating without retracting will be a challenge. The lesson can be divided into segments and developed over time.

Troubleshooting For the student who has difficulty keeping the tongue forward begin just voicing on any sound with the tongue anchored. Gen­ erally it will be a neutral vowel. Once the tongue is relatively stable add either the /a/ or the /i/, whichever is easier. Another option is to begin with step seven with the tongue curled for­ ward. This is a lesson that needs time to master.

Case Study GLORIA IS A VERY TYPE A PERSONALITY. She is detail oriented and strives to have everything RIGHT. She had been taking act­ ing and voice lessons for several years but was not getting the kinds of jobs she felt she should be getting. She had been focus­ ing recently on her voice but felt that the more she worked the tighter and weaker it became. She had been well trained. Her most recent teacher had been focusing on vowel placement and articulation. When she performed for me I was struck by how hard she was working to articulate all the words, in her m ono­ logues as well as songs. In singing she would “ place”her sound before beginning in an attempt to find the RIGHT placement of the sound. Observing her vocalize I noticed her tongue liked to sausage and retract, especially on the /a/.

Diversionary, Parasitic, or Other Unnecessary Preparatory Movements

111

TEACHER: Gloria, le t’ s see if we can release some o f the ten­ sion in your tongue. Stick out your tongue so it is resting on your lower lip. GENTLY bite down on the tongue so it cannot move. See if you can bite down on the sides as well as the top o f the tongue. Now just make a sound but keep your tongue between your teeth. GLORIA: I ca n ’ t seem to keep it forward. My tongue just wants to slip back! TEACHER: T hat’ s OK. Try it again. Keep you r tongue between your teeth. Now just exhale an /h/ sound without voice. Do it several times. Notice what your tongue is doing. GLORIA: It is staying out. TEACHER: Good, I can see that. Now begin with just air and slowly and gently add sound. Do it several times. I f you feel your tongue going back, stop, regroup, and do the/h/again, then repeat adding sound? GLORIA: It seems to be staying more or less forward. I d on ’ t see it getting as narrow either. TEACHER: Good, can you begin with a sound this time? Do not worry about the clarity o f the vowel. Just keep your tongue forw ard and wide. Good. Repeat it several times. Now rest. I want you just to practice this a few times a day fo r only a short time each session. The next lesson she was able to initiate voicing without her tongue retracting and becoming a sausage. TEACHER: Very go o d progress. Anchor you r tongue and say /a/. Stop and start several times. Looks as though your tongue is staying wide. This time sustain the /a/ a little lon­ ger. Try it on a higher pitch. I think you started too low. GOOD. If the pitch is too low or too high there is a greater chance that the tongue will retract. Give your tongue a break and le t’ s try the/i/.

112

Body and Voice: Somatic Re-education

GLORIA: The /i/ is a little harder. I feel it wanting to pull back. TEACHER: OK, go back to the/a/. Sustain the/a/then slowly lift your tongue to the/i/. Stop and regroup if you feel it start to grab. It is getting easier? GLORIA: Yes, it is. TEACHER: L et’ s try a different position. Gently close your teeth. Your lips are slightly apart. Rest your tongue so it is touching the lower teeth. Now alternate slowly between the /a/and /i/. Do it in whichever order is easier. Feel what your tongue needs to do to make the /a/ and then the /i/. Do it several times. Then stick out your tongue, anchor it between your teeth, and do the same thing. GLORIA: It’ s getting easier. TEACHER: Great! Keep practicing with your tongue con ­ strained in some fashion f o r short periods. After several weeks it was easier for her to keep her tongue forward and wide. When she noticed her tongue retracting in the context o f text, she would close her teeth and speak the line as smoothly as she could while paying attention to the movement of her tongue in her mouth. In the process, her voice began to regain its strength and flexibility. She found she did not have to worry so much about “ proper”placement once her tongue was free. Even though this lesson focused on the tongue, she found she was having an easier time with fast articulation. Her jaw was not working so hard.

Lesson Five: Externalization of an Internal Process Another sign of poor organization is the person who is NOT moving or where movement stops. It is the absence of movement that may or may not attract our attention. The lack of move­ ment may be in the whole body or it may only appear to be in the trunk or upper extremities. Generally if the arms or hands

Diversionary, Parasitic, or Other Unnecessary Preparatory Movements

113

are held stiffly the trunk will be stiff as well. Gestures that only involve the arms and seem to be disconnected from the core signify tension or lack of mobility. We are all familiar with actors or singers w hose gestures, although often frequent, carry no intention or meaning. Underlying instability or breath holding might be present and need to be addressed. But consistent with the theme of this chapter, let us begin with something simpler. I have found that gestures or large movements will often reflect on the outside what is happening on the inside. For exam­ ple singers will often gesture when singing scales or arpeggios. The most typical gesture is lifting the arm as the pitches rise, then coming down as the pitches fall. If they are singing a series of arpeggios, it is interesting to notice whether the movement of the arm is fluid or if it stops at the top high note or stops at the breath. Fluid arm movement is coherent with the flow o f the line. However, if the arm stops at the high note, there is a good chance that the breath stops there as well. By the same token, if the arm stops on the inhalation, chances are that they are breath holding as well. When the emotion of the moment intensifies it is easy to em body the emotion as tension, fists tight, arms tight, chest sunk like a cat getting ready to spring, or stiff and rigid holding in all the emotion and passion. The emotion needs to be there, but the tension should not get in the way, should not pull the emotion inward. On the other side this same strategy can be used when people feel they have to move, but the movement is all in the periphery. I have observed many acting classes in which students are instructed to walk around the room swinging the arms or moving their bodies in some ways and then begin to add voice. At the beginning the movements are fluid and involve the whole body, but once voice is added some students movements became disconnected, moving to the periphery stiffening in the core. Just as we saw with the case o f Gloria, whose tongue tight­ ened when she added voice, there is something about adding vocalization that stops the flow of movement in the body. It may not always occur by adding voice in general. It may only be a specific song or text that we see this, but when we see tight­ ness in the body, trunk, or arms we should take note, especially if the tightness is not the typical affect. As with the previous examples, there may be underlying balance, stability, or other issues that need to be addressed. However, the use of big, whole

114

Body and Voice: Somatic Re-education

body movements can be useful. When having the student use big movements, it is important that the teacher keep a keen eye out that the student really engages the whole. Movement needs to be from the trunk not just from the periphery. Look for move­ ment to flow through the trunk, through the arm to the ribs, or twisting through the pelvis to the upper body. The following lesson is just an example o f the type of move­ ment one can use. There are many depending on the student and his or her unique holding pattern. 1. TEACHER: Pretend you have a tennis racket in your hand. How would you swing to hit the ball? Would you hold it with your arm bent then wait f o r the ball to come to the racket or would you extend your arm and move it backward then forw ard to meet the ball somewhere in space? (This can be a baseball bat, g o lf club, or other similar object.) 2. Try hitting an im aginary tennis ball a few times. What are you doing with your body? What happens in your hips, trunk, and feet? Really see the ball com ing and swing. Do this several times. Notice: what is happening in your body. How much o f your body is moving? Do you feel the movement o f the pre­ paratory swing? 3. Now imagine that your text is the ball. Swing the racket in the same way. Begin to vocalize (your text, arpeggio, scales, song, etc.) when you hit the “ ball.”Make sure you are f o l­ lowing through with the swing once you have “ hit the ball,” that is, begun voicing. Repeat a few more times, taking time to breathe and regroup before each swing. Notice: Pay attention to your follow through. Keep it going. What about the backward preparatory movement? Does it relate to your breathing? 4. Go back to your imaginary tennis game. Imagine the ball is coming from different angles and parts o f the court. Notice: Are you able to manage thefollow through? Your preparatory movement? What is your body doing? Is there movement in your trunk, pelvis, ribs? 5. Go back to adding voice and see if you can maintain the same sense offlow or ease? Your gam e might get just a little tamer, but not the sense o f movement through your body.

Diversionary, Parasitic, or Other Unnecessary Preparatory Movements

115

Notice: Where is you r attention? On the breath? The onset o f the text? What about your body, is it involved? Which parts? REST Let's hear your text now. Can your gestures come from your core out. Include your hands as well. Several other movements are options, such as swinging one arm up and around or swinging both arms up palms toward face as though beckoning people or bringing something over your head. Swinging the arms side to side while twisting in the trunk and pelvis is another option. It is essential that the student be coached to finish the movement, to keep it going, not to stop at the top or with the breath.

Troubleshooting Using these big movements can be very effective in either resolv­ ing the problem or highlighting other aspects that need attention such as balance or the ability to release the breath. Try to find gestures that the student relates to, such as golf, tennis, dance, or some other activity. You can play imaginary tennis with the student to help him or her feel the movement of the whole body. I keep balls, Slinkys, and gym balls in my office. Juggling is a great activity to use if the student can do it. The body must stay active but free to keep the balls in the air. If the student consistently tenses during this lesson, take his or her hands and guide the swing side to side. When you do, model swinging the arms from your pelvis or with a slight twist. Be gentle of course, but often the physical connection helps students find the movement in their own body.

Case Study DANIEL IS A VOICE-OVER ARTIST. He had com e to voice-over and acting having worked in sales and business. He had explored bodybuilding and fitness until recently when his schedule became too full with other things. During sessions he was progressing

116

Body and Voice: Somatic Re-education

well but commented one day that while doing the breathing les­ sons, warming up, or working with easy texts, he felt as though his voice and breath were well connected. However, he was often asked to read texts that were high energy and demanded a deeper, more forceful vocal quality. At those times he felt his voice get tight. As much as he worked with the exercises he con­ tinued to have trouble getting through those spots in the time allotted without strain. He had brought the material to the ses­ sion. I had him read several o f the spots. I noticed he would clinch his fists, bend the elbows, and pull in his shoulders. All his energy was directed inward. As he read his body was tight, keeping his breath from flowing. In this position it was hard for him to release. TEACHER: Stand in the middle o f the room so you have space. Pretend you have a tennis racket in your hand. How would you swing to hit the ball? Would you hold it with your arm bent then wait fo r the ball to come to the racket or would you extend your arm, move it backward then fo r ­ ward to meet the ball somewhere in space? Where in the action would you breathe? Try hitting an imaginary tennis ball a few times. What are you doing with your body? What happens in your hips, trunk, and feet? Really see the ball com ing and swing. Do this several times. Notice what is happening in your body. How much o f your body is moving? Now imagine that your text is the ball. Swing the racket in the same way. When you “ hit”the ball begin your text. Make sure you are follow ing through with the swing once you have “ hit the ball,”that is, begun voicing. Repeat a few more times, taking time to breathe and regroup before each swing. Pay attention to your follow through, keep it going. Is your breathing connected with the preparatory movement? Or are you starting your breath at some other point? DANIEL: When I add text, I can feel myself tense up. TEACHER: Go back to your imaginary tennis game. Imag­ ine the ball is coming from different angles and parts o f the court. Are you able to manage the follow through? What is

Diversionary, Parasitic, or Other Unnecessary Preparatory Movements

117

your body doing? At what point are you breathing? Is there movement in your trunk,pelvis, ribs? Go back to your text and see if you can maintain the same sense offlow or ease? Make sure that theflow is maintained as you move and speak. Rest. Let’ s hear your text now. Can your gestures come from your core? Include your hands as well. DANIEL: That helped. I still feel as though I am tensing my body with the intensity o f the text. TEACHER: That is a good observation. Please read the text again very softly, think o f it as a lullaby, but keep your fists clinched and body tight. D on ’ t lose the expression or emphasis, just gently read it. Good, repeat it a few times so you can explore what is happening. DANIEL: That was very hard. I kept wanting to relax my body. TEACHER: Right, that is a natural instinct. Now, do the reverse. Let your body be soft but read the text loudly. Before you begin, do sustain a/s/starting soft and then gradually crescendo to loud. Keep your body soft, just move the air from below. D id you feel any strain in your neck or throat? DANIEL: No. TEACHER: Good. Now do the same thing, keeping your body relaxed, but crescendo on a comfortable pitch on a lip or tongue trill. Start soft and get loud without strain in your neck. Do it again to feel how you get loud and keep your body soft. DANIEL: That was harder but it was OK. TEACHER: This is something to practice then. Now let your body stay soft, but read your text with all the inflection and emphasis. Keep your body soft. Stop. Do it again, but let your arms and fingers send the energy into the room. Begin with your arms bent, hands in

118

Body and Voice: Somatic Re-education

a fist. As you read the spot open your fingers, lengthen the arms, sending the energy out into the room. What is your voice doing? DANIEL: That is so much easier. TEACHER: Good', practice just the way we worked. Begin with big movements keeping theflow, then let the gestures be more specific to you and the text. Practice tight and quiet, loud and relaxed, and then flow. In this case inserting the crescendo/decrescendo was impor­ tant as part of the problem was related to engaging the extrinsic laryngeal muscles instead o f increasing the intensity of the air­ flow to get louder. Once he could feel himself tensing not only his body but at the level o f the larynx when getting loud, he could work with the two elements together. In the case of students w hose movements stop for high notes or breath it is helpful to have them use lip trills, tongue trills, or raspberries together with the movements. That way it is easier to identify when the airflow stops as the sound may continue, but the vibration o f the tongue or lips will stop. Once they can keep the movement going through the trilled sounds, have them add text either through the lip trill (speaking while maintaining the lip trill) or just normal speaking/singing.

Reference Feldenkrais, M. (1984). The master moves. Cupertino, CA: Meta.

CHAPTER

5 Releasing for Breathing Students are often very confused about breathing— the process, how it is embodied, how important it is to effective voice produc­ tion. I routinely ask students to describe breathing to me. Gen­ erally they can give me a reasonable theory about go o d breath support. “ It is important to take a good breath from the stomach.” “ Breathing from the diaphragm is very important.”“ Breathe from your belly (or diaphragm), not from your shoulders.”“ Your chest should not move when you breathe.”Yet, when I ask how it works in the context of their body they are stumped. Students tell me they breathe with the diaphragm, but frequently identify it by making a fist or shape their hand as though holding a ball and indicating that the diaphragm is in front just below the ster­ num. When asked what it looks like, responses vary from “ it is a ball in front,”“ a donut going around the ribs,”or “ a muscle here” (indicating the front of the abdomen just under the sternum). The fact that the diaphragm is a dome-shaped muscle under­ neath the lungs is new information to many. Even those who have studied anatomy and physiology need to be reminded. Quite possibly the internal image developed over time and the intellectual reality may not be in agreement. We should not be surprised by this somatic confusion because the rhetoric describ­ ing breath support is loaded with images ranging from a pump handle, to instructions to breathe into the stomach or into the diaphragm, breathe into your back, or keep the ribs expanded. None o f these images are “ wrong”as images, but the student and the teacher must understand these are only images or sensations 119

120

Body and Voice: Somatic Re-education

and not reality. As a result our students have constructed a somatic image about where the air goes and how to move it that does not always serve them well. It is important to keep in mind an overview of the structure and physiology o f the relationships between respiration and phonation when working with somatic re-education. It is not necessary to know the specific muscles (although it might help), but it is necessary to understand the more global relationships involved. Often students only have half of the information they need. They know they need to breathe or bring air somewhere in the abdominal area, stomach, diaphragm, and so forth, but then what? Sometimes students will tell me that after they “ let the air into the stomach and push it up,”when asked how they “ push it up”some will indicate moving their stomachs in or describe tightening the abs, or expanding the rib cage. However, when pressed on where exactly the air goes, the role o f the diaphragm, or how the air moves through the vocal folds, many are at a loss. There is a circularity in how we develop our body map. We move in accordance with our idea of our body and our body map is drawn based on how we move. When it is faulty, we can easily becom e creative in our sense or imagination o f the anatomy and physiology. A reality check is a necessary first step in redrawing the map, and in providing new options for efficient movement. Not every student needs to know the details of inhalation and exhalation. On inhalation in order to fill the lungs with air, the diaphragm contracts downward pressing against the abdominal contents, which then have to have som e place to go, so the abdominal muscles release to create space (Figure 5-1A). On exhalation the air needs to move up the trachea, which is accom­ plished by a combination of the natural recoil of the lung tissue and the pressure of the abdominal contents being squeezed as the abdominal muscles pull in (Figure 5-1B). They DO need to know the general relationships and what part o f the process needs to be active. The teacher needs to be clear about the phys­ iological processes and understand the more global relation­ ships between respiration and phonation in order to effectively guide the student’ s somatic understanding of this complex yet basic process. Often a new student will com e in using what I think of as the “ down and out”approach: breathing high into the chest

Releasing for Breathing

121

F igu re 5-1. A. Inhalation, abdominal m uscles are relaxed. B. Exhalation, abdominal muscles pull in slightly to elevate the ribs, resisting the recoil of the ribs.

then on phonation (exhalation) they push the belly muscles out, which causes the abdominal muscles to contract or to becom e further contracted. This is what they have been taught, or what they have been doing. It is not wrong. However, it may not be the most efficient way to breathe. Exploring the RELEASE OF THE BREATH lessons provides them with alternatives, choices that they can add to their bag of techniques. My hope is that these lessons also help to develop a new somatic awareness of patterns of breathing.

122

Body and Voice: Somatic Re-education

As successful voice teachers, coaches, and trainers we have our own ways of teaching breathing. The way we breathe depends on what we are doing. Breathing for swimming is dif­ ferent from breathing for playing baseball or archery. One could successfully make the case that breathing for singing varies in subtle ways from style to style and is different in equally subtle ways from breathing for close mic work versus live theater. The basic physiology does not change, however. The passive inhala­ tion resulting from release of the abdominal muscles remains a constant. The fact that determining how much air is needed to complete a sentence or phrase at varying frequencies and dynamics occurs somewhere in the depth o f our being. I am not sure which system controls this very important function, but I do know that it does NOT happen under conscious con­ trol. Clearly there are aspects we do control. On inhalation we control the release of some muscles to facilitate contraction of the diaphragm and expansion of the lungs. On the beginning of exhalation we control the movement of abdominal muscles or additional expansion of the ribs— the lower ribs automatically expand to some extent as the diaphragm descends. Once the process has begun there is little more we can do. Our job as teachers is to help students find within themselves the coordina­ tion that lets it all work. The RELEASE OF THE BREATH lessons were developed over many years working with all levels and kinds of voice professionals. I have found that a brief review o f this lesson is enough for many students. Others need more time to sort out what needs to happen and what they think should happen. The emphasis in this lesson is on the passive inhalation that hap­ pens at the end of phonation when the vocal folds relax and open. We do not need to “ push the air out.”The air is in constant motion as we passively breathe. On the signal for phonation the vocal folds approximate so the air moving between the vocal folds sets them in motion to becom e sound. At the end o f the sound (voiceless or voiced) all we need to do is abduct the vocal folds and release any constrictions or tension, and the air will replenish itself, ready for the next round. This should happen instantaneously. Although there are times when a big breath feels right and may be necessary for the emotional context of the moment, it is not always necessary. Once we learn the easy,

Releasing for Breathing

123

phonate— release—phonate our range of expression and vocal flexibility is infinitely greater and easier. Between the “ release” and the “ phonate”the air is replenished as long as we let the air in. Of equal importance is the awareness that the moment of inhalation is also the reset point. It is a moment that allows the body, the muscles involved in phonation and communication — larynx, tongue, neck, chest, abdominal muscles, and so forth— to reset, to renew and get ready for the next phrase. It is an action that takes place the instant we stop phonation, during the nanosecond pauses mid-phrase as well as at the ends o f phrases. When performers have trouble with breath support, more often than not it has nothing to do with lack o f breath. It is the lack of ability to allow the breath to flow due to unnecessary tension or constriction or overbreathing, taking too much air, and/or hold­ ing most of it back. Being miserly has its place, but not in phona­ tion. USE IT OR LOSE IT applies 100% to breath management! The RELEASE OF THE BREATH lesson as presented here begins with a preliminary section on building awareness of cur­ rent breathing patterns. The main part of the lesson trains the phonate— release—phonate pattern. Variations in sitting and standing are then presented. This lesson can be used just to review patterns of breathing or as the basis for identifying and then reducing patterns of breath holding. I have found that many of the professional actors, singers, broadcast, and voice-over indi­ viduals I work with engage in breath holding to some degree. There are many ways to approach this problem. I discuss this in more detail in the section IDENTIFYING BREATH HOLDING.

Release of the Breath: Lesson and Variations The following lesson and variations are designed to help the stu­ dent discover an easy full renewal o f the breath and concurrently release built-up tension o f the tongue, jaw, chest, or larynx, and so forth. In other words, they will help to reset the system. What is RIGHT is what works for the student. Initially students might find that what they are doing is different, not “ natural,”strange, and even wrong or counterintuitive. That is fine. They need to

12 4

Body and Voice: Somatic Re-education

recognize that you are not teaching them the RIGHT way, just another way to approach breathing related to phonation. Also, that you are teaching them ways to reset, release tension, and refresh at the beginning of each phrase, so that tension does not accumulate. The hope is that finding alternatives will result in modifications in their somatic patterns leading to easier, freer vocalization as well as improved communication. Keep in mind that we breathe differently depending on what we are doing. The respiratory demands for moving furniture, hiking, doing yoga, climbing, singing, and dancing are all slightly different in intention and execution. The basic physiology remains the same: The diaphragm has to be able to move to expand the lungs. Common practice tells us that the abdominal muscles need to release for this to happen. Dancers have a particularly difficult time learning “ traditional”low abdominal breathing. They need to find a coordination that allows movement in the diaphragm and at the same time maintaining the “ lift”as you will see with Brent in the case study below. (See the discussion of diaphragm in the section: Discovering the Habitual Pattern.) The purpose of this lesson is to explore the ability for easy, quick, yet full release of the abdominal muscles that is necessary during vocal pauses for full renewal of the breath and release of ancillary tension. Each new phrase should b egin as if it w ere the first, no matter w here it lies in its context. It does not matter if the vocalization is singing, speaking at a conversational level, or at a presentational level. Because some students find it very difficult to release fully, they may need a slower pace at the beginning. However, one should not belabor the point. Move into the lesson, so they can discover what is happening and feel for themselves where they are holding or resisting.

When to Use This Lesson This lesson and its variations are very useful when the student: ■ feels it is very difficult to release the abdominal muscles. ■ feels as though he or she doesn ’ t have go o d breath sup­ port and/or control.

Releasing for Breathing

12 5

■ is having difficulty initiating voicing through the lip/ tongue trill/raspberry. ■ or there is evidence of breath holding.

Basic Movement The task is simple. Repeat the voiceless /// or /s/ and then voiced semioccluded sound (lip, tongue trill, raspberry, or /w/) for 15 to 20 seconds with a full release opening or release o f tension between each sound, without feeling air deprived, experiencing laryngeal tension, or hyperventilating. The attention in this lesson is on the release at the end of the sound. This release IS the INHALATION. THE INHALE IS PASSIVE. As long as the nose, mouth, tongue, vocal folds, and trachea are open or relaxed the air will com e in. There is no need to actively pull air in. One might sense cool air coming in during the pause as the belly releases. Active inhalation may lead to hyperventilation, dizziness, and so forth. I use the term “ release”or “ refresh”intentionally. At the same time and in order to release for the new breath, any tension built up anywhere in the system, from the larynx, jaw, tongue, chest, shoulders, and so forth, can be released as well. This assures that each new phrase will be as fresh and free as the first.

Discovering the Habituated Pattern We notice change. Sensing what happens with different patterns is one way to build awareness. Through contrast, the ability to experience several ways of accomplishing the same action, we becom e aware of new sensations and potential for more efficient and less effortful actions. With this in mind, help the student discover his or her habitual pattern. Begin by exploring both the “ in and up”belly movement on exhalation as well as the “ down and out”belly movement on exhalation. I find it useful to take the time to let the student explore his or her habitual pattern and then to practice the “ in and up”move­ ment followed by the full release of the breath before actually

126

Body and Voice: Somatic Re-education

beginning the lesson. This lesson can be done either sitting or standing. For many students it is advisable to teach the lesson both standing and sitting. In sitting, the feet should be resting comfortably on the floor. For many students this will mean sitting near the front of the chair. It is important that the student is sitting upright and not leaning backward in the chair as this impedes the ability of the abdominals to release. In standing, it is important that the stance is balanced over both feet. Often people will stand with the weight more on one leg or with their shoulders back. In standing it is best to use the forward position with hands on the thighs described below. I ask students to place their hands on the upper belly, little finger just above the navel and thumb below the base of the ster­ num. (This is NOT the traditional low abdominal breath point, but because people have complicated relationships with their pelvis, I found it easier to focus on the upper abdomen.) Danc­ ers will have a harder time with a big release as they are trained to “ pull up”or keep the chest high. Keep in mind that the back fibers of the diaphragm are innervated separately from the front, so the pattern of contraction changes with posture (Pettersen & Eggebo, 2010). Throughout these lessons a key indicator that airflow is appropriate is the periodic, steady, and well-coordinated repeti­ tion of the lip or tongue trill or raspberry. Any delay in the onset of the buzzed sound indicates inadequate preparation or delayed onset of the breath resulting from poor release.

Releasing for Breathing

127

The movements should be done slowly. As the teacher it is important that you watch carefully and make sure that the movements are smooth and slow. It is only then that the stu­ dent will be able to retrain his or her nervous system. The rest p eriod s are very important. They allow the person’ s nervous system to integrate what is being explored. As you teach these lessons keep in mind that keen obser­ vation on your part and feedback from the student are essen­ tial. None of these lessons is foolproof. None is THE KEY to success. They are provided as a guide for change. During the guided lessons questions are asked to guide the students’attention. These questions are not presented in order to be answered aloud by the student, rather they are being asked to stimulate an internal monologue in the stu­ dent. They are also not intended to indicate what is right or wrong, only to aid the student in a discovery of options. A w ord o f caution: Don’ t assume that the movement is connecting through to the chest. Keep an eye on the whole, watching for even small movements of the chest. People may wiggle their belly in and out, but still not connect through their body. It is very important not to stay with the same lesson or part of a lesson too long. Change the activity, change the posi­ tion, or drop the lesson and change activities altogether. Come back to it later in the session or ask them to practice it on their own. Concentrated breath work can result in everything beginning to fall apart, creating somatic confusion.

1. Place your hand on you r upper abdomen with the pinky fin ger near the navel and the thumb just below the sternum. 2. Say /f/ loudly as though you are telling someone to be quiet. Notice which way your belly muscles move. (Some will push out, others pull in.) Please repeat what you did several times and exaggerate the movement. 3. Now, say /f/ again only move your abdom inal muscles the other way several times. D id you notice any difference?

128

Body and Voice: Somatic Re-education

4. Keep your hand placed on your upper abdomen with the pinky fin ger near the navel and the thumb just below the sternum. Now shout “ HEY”loudly twice. Do it again only this time sustain the “ HEY”a little longer. See if you notice if there is any tension in your neck, larynx, chest, and so forth. 5. Shout “ HEY”again, but with the opposite pattern. 6. Do you notice or sense any difference when you shout “ HEY” with your belly moving in as opposed to moving out? If you are not clear what the student is doing place your hand on top of theirs. In this way the student is still touching his/her own body, but you are also feeling what they are doing and the contact is appropriate.

Understanding the Action 1. Place your hand on you r upper abdomen with the pinky fin ger near the navel and the thumb just below the sternum (Figure 5-2). 2. Say /f/ gently, not too loud or too percussively. This time I want you to pull in your belly “ as though they are getting skinny, ”then fully release/relax the abdom inal muscles so the belly relaxes outward. D on ’ t PUSH out the belly muscles, just relax them. 3. Do this several times so you can really feel the movement in as well as the release. See if you can feel a slight elevation o f the chest follow ed by relaxation o f the chest as your belly muscles release. The important element here is that you really release your belly muscles. The trajectory of the movement is important. The “ pull in” is not straight toward the back, but on a diagonal so the lower chest area (sternum) can be lifted (Figure 5-3). I may guide the movement and give them a sense of the trajectory by placing one finger on the base of the neck— near the vertebra (T1/C7) that protrudes slightly and my other hand over their hand on their abdomen. The pinky finger should move slightly inward and the thumb tilt slightly outward as the lower chest elevates slightly.

Figure 5-2. A. Have the students place their hand over the upper abdomen so they can feel the inward pull on the exhalation. B. Then the full release of the abdominal muscles on the inhalation or release.

Figure 5-3. The trajectory of the pull in. Aim­ ing the navel toward the base of the neck. 129

130

Body and Voice: Somatic Re-education

Students have found this image of bringing the navel toward the base of the neck helpful.

Releasing the Breath—Passive Inhalation Once the student has a sense of the coordinated movement between the belly and chest, begin the lesson. It is important to provide rest times during the lesson. Before going on to the next level of complexity let the student rest, change the activ­ ity, or in some way give them a mental break. The rest p eriod s are very important. They allow the person to integrate what is being learned. 1. Release your belly then pull your belly muscles in and up as we have been practicing. Now at the same time say/s/or/f/ (Figure 5-4). 2. Release your belly then repeat the/s/ or/f/ 3. Keep repeating this sequence at an easy steady p a ce fo r 15 to 20 seconds. It should feel as though you could easily continue the pattern—/f/ release/f/—for a long time without interruption in the sense o f ease or change in your breath­ ing pattern. The pace of the inhalation or release is important. It should be slow enough for the student to sense the full release, but not so slow that too much time elapses. Also, I find that it is important at the beginning for students to place their hands on their abdomen in order to feel both from the inside and outside. Having the teachers guide the process with their hands OVER the students’hands provides additional tactile input. Notice I do not say “ breathe” — this is intentional. The impor­ tant element is release not only of the abdominal muscles, but also any other insidious tension that has built up somewhere in the body. The pattern should be repeated for 15 to 20 seconds. The sound is NOT sustained, just a quick easy voiceless sound. The repetitions should be rhythmic and even. Most people do fine

Releasing for Breathing

131

Figu re 5-4. A. On the l\l the abdominal m uscles pull in expelling the air. B. Immediately following the end of the /[/, the abdominal m uscles release to allow the diaphragm to contract, releasing the belly thus beginning the breath cycle over again.

for the first three to ten repetitions. However, if they are not fully releasing the pattern will begin to change. Above all watch the body. Look out for the following signs of inadequate release and built-up tension: ■ Audible inhalation— quick snatch breath or big sigh release. ■ A break in the rhythm of the pattern. ■ Collapse of the chest.

132

Body and Voice: Somatic Re-education

■ Push out of the abdominal muscles after several repetitions. ■ Extraneous movement of the shoulders. ■ Repetitions becoming uneven or labored. ■ Change in loudness. Initially the student may only be able to successfully repeat the sequence for a few seconds. As soon as you feel or see any indications of the lack of release, push out or abdominal muscle tension, or hear inhalation, stop. Ask the student what he or she noticed. Give the student time to recover. Then have the student try again. Several scenarios for troubleshooting are presented at the end of the lesson.

Sound Variations—Semioccluded Once the student is able to demonstrate some level of ability to fully release on the /s/ or /// change the task to a voiced sound. Very often students have no trouble with the voiceless phase. The trouble begins once voice is added. I prefer to use the lip trill, tongue trill, raspberry—tongue vibrating against the lower lip— or a variation because there is additional resistance o f the breath from the semioccluded sound. If the movement of the air is not consistent the initiation of the sound will be delayed or stop. It is harder to “ fake”airflow with these sounds. On the other hand there are individuals who cannot make these sounds. For them I will use a /v/, upper teeth resting on the lower lip; the /z/ same position of the tongue as in /s/, or /w/ sound which is made through a small opening in tightly rounded lips. Listen carefully for delayed onset o f the voiced sounds. Often students make a false start and then correct. This is indicative they were not ready with the breath before initiating phonation. Stop and make sure that they are fully releasing. 1. Release your belly then pull your belly muscles in and up as we have been practicing. Now at the same time make a voiced sound on lip trill, tongue trill, raspberry, or/w/ 2. Keep repeating the voiced sounds follow ed by a release fo r 15 to 20 seconds. It should feel as though you could easily

Releasing for Breathing

133

continue the pattern lip trill— release— lip trill all the way to your car without interruption in the sense o f ease or change in your breathing pattern.

Variations to Increase the Duration and Contour of Voiced Segments As the student is comfortable with this phase increase the dura­ tion and contour of the sound. This phrase begins to generalize toward connected speech. Stay with the same sound— lip or tongue trill, velar trill, raspberry, /v/, or /w/. 3- OK, now each time you make the sound begin to expand the duration and pitch contour so you can begin mimicking connected speech or song. Allow the phrases to be longer. Try thinking o f the words to your song or monologue as you continue. Be sure to fully release at the phrase breaks in the song or monologue.

Mix Voiceless Isl or IfI With the Longer Voiced Sounds The student may be able to release on only voice sounds, but get stuck as the complexity increases. Add additional complexity with random shifts between voiced and voiceless sounds. 1. Release your belly then pull your belly muscles in and up as we have been practicing. This time alternate between sus­ tained voiced sound and voiceless/s/ or/f/ 2. For example /s/— release—/s/— release—/s/— release—/s/ — release/THEN voiced semioccluded lip trill— release— lip trill— release THEN BACK TO/s/—release—/s/—release— lip trill— release, and so forth in random order. 3. Keep repeating the randomly alternated voiced and voice­ less sounds follow ed by a release fo r 15 to 20 seconds. The pace should be steady and even. It should be so easy that you could continue alternating the sounds without any change in the ease and quality o f the sound while you are walking the dog.

134

Body and Voice: Somatic Re-education

Positional Variations to Facilitate Abdominal Release Many people find it very difficult to release their abdominal muscles. As a culture we are trained to keep the abs tight— we spend lots of time and money learning to keep our tummies flat. For these folks shifting the posture both in sitting and then in standing allows gravity to help and places the indi­ vidual in a position in which he or she CAN more easily re­ lease the abs. In either position the movement forward com es from the hip joints allowing the spine to move as a whole. The abdominal muscles are then free to release so gravity can eas­ ily help with the release. The feeling of bringing the navel back and up toward the top of the spine is then easier. (Also see sitting and standing variation in FREEING THE PELVIS lesson in the next chapter.)

Sitting Variation This variation places the student in a position in which he/she gets maximal skeletal support. With the pelvis free, the abdomi­ nal muscles can release fully. Have your student go through the variations of the lesson beginning with the voiceless sounds then voiced from this position. Once they can feel the full release, it is VERY IMPORTANT that they can transition to a more upright position without losing the organization. So they need to practice bringing themselves up gradually. Coming up gradually helps them to feel if there is a place where another negative pattern asserts itself—where it is not so free and easy. When they feel this change, have them lean forward again just a little to reinforce the ease, then con­ tinue to com e up. If necessary, go back and forth until they can sense what they do to interfere and begin to figure out how to do something different. Please sit with your feet on the flo o r and rest your forearm s on your knees with your palm s fa cin g up. Release your belly toward the floor. Let gravity help (Figure 5-5).

Releasing for Breathing

135

Figu re 5-5- Sitting feet on the floor, leaning for­ ward, so the forearms are resting on the thighs with the palms up.

Sitting with the palms up is very important. When the palms are facing down the shoulders roll in and the chest sinks. With the palms facing up, the chest is open and will lift easily (Figure 5-6). Also be sure that there is a go o d skeletal connection; that the student is leaning with the elbows on the thighs, not just letting the arms touch the thighs. 1. In sitting resting your forearm s on your knees with your palm s fa cin g up release your belly then pull your belly mus­ cles in and up as we have been practicing. This time alter­ nate between sustained voiced sound and voiceless/s/ or/f/

136

Body and Voice: Somatic Re-education

Figure 5-6. Sitting with the palms down, the shoul­ ders roll in closing the chest and restricting free movement of the diaphragm and ribs.

2. Continue to alternate between the voice and voiceless sounds as you have been doing. At the same time gradually begin to come to a more upright position. Do it slowly. Slide your hands back toward your trunk so you are a little more upright. Stop about half way up. Then go back down to rest­ ing your forearm s on your thighs. 3. Let’ s try the sound— release again a few times as you come up. Can you maintain the same sense o f release?

Releasing for Breathing

137

4. Now come a little more upright, but keep your back straight. Just let your hands rest in your lap this time and make the sounds again. 5. OK, sit up normally and see if you can maintain the same freedom. If the student begins to revert to the old pattern have him or her go down to the point where he or she can easily release and work back up again.

Standing Variation In standing the position is similar. Stand bending forward with your hands on your thighs and your hands with the fingers pointing toward each other so the elbows are out to the side (Figure 5-7A). In this position the shoulders are more easily relaxed and the back can straighten. Make sure that the back is straight. As a starting position people will often tuck their pelvis under as they stand with their hands on their thighs instead of sensing the back as straight from the top of the neck to their tailbone (Figure 5-7B). The gradual return to an upright position is especially important in standing. Once they find the release leaning for­ ward, ask them to slide their hands up an inch or so. In the half raised position, repeat the pattern to make sure the breath release is easy. In this way gradually com e to standing. Be sure that when coming up the student does not just slide the hands up rounding the back. Keep the contact of the arms to the thigh so the trunk can straighten. At each step have them repeat the sequence, release—sound— release—sound— release for 10 to 15 repetitions. Generally students do well until they approach their habitual stance. Listen to any variation in the sound. If they are beginning to grab and not release, then sound will often change. This is a clue that they are not fully releasing the breath. Check to see if the knees begin to lock. Ask them to go down again until they feel the release, then back toward their habitual stance. Going back and forth will often help them find the organization and upright position in

138

Body and Voice: Somatic Re-education

Figure 5-7. A. Standing with back straight hands on the thighs, elbows out, fingers facing toward one another. B. Standing with pelvis tucked, rounding the back. If B is the starting position it is difficult to round the back as it is already partially rounded. The hinge of the pelvis is at the top of the leg not at the waist.

which they can keep the pelvis hanging and abdominal muscles released. 1. Stand with your feet comfortably apart, hands resting on your thighs and your fingers fa cin g one another so your elbows are slightly bent. It is important to keep your back straight. Think about grow ing a tail so you r back will be straight. (This helps keep the pelvis in line with the spine and not curled under.)

Releasing for Breathing

139

2. Repeat the release—sound— release pattern again a few times. Can you maintain the same sense o f release? 3. Now come up gradually. Bring your hands up your thigh just a few inches toward your hip, keeping your back straight. Repeat same pattern, release—sound— release again. Make sure you release the abdom inal muscles fully. 4. Keep com ing up slowly, a few inches each time, until you come to standing. It is VERY IMPORTANT that you go slowly. I f you feel that you cannot release easily as you have been doing, go back down a little and come up. In this way you will be able to maintain the fu ll release even in your fu ll upright posture. You might fin d that as you come to your “ norm al” posture you begin to grab and cannotfully release. It may be that your habit has not been serving you as well as you thought. If the student continues to grab when fully upright, it may be that his or her habitual stance does not allow for a go o d release. If the student continues to lock his/her knees are or is unable to release the belly when upright, the problem may be in the relationship o f the feet to the pelvis. Locking the knees may be related to a subtle imbalance of weight distribution. Let them explore this lesson for a while to see if anything changes. If not try CIRCLES OVER THE FEET in Chapter 7. Leave it alone and allow time for the student to integrate what was learned.

Troubleshooting Difficulty Initiating Voicing Through the LipITongue TrilllRaspberry Many people have trouble with one or the other of these sounds. Some can do lip trill, but not tongue trill or raspberry (tongue vibrating over lower lip) or vice versa. Make sure that you are using the sound that is EASIEST for the student. A variation can be blowing bubbles in a partially filled glass o f water through a small diameter straw.

140

Body and Voice: Somatic Re-education

TEACHER: Now I want you to begin again, only this time you will use a lip trill (or their sound o f choicej instead o f the /s/ sound. Start just making the lip trill (tongue trill, raspberry, or bubbles in water through a straw, whichever the student can do) without voice. Now make the same sound but add voice (pitch). Stop, re-lease the breath, and start again. (Student begins but after a few times the lips don't vibrate easily. There are false starts.) TEACHER: What is going on? Do you notice that it is harder to initiate the bu zz with the sound? Try it just with the /s/ or /f/ again and feel the difference? Be sure to release your belly each time. Now, can you do the lip trills without voice. (This sounds like a horse neighing.) Any o f the trills— lip, tongue, velar, or raspberry (tongue on lips)— or bubbling through a straw can be done both with and without voice. Once you can make the sounds without voice. Then repeat the same sounds again but with voice. Repeat this a few times. Notice: What are you feeling? What is preventing the air from moving as easily on the voiced lip trill? Do you feel as though you are fully releasing? Are you releasing laryngeal tension as well as your abs? Go back and try again alternating between the trill without voice and then with voice. If the student is having problem adding voice try a dif­ ferent sound. If the student continues to have trouble initiat­ ing voice on the lip trill, tongue trill, or raspberry, try a back velar trill or gargle with a little water. Another option is blowing through a straw in a small amount of water. Have them blow bubbles in the water without and then with voice. Make sure the air is going through the straw and not around the lips or

Releasing for Breathing

141

through the nose. The full release of tension from the larynx to the abdomen is key at the beginning of each attempt. Once the student begins to get a feel for what he or she is doing continue to expand the time voicing.

Difficulty Releasing the Abdominal M uscles Begin with an easy relaxation or release of the abdominal mus­ cles, but instead of one short /s/ followed by a release pause, sus­ tain the /s/ and pulse quickly from the belly. The belly muscles should be contracting and releasing. Not aggressively but easily. For some this is very difficult, so start with a slower pace. It is like revving the engine. Each group of pulses should be light and bouncy for five to ten pulses. The student should sense an easy lift and flow. If they sense that the chest or throat is tightening they should stop. Slow down and try it again. Sometimes a /// is easier. When pulsing using the lip or tongue trill it is important that the air is not stopped by the tongue or the lips. The sound should not be percussive, but rather as smooth as possible. When the air moving between the vocal folds is pulsed it is very difficult for laryngeal tension to build up. I have noticed that hard onset is eliminated once they are able to do this easily. At the same time head movements and shoulder movements are eliminated as well. The sound is initi­ ated by the airflow, not by closed vocal folds quickly opening and slamming together. When doing this variation, the belly must be soft and flex­ ible. One often does not see big movement during the pulse, but there should be movement on the release. Tension or tightness in the chest, shoulders, or throat begins to dissolve. TEACHER: How easy is it now in this position to feel the release and renewal o f your breath? STUDENT: It still is hard to release even though I am lean­ ing forward. TEACHER: OK, so lean forw ard a little again. Slow down your pace so you can really feel yourself releasing.

142

Body and Voice: Somatic Re-education

STUDENT: I feel it gets harder but don't know what I am doing. TEACHER: OK, so instead o f the /s/ and pause (or voiced and pause) try pulsing on the sound. Feel your belly bounc­ ing easily in and out— in out— in out— in out. Do you have any sense o f movement in your chest as well? STUDENT: Not sure. TEACHER: OK, try the pulse again. Move your belly gently in, out— in, out— in, out. Has anything changed? Repeat several times if necessary. The student can slow down the movement so he or she can feel the abdominals pull in toward the spine and then release at once. STUDENT: Yes, it seems easier. But I don Yunderstand what I did. TEACHER: That’ s OK, your body did. (See FREEING THE PELVIS lessons if the student continues to have trouble releasing the abdominal muscles.)

Case Studies Joe JOE, A YOUNG ACTOR/SINGER, is getting ready for some major auditions. He is well trained and has already had considerable success in regional musical theater. The added pressure of the high-profile auditions is resulting in increased breath holding and tension in an effort to do everything RIGHT. His coach noticed when Joe was working on m onologues he would often pause, but never really breathe. Even in casual conversation Joe would go and g o and go then finally gasp for air. By the end of a long m onologue or song his voice would becom e tight, strained, or just not as resonant so the big moments lost excitement. Joe complained about his breath control. When asked to demonstrate breathing, Joe is able to dem­ onstrate the appropriate pull in/up and release. However, in

Releasing for Breathing

143

observing him as he presented his audition material his pattern changed as he began to build toward the climax. This was the case in both m onologue and song. Because he basically understands both the mechanics and physicality of the in and up/release breathing we did not spend a lot of time on the basics. Joe began the lesson: /s/— release—/s/— release, and so forth. On the voiceless sounds he was able to easily continue at an easy pace for about 25 seconds. However, after about 10 seconds using the voiced lip trill he would audibly breathe. This happened over several repetitions o f the pattern always after about 10 to 15 seconds. TEACHER: What just happened? JOE: Ifelt as though I didn ’ t have enough air Ifelt as though I needed to breathe. TEACHER: Place your hand on your upper belly. Tm going to put my hand on top o f yours so we can both feel what is happening. Now try doing the same pattern, release— lip trill— release again. Joe repeats the sequence again. After about 15 repetitions he does not fully release, as he continues he begins to hold the belly muscles tight. He will occassionally reverse the movement to a belly out movement on phonation. It is at this point that he audibly inhales. TEACHER: What did you notice? JOE: I am not sure, I thought I was doing the same belly release pull in the whole time, but I am not sure. TEACHER: OK, try again. Joe begins again, but after about 15 repetitions as he begins to hold the belly tight. TEACHER: Keep going, but notice what is happening? JOE: It feels as though I begin to tighten my abs instead o f releasing after a several repetitions.

14 4

Body and Voice: Somatic Re-education

TEACHER: Good, let's do it again with a little more time in between each repetition so you can really feel wtyat you are doing. As Joe began to feel what he was doing, we added complexity to the lesson, expanding to vowels, longer sounds, and eventually sung as well as spoken text. He was gradually able to fully release at each pause no matter the context. As he reached the climax of his pieces he was able to give a more powerful performance. TEACHER: Let’ s take a short passage from your monologue. Speak it while you are maintaining the lip trill. Make sure that you are actually trying to move you r tongue. D on ’ t punctuate each syllable. Keep the airflow ing easily through your lips. If the student can’ t lip trill this same strategy can be used on a /w/— rounding the lips as though sipping a small diameter straw, so they feel the air moving between the lips. The sound has a slight buzz. Gently keeping the cheeks lightly puffed helps maintain the airflow. The /v/ sound works well too. TEACHER: What is happening to the air as you go through this? Are you able to keep the air flowing. Notice that about the third phrase you are having trouble getting the lips to start at the same time as your words. Do it again taking more time every time you pause to feel the fu ll release. JOE: This is hard, but la m begining to sense how I can keep the air flowing. TEACHER: Good. I want you to practice parts o f your mate­ rial, not the whole thing, but sections in this way. Over the next few sessions, Joe began to feel when he was not fully releasing. He felt he could really focus on his acting and expression rather than struggling with his breath.

Brent BRENT, A DANCER, SINGER, ACTOR, who recently began audi­ tioning for musical theater roles. He is a very go o d but untrained

Releasing for Breathing

145

singer. He has had some formal acting training but no formal voice work. Previous shows have required mostly dancing with incidental short lines and bits of a song. He is being encour­ aged by his friends to audition for the regional theater company. Because they are planning several musicals during their upcom ­ ing season the auditions required the usual 16 bars and 1 minute of monologue in addition to dance. He is working with a very good coach but can’ t seem to “ get”the breathing. TEACHER: What is it about the breathing that you are struggling with? BRENT: I just ca n ’ t seem to get through the phrases, espe­ cially singing, hut even toward the end o f my monologue I feel like I ca n ’ t keep the pace, ca n ’ t really build the mono­ logue the way I want to. TEACHER: What do you understand about how to breathe fo r speaking and singing? BRENT: I know that you have to breathe with the diaphragm but I ca n ’ t seem to do it. TEACHER: Where is the diaphragm and how does it work with the lungs to get the air in and then out past the vocal folds? BRENT: I am really not sure. This is an important question to ask even if the student is accomplished. There are so many misconceptions about the role and placement of the diaphragm that it is a go o d base point to make sure you and your student are speaking the same language. TEACHER: The way we breathe depends on what we are doing. You have learned to breathe fo r dancing, which is a little different than breathing f o r singing and acting. First le t’ s learn to breathe fo r singing/acting and then modify it. Stand bending from the hip joints with your knees bent and your hands, fingers fa cin g each other. Release your belly muscles and then say/s/ Feel how on the/s/your belly muscles move in and up. Repeat this several times. Really feel the release o f your abdom inal muscles.

146

Body and Voice: Somatic Re-education

BRENT: This is hard, I am not sure I ever really let them go. As a dancer the emphasis is always on the pull up. TEACHER: Right, that is why breathingfo r singing is so hard fo r you. The way we teach breathing as voice teachers does not work with the way you breath fo r dancing. Try it again. Remember on the release the air just comes in. Even if you don'tfully release alternate release—/s/—release—/s/. Find a pace that is easy that you can keep up f o r 15 to 20 seconds without feeling as though you need to breathe. Notice what happens during the release. Can you feel, sense, or imagine air coming back into your body when you release your belly? BRENT: I can at first, but as I keep going it gets harder. TEACHER: That’ s because you d on ’ t fully let go. As you do more repetitions you begin to take partial breaths. Stop and walk around. When you are ready come back to the same position. This time begin just flexing your belly muscles. Think about bringing your navel up toward the base o f your neck (see Figure 5-3). Good does that make it easier to release? Do you feel move­ ment in your chest as you lift your abdominals in and up? BRENT: I think so. TEACHER: Go back to the /s/ release with the idea o f bring­ ing your navel up to the base o f your neck each time. Repeat this fo r about 10 to 15 seconds. Is it getting easier? Take a break. Once Brent began to feel the release pull in (or contract the abs) the lesson continued with the semioccluded vibratory sounds, lip trill, tongue trill, or raspberry. TEACHER: Did adding voice change what you were doing? BRENT: A little, but I am beginning tofeel what I need to do. TEACHER: Good now do the voiced sounds again but move your hands higher on your thighs so you are standing a little

Releasing for Breathing

147

straighten After every 10 to 15 repetitions stop and stand a little straighten Brent is able to maintain the release until he gets close to stand­ ing upright. BRENT: Wow, as I stood up straight, Ifelt myselfgoing back to my usual pull up stance. As a dancer I can! really let go o f my abdominals the way you want me to. TEACHER: That’ s right. But you can release them a little and release them from higher up. Your basic “ dancer stance”is with a much more lifted rib cage than most singers or actors use. You need to fin d the flexibility in the chest and ribs. In other words you need to fin d a way to allow the diaphragm to contract, but you don ’ t have to release the whole mid belly. For the moment forget about the movement o f the abdom ­ inals. As you make the sound, voiceless or voiced, think about air and sound expanding your ribs, near your armpits. Do not hold your ribs wide, but let them get wide on the sound. At the end o f the sound release into your lower ribs. BRENT: la m not sure I am doing what you are asking, but la m begining to sense how and where in my body lea n let go. TEACHER: Keep exploring this idea. Then alternate with what we have been doing. The important element is the flexibility o f the upper abdominals. Now let’ s try a bit o f your song. At the end o f each phrase stop, release, feel the air fill your chest as you reingage. Do it on the lip trill so you know if the breath is ready. BRENT: Oh, this is really different. I will need to practice this. Dancers are trained in the pull up. They really have a very hard time with the full, let go of the abdominal muscles approach. As dancers they must have the long spine for stability. Once they discover the feeling o f release high in the abdominal area or in the ribs, singing and acting becom e easy.

148

Body and Voice: Somatic Re-education

Breath Holding Students often complain of strain in parts o f their range or when doing a big scene. They seem to be working hard, but do not have the power or range of expression they need. They show a lack of endurance or inability to move through a phrase or sus­ tain the intensity they are looking for in a monologue, song, or even for a 30-second spot. As teachers we all have exercises that generally get the student to a more efficient place in all these cases. But what is happening when our normal strategies don ’ t work. What is happening that we are missing? Often we work on breathing but nothing changes. Again what are we missing? This was a question I asked myself many times. Gradually I began to realize that while they could DO the breathing lessons, once they got going they really were not breathing efficiently. They would pause, but not release. They would LOOK like they were releasing, but there was no connection. I began to pay attention to what was happening and noticed that people would talk on and on and on and on without appear­ ing to breathe or just taking high catch breaths. Finally their body would demand air so they would take a big breath and charge ahead. Just as often however it was very difficult to detect the breath holding. Problems with breathing or breath support can be the result of overt breath holding or inefficient and maladaptive patterns. As we are all too aware the respiratory system is a com plex structure made up of interlocking and interactive parts— skeletal structure, muscles, ligaments, and internal organs. Changes in one part of the larger structure— the human body— will result in changes elsewhere. The position o f the pelvis, balance on the feet, immobility o f the ribs, or laryngeal tension or p os­ turing of the vocal folds, all can prevent the diaphragm from contracting appropriately or the lungs from expanding or can interrupt the intricate coordination o f the respiratory system, consequently inhibiting exhalation. In other words when there is breath holding or difficulty with breath support, the problem can be anywhere. Breath holding is one o f the most com m on maladaptive patterns. What I am calling breath holding may not actually

Releasing for Breathing

149

be “ holding the breath”but rather suspending the breath or maintaining a balance between inspiratory and exhalatory forces so no air can move. Because performers for the most part are talkative, high-energy outgoing individuals it is not surprising that along with the innate outgoing personality com es breath holding. They talk and talk and talk and pause, (don’ t breathe) talk and talk (still don ’ t breathe) until their body demands air. This is what they do in life. It is not surprising that these same patterns are present when acting or singing. Inefficient or maladaptive respiratory patterns sometimes result from lack of connection or flow of the airstream from the lungs through the larynx, or from blockage, suspension or constriction in the upper airway, larynx, or supraglottic space (vocal tract). The source(s) can com e from a poor somatic map, poor posture, the position of the pelvis, balance on the feet, or immobility o f the ribs preventing either the diaphragm from contracting appropriately or the breath flow moving efficiently upward. By the same token laryngeal tension, posturing of the vocal folds, or lingual or pharyngeal tension will cause constric­ tion restricting airflow and/or interfering with the ability o f the vocal folds to vibrate optimally. In other words when there is breath holding or difficulty with breath support, the problem can be anywhere. There are almost as many ways to interfere with breath sup­ port, or airflow as there are performers. Although this is clearly hyperbole, we are generally very go o d at getting in our own way, interfering with our body’ s attempts to function optimally. Poor respiratory patterns often manifest themselves under stress dur­ ing performance or in the middle o f a monologue, text, or song. The student may be able to demonstrate appropriate breathing patterns during warm-up or when focusing on production, but when they go into performance mode problems begin to arise. Closely observing the student for a true release and renewal of the breath is essential. Clothing anatomy is often helpful in identifying their pattern. What students say they are doing and what they actually do are not always the same. To better understand what can happen when som eone is breath holding, let us briefly review the anatomy and physiology. The larynx is the source o f human sound. As you know, the larynx sits at the top of the trachea with the resonator above

150

Body and Voice: Somatic Re-education

including the epilarynx, (the space just above the vocal folds but still within the laryngeal vestibule), the mouth, and nose. If we envision all the systems, respiration, phonation, and resonance as a tube with an opening only at the top the importance of effi­ cient airflow becom es clearer. (The bottom is the lungs, extend­ ing up through the trachea and the larynx, to the resonators of the mouth and nose.) The diaphragm must contract (down­ ward movement) for the lungs to expand changing the pressure within the lungs and pull air into the body. (If the diaphragm is immobilized we need to be artificially ventilated to survive.) The only way the air can move in or out o f the lungs is between the vocal folds. We need steady airflow up between the vocal folds to bring them into vibration. For air to be replenished, the vocal folds need to instantly open at the end of phonation at the same time as the diaphragm contracts, so air can com e back in (down) into the lungs. In this way we replenish air used to sing AND replenish air that was used to reoxygenate the body. Constricting the tube at any point (at the top, with the vocal folds, or sternum— rib— trachea area) or inhibiting the ability of the diaphragm to fully contract increase the need for increased phonatory effort or activity o f additional laryngeal muscles. The tube is really part o f a complex structure made up of interlock­ ing and interactive parts— consisting not only o f the diaphragm, lungs, trachea, larynx, articulators, and resonant spaces of the mouth and nose but also our skeletal structure, muscles, liga­ ments, and internal organs. Constrictions or constraints in one part of this structure— the human body— will result in changes elsewhere. It is easy to see that breath holding or airway constriction results from constriction at the level of the abdominal muscles —they are not releasing fully— related to position o f the pelvis (tucked in, butt muscles tight) or related to lower body (knees locked). It can result from problems with the upper body or chest (rib cage held too high and tight or collapsed or tightness in the upper chest). Breath holding may be the result of main­ taining closure or partial closure of the vocal folds at the end of phonation in larynx. Or it may result from the lack of connection between abdominal area and chest or maintaining equilibrium between the chest wall and diaphragm. This section addresses

Releasing for Breathing

151

breath holding or constriction related to constriction in the chest or at the level o f the larynx. Lessons in chapters, MOBILIZING THE PELVIS and IMPROVING STABILITY also address breath holding but from a postural perspective. As teachers we need to becom e detectives. Sometimes the problem is easy to spot and easy to resolve, other times it is very difficult to see and to correct. Respiratory-phonatory coor­ dination is the most complex of the processes needed for vocal performance. The body is constantly in motion as we sing or act. Not only does the position of the body change as we move, but the configuration of the mouth and resonant space is in constant flux as we quickly shift phonemes, pitches and loudness as well as emotional expression o f the text. This constant flux subtly changes the aerodynamics involved in phonation demanding subtle adjustments both upstream but also back downstream to the vocal tract. What happens upstream in the vocal tract (oral cavity) has as much impact on the ability of the vocal folds to vibrate as what happens downstream as the air com es from below building subglottal pressure to vibrate the vocal folds (Titze, 2006; Titze & Laukkanen, 2007). Our challenge as teachers is to determine with the student where the block or blocks are occurring. If we keep in mind that we can influence any part of the system from any other part of the system then our task is not quite so daunting. The following case studies are intended to guide your process. This section will present examples and variations of lessons to guide you in your decision-making. There is no RIGHT lesson to use, try them and see which one or ones work for your student.

How to Identify Breath Holding or Constriction of Airflow Breath holding or constriction of the airflow is often difficult to detect in part because it is so endemic in the popular culture that t pay attention. I have had both students and patients we don ’ tell me they don ’ t have time to breathe! Once we begin to pay attention however, there are quite a few concrete signs both auditory and physical.

152

Body and Voice: Somatic Re-education

What to listen for: Some auditory cues that suggest breath holding include: ■ Straining at the end o f the phrase or after a few phrases. ■ Dropping off the ends of phrases. ■ In speaking increased glottal fry (or raspy rough quality). ■ Exhaled breath on the release of the sound delaying the new breath. (An audible release or air can be an effective strategy to convey strong emotion, but should never be present at the ends of every phrase.) ■ The beginning is not a problem, but a few lines or phrases into the song, monologue, speech or text they begin to struggle with phrases, begin to take more breaths that generally becom e more frequent and shallower. ■ Vocal quality is or becom es breathy, strained or rough or resonance becom es flat over time. Less obvious signs of inefficient breath managment include: ■ A sudden apparently random catch in the voice. ■ Cutting off o f the sound mid-note or mid-phrase. ■ A sudden tickle or cough will sometimes be present as well. ■ Hard glottal attacks at the beginning of the next phrase or sound. What to look for: Physical signs of breath holding are often more subtle. Clothing anatomy discussed in the previous chapter can provide important clues: ■ During the phrase or on successive phrases pay attention to increasing wrinkles below the sternum, or lower ribs, or at the shoulders. ■ Increasing smoothness of the fabric at the chest or shoul­ ders suggesting the student is pulling back and up at the end of the breath. ■ Increased tension in the neck, shoulders, or chest through­ out a phrase, monologue, song, or speech. ■ Little or no movement in the chest.

Releasing for Breathing

153

■ Too much movement in the shoulders, head, chest on inhalation, collapse of the chest, shoulders folding inward. From a physiological point of view the diaphragm must con­ tract (down) on inhalation so the lungs can be expanded. We are used to thinking about the diaphragm as one muscle. However the posterior fibers of the diaphragm are innervated differently than the costal fibers (in front). When contracted the posterior fibers move downward and the abdominal wall outward but since the spine is not displaceable, the lower rib cage can only move a little. This is most likely the strategy used by dancers who are trained in the “ pull up.”Freedom of the pelvis and the rib cage/spine is essential to respiratory support. See if: ■ The lower pelvis is tilted back, arching the lower back pulling or stretching the central abdominal muscles. ■ The knees are locked. ■ The balance point too far back (often also locking the knees). ■ The pelvis is tucked too far under, or gluteal muscles contracted. ■ They are curling the toes under to grip the floor will impede the release as well. Once you have determined there is a problem it is helpful to assess whether the problem is with the inhalation or exhalation. Sometimes we can’ t determine this right away. Signs of inefficiency with exhalation on phonation: ■ Is there audible exhalation of air at the end of the phrase? ■ Increased strain or visible tension or folding in the chest shoulders or back. ■ Appropriate movement of the abdominal muscles but no follow through in the chest or ribs. ■ G ood breath at the beginning but as the piece pro­ ceeds (after the fifth or 25th breath) phrases becom e shorter, there is increased strain, breathing is shallower,

15 4

Body and Voice: Somatic Re-education

and so forth. (This can be a sign of inefficient inhalation as well.) Signs of inefficient inhalation include: ■ Does the student begin the inhalation at the instant the previous phrase is over? (What I call “ stacking the breath.” ) ■ Taking too big an initial breath.

Problems with Exhalation Very often the problems are with the exhalation. As we know, when exhaling the abdominal muscles are gently pushing the abdominal contents upward. Together with the natural recoil of the tissue and chest wall exerting pressure through the diaphragm the air is moved up and out. Positive subglottal pres­ sure builds resulting in phonation. Both in speech as well as in singing the subglottal pressure is constantly changing with varia­ tions in pitch and loudness. The diaphragm is relaxed (upward) allowing the abdominal pressure to be transmitted through it, building pressure below the vibrating vocal folds as required by the vocal task. As lung volume is reduced the pressure is maintained by activation of the inhalatory muscles. Maximal freedom and flexibility of the sternum, ribs, and abdominal mus­ cles are needed to maintain the necessary and highly variable subglottal pressures. Following a big breath the recoil is high. In this case the exhalatory forces result in increased subglottal pressure, higher collision forces of the vocal folds, higher pitch, and loudness unless they are controlled or checked by vocal tract impedance of airflow or the activity of the inhalatory muscles. The lower ribs are slightly elevated (expanded) as the lungs expand. During overactive intentional lateral expansion of the lower ribs the rib cage widens, inadvertently depressing the sternum. Reduced mobility of the ribs and sternum, tension in the back of the rib cage or scapula, stiffness or tightness in the neck or neck muscles reduce the ability o f the sternum and rib cage to move. By the same token, if the abdominal muscles are held tightly, or the position of the pelvis is such that the abdominal muscles are prevented from releasing fully on inhala-

Releasing for Breathing

155

tion remaining in a state o f full or semicontraction, the process is equally inhibited. The resulting attempts at exhalation and phonation then include folding, squeezing, pressing out o f the abdominal muscles that adduct the vocal folds and pull the ster­ num down limiting airflow upward.

Problems with Inhalation Problems with inhalation generally relate to inefficient or inad­ equate release o f the abdominal muscles or contraction of the diaphragm while replenishing the air. It is the contraction of the diaphragm that expands the lungs causing a decrease in lung (alveolar) pressure that is equalized as the air com es in as long as THE TUBE IS OPEN. I would like to mention one additional factor that we gener­ ally do not think about, but is important to understand in this context. At the end of the exhalation, there is a gas exchange (C02out and fresh 0 2 in). We rarely think about this element of breathing and respiration, but it is a very important factor in respiratory-phonatory coordination. While we are expending air to vocalize, some o f the air, (oxygen, 0 2) has entered the bloodstream via the lungs and is busy oxygenating our organs and carrying the resulting carbon dioxide (C02) back into our lungs. The gases (C02and 0 2) need to be balanced. If we do not let that happen, we upset the bal­ ance of carbon dioxide and oxygen in our system. We becom e “ air deprived”or experience “ air starvation”(insufficient oxy­ gen). We have a sensation that we need to breathe, but feel as though the lungs are “ full”and there is not room for any addi­ tional “ air.”Breathing becom es more and more shallow; often the chest rises higher and higher in an attempt to “ pull in air.”Often you see people inhaling repeatedly without adequate exhalation, what I refer to as “ stacking the breath.” For adequate breathing and breath support the rib cage and abdominal muscles must work together. Let us look more closely at the potential physical chain o f events that can occur, what to look for, and then which lessons you might try to help the student redraw their own somatic map and movement patterns.

15 6

Body and Voice: Somatic Re-education

Abdominal M uscles Do Not Release Fully When the abdominal muscles do not fully release and/or the rib cage is held rigid, several things can happen. One obvious thing is that the lungs cannot expand fully when the diaphragm does not fully contract (downward) unless the ribs can expand to accommodate lung expansion. On the exhalation, the chest can collapse and the abdominal muscles stay contracted result­ ing in the folding o f the upper body and/or a pressing out (outward push of the abdominal muscles), which then pulls the chest down as discussed in Chapter 3. (A similar pattern occurs when there is no apparent involvement of the abdomi­ nal muscles at all.) Because the body understands that some movement somewhere is necessary for the lungs to expand, the abdominals will move in whatever manner they can. If they are pulled in on inhalation, they will push out or tighten on the exhalation. Remember that there are several sets of muscles that make up the abdominal wall. They don ’ t all contract in the same way.

There are indeed times, during singing especially, when a slight counter downward pressure against the diaphragm by expanding the lower ribs is appropriate. What is most impor­ tant is the need to keep the abdominal muscles flexible so they are free to change direction, or “ regroup”at any time.

There are other ramifications of the chest collapse. Recall from Chapter 2 that the strap muscles, the muscles that help to stabilize the larynx in the neck, attach to the first rib and sternum. When the chest (sternum) is depressed the larynx cannot move easily due to tension in the strap muscles and often in the ancil­ lary muscles of the neck (specifically the sternocleidomastoid). Whether the abdominal muscles are held in semicontraction, do not engage at all, or push out on exhalation, the chest will sink or collapse on the exhalation unless the muscles of inspira­ tion engage and “ help”ribs resist recoil and stay elevated. Note that the pull down of the sternum is often present when there is no real connection between movement of the abdominals

Releasing for Breathing

157

and the rib cage. In this case, the trajectory o f the pull in of the abdominals is such that the chest does not lift. Problems with breath holding can be addressed with the RELEASE OF THE BREATH lesson and its variations or lessons in Chapters 6 and 7, MOBILIZING THE PELVIS or IMPROVING STA­ BILITY. Improving postural stability can be effective in address­ ing difficulty with abdominal release in standing. I recommend that you begin with basic RELEASE OF THE BREATH lesson and perhaps some of its variations. Through this lesson other issues may present themselves.

Troubleshooting and Case Study The following case study, SHARON, discusses several manifesta­ tions of breath holding and possible solutions that might help you understand what to look for and how to address breath holding.

Sharon SHARON IS A SUCCESSFUL SOPRANO, w ho as you might remember from Chapter 3, the section on Clothing Anatomy, complained of instability in her voice. Because she had been trained to tense the abdominal muscles on phonation it was very difficult for her to find the release. The postural variations were used to help her find the release. She did better standing with her hands on her thighs. She was able to feel the release of her abdominal muscles in this position, but as she progressed through the lesson to the longer voiced sounds, the sound would stop. She was not able to initi­ ate the sound spontaneously at the beginning o f each attempt. It seemed as though she was doing all the right things. The Basic Lesson began as described earlier in this chapter. TEACHER: D id you feel a constriction somewhere? SHARON: I am not sure? TEACHER: Let’ s try it again. Do the trilled /r/— release sequence and see if you can notice a tightness or sense how/ where you are stopping the air.

158

Body and Voice: Somatic Re-education

The sequence was repeated several times. But ks before after 15 to 20 repetitions she was not able to consistently initiate the lip trill immediately with onset of the breath. TEACHER: How was that? SHARON: I still felt as though I needed to breathe. TEACHER: Do you have any sense where you are stopping the air? SHARON: Yes, somewhere in my chest. TEACHER: OK, repeat the trill/r/—release sequence again, when you begin tofeel the tightness stop. Suspend the breath, just hold andfeel the tightness. Then see if you can release it. Repeat the sequence again. This time as you begin the exhale/ pull in and up imagine that you are lifting your sternum from a string attached to the ceiling. When you release let your sternum release a little. SHARON: When I do that I feel my chest moving a little. Is that right? I thought you had to keep the chest still. TEACHER: That is a misconception. The shoulders do not need to move, but the ribs and chest must move to accom ­ modate the expansion o f the lungs. The movement is small but the bottom one-third o f the sternum will lift slightly. Let’ s give you another image. Keep repeating the sequence. Forget about what your abdom inal muscles are doing and move the air into your rib cage under the armpits as you begin to make the sound. I know this is a new idea, but let’ s see what happens. SHARON: It is much easier if I think o f expanding the upper ribs. That works better f o r me. The idea o f letting my rib cage move is new. I kept trying so hard not to move the upper body. Completely changing the focus from the belly to elsewhere in the body can be useful as well. Going back and forth in this way Sharon was gradually able to discover how to allow the breath to flow without actively engaging her abdominal muscles.

Releasing for Breathing

159

The next phase o f this lesson then is to expand into more complex tasks. Short phrases both sung and spoken with the release in between. Once students becom e aware of the hold­ ing pattern over time they are able to: (1) identify when they are doing it, and (2) gradually able to figure out what to do that allows for maintaining the airflow.

Trouble When Extending to Longer Groups o f Phrases, Mixing Voiced and Voiceless Sounds, or Other Forms o f Breath Holding There are several habituated patterns that may be present. Stu­ dents are trained to sustain either musical phrases or long strings of text. They are told to take a deep breath so they can sing through the phrase; carry the breath through the phrase; practice increasing the length of the text or sustained sounds until they can do without intermediate breaths. For many these instructions are enough. For others, it sets up external goals that they do not know how to meet or do not have the time in the context of class schedules to embody fully. The result is a habituated pat­ tern of breath holding. Sometimes it is easy to detect, the tell­ tale noisy exhalation at the end of a phrase (often used by pop singers theoretically for emotional effect but all too frequently habituated in every phrase.) Other times the student appears to be breathing appropriately but toward the middle or end of a m onologue or song the easy breathing patterns just fall apart. In these instances the abdominal muscles are working. The air is com ing in, and trying to flow upward on the exhalation, but is blocked or constricted either at the level o f the vocal folds or somewhere in the upper chest. The chest collapse talked about earlier is often not obvious in these instances. The student will “ hold”onto the air by building up subglottal pressure, tensing, or posturing the vocal folds rather than allowing them to open fully and abduct so they are letting only a small amount of air through, tensing the extrinsic laryngeal muscles, or creating tension in the chest or abdomen. However, the bottom line is they are not fully renewing the breath and are limiting airflow at the end of longer phrases. As a consequence subsequent phrases will not initiate as easily. Both intrinsic and extrinsic laryngeal muscles begin to engage inappropriately, resonance is decreased, and effort is increased.

160

Body and Voice: Somatic Re-education

Strategies for addressing these problems here are similar to the previous examples. But more time may be needed to identify the pattern or build the awareness necessary for change. Stop and have the student go back to the voiceless release phase until he or she can feel a sense of release. (Sometimes even the voiceless sounds are hard, for other problems begin only when voicing is initiated.) Have the student explore if he or she can feel the same sense of release or ease when voicing. Sustaining the sound thinking real phrases such as “ go o d morn­ ing”or “ how are you”often will help. (It is amazing how much better one can do these isolated vocal tasks if we add meaning or subtext to the sounds. Our communicative brain engages and the task takes on a new quality.) TEACHER: After several repetitions, what happened? Was it as easy at the end as at the beginning? SHARON: No, it seemed to get harder. I did notfeel as though I had enough air. (Or) I feel as though I ca n ’ t push the air out; I feel as though I need to push; I feel tightness in my chest; I feel as though my throat is closing. TEACHER: Do it again on just the voiceless sound. I am going to stop you at some point. I want you to stop and “ sus­ p e n d ”or freeze. At that point check in with yourself. Look to sense constriction or tension anywhere and try to let it go. It may take several repetitions. SHARON: On the voiceless sounds I don ’ tfeel as though la m constricting or holding. I can keep going and it is free and easy. Stop the student after about 5 or 6 seconds or if you get the sense he or she is beginning to hold or reverse the movement of the abdomen. If students seem to be doing all right with the voiceless sounds, that is if they feel that they are able to repeat the “ release— sound— release”pattern with ease and not feeling tight or air deprived, move on to a voiced sound. I prefer the lip trill, tongue trill (rolled /r/) of the raspberry. Sometimes they do feel the constriction at this point.

Releasing for Breathing

161

TEACHER: Try it now with your favorite vibratory sound (lip trill', tongue trill', etc.). When I tell you to stop,freeze in order to feel what is happening. Stop the student after about 5 or 6 seconds or if you get the sense he or she is beginning to hold or reverse the movement of the abdomen. SHARON: I feel tightness ... (in my chest, throat, neck, etc.). TEACHER: Good, now that you are becoming aware o f the tightness, see if you can figure out where you get tight and then see if you can let it go. This is not easy. If the holding is at the level o f the vocal folds, see if students can intentionally hold their breath paying attention to what they are doing with the vocal folds. Close and release several times. TEACHER: Does this feel fam ilia r when you consciously hold your breath? SHARON: Wow, yes it does. TEACHER: Repeat this several times. Hold and let go, hold and let go. Now begin with the short sound as we have been doing. When you feel the tightness begin, freeze and then let go, and then continue if you can. If the holding or tightness is perceived to be in the chest, watch carefully if they slide their sternum down during the exha­ lation. Sometimes you can see the fold in the clothing or sense their chest is sinking (Figure 5-8). Another pattern involves the shoulders or the head but just as frequently the constriction is just internal. Giving the student counter movements such as bringing the shoulders back or even bringing the shoulders forward on the /s/ or lip trill will give them relief. (Refer to some of the lessons in the previous chapter DIVERSIONARY, PARASITIC, OR OTHER UNNECESSARY PRE­ PARATORY MOVEMENTS.) In this way you will shift the focus AWAY from movement of the belly and chest.

162

Body and Voice: Somatic Re-education

Figure 5-8. Sternum sliding down toward pelvis pulling on the laryngeal strap m uscles on exhalation.

If the Holding Is at the Level o f the Larynx TEACHER: Do you have any sense where you are stopping the air? Is it in your chest or your throat? Where do you feel the tightness? SHARON: I don't know. It just feels as though the air stops and I ca n ’ t get my breath. TEACHER: Are you stopping the air at the level o f your vocal folds? SHARON: I d on ’ t know.

Releasing for Breathing

163

TEACHER: Try this. Just hold your breath and then let it go. See what you feel. Repeat this several times. Hold your breath and then let it go. No sound. Do it slowly enough that you can feel what is happening. Now put your hands together when you hold your breath. As you breathe keep the heel o f your hands together but open your fingers (keeping the shape o f an open glottis) (Fig­ ure 5-9). Do this several times, hold your breath when your hands are together, let go o f your breath when your fingers are apart. Now how does that feel? Is it fam iliar?

Figure 5-9. Using the hands as a way to externalize the movements of the vocal folds.

164

Body and Voice: Somatic Re-education

Often people cannot identify WHAT they are doing, but riiey CAN identify a feeling or sensation as being familiar or not. Once they can identify the sensation as familiar, then it becom es easier for them to figure out what is happening. SHARON: Yes. TEACHER: Repeat the sequence /r/—release. When you breathe on the inhale separate your fingers come to open the V, and as you make sound bringing them quickly together as though they are vibrating.

Externalizing Through Hand Gestures and Movement Externalizing through hand gestures and movement, as we just saw, can be a very effective strategy. I have found that the hands or movement will reflect what is happening on the inside. Watch to make sure that the hands are opening fully. If people are only partially opening their hands then there is a good change that they are not fully abducting the vocal folds. I realize for some there is a coordination problem, but my experience has been that focus on the hands helps them to internalize. If it really does not work for som eone let it go and have them just focus on the sensation in the throat. In this way the student may begin to sense that the stopping of the breath is coming from the vocal folds not fully abducting. It is difficult for the abdominal muscles to release if the vocal folds at the top of the airway are blocked. Unblocking the airway will make it easier to release lower down. TEACHER: How are you doing? SHARON: I am beginning to feel what I am doing to stop or slow the air. TEACHER: Stop using your hands. Go back to the/s/sound. Do it a few times then switch to the trilled/r/—release pattern. Go back and forth five to ten times on the /s/—release—/s/ then five to ten times using the trilled /r/—release— trilled /r/. Keep going fo r about 10 seconds.

Releasing for Breathing

165

Notice: Is there any difference between using the voiceless /s/ or the trilled/r/? SHARON: At the beginning there was. It was harder to keep going on the voiced trilled/r/ But as I continued it became easier to let my vocal folds release. TEACHER: Good. Now make the/r/longer with inflection as though you were talking. Do several in a row paying atten­ tion to the release. SHARON: That is harder, as I go longer and then release, I feel as though I have to catch a breath to go on. I know I don ’ t really have to go on, but I d on ’ t want to pause too long. TEACHER: Often people feel they have to go on an d on and on to get it all out. Really it does not take time to get that release and if you do you CAN go on and on and on only without strain. The same applies to singing. The catch breath should be just as refreshing as the breath you take after a long rest. It takes time to learn to trust that the release breath is enough. However, once students becom e aware o f the pattern, they generally are able to make changes. It takes time. If they get discouraged, have them go back to the basic /s/—release alternating with the /r/—release. Remind them that what they are noticing is the moment they hold. They have been fine up to that moment.

Complexities of Breath Holding Case Study BARBARA, AN 18-YEAR-OLD VERY TALENTED SINGER/ACTRESS, came in complaining o f vocal fatigue. At the time I saw her she was in two shows, a two-person new one-act play and the female lead in a popular musical. The one-act play was in the last 3 weeks of rehearsals. It is a 50-minute show in which she is on stage the entire time. Rehearsals for the musical had started during school. Her range was mildly reduced, but not

166

Body and Voice: Somatic Re-education

significantly. She could only get though about 1 to 2 houns of rehearsal without vocal fatigue and mild perilaryngeal pain. She was very concerned that she would not be able to get through the demanding musical theater role. We began by exploring the release of the breath exercise. Mechanically, physically, she was able to do the exercises with­ out apparent problems. Belly release appeared to be appropri­ ate. It looked as though there was follow-through of the breath. Resonance did not change significantly following the exercises. Speaking through the lip trill also seem ed to be fine. That is vocal quality was g o o d and she was able to maintain the lip buzz even when talking. Yet she complained of vocal strain and a sense of tightness. At the beginning o f her second session she reported feeling increased effort when “ placing my voice forward in the RIGHT place.”This got me thinking: What does she mean by right place? Is the right “ forward focus”place WRONG for her? Was she swinging the pendulum too far? Going from back to driven for­ ward? What was she doing that resulted in her vocal fatigue? TEACHER: When you sing ((in you r throat”does it feel easier? BARBARA: Yes, I think it does. TEACHER: OK, let’ s explore fo r you what is going on when it is easy. We re-examined the releasing the breath exercises. I noticed that whenever she was thinking about good breath support or began to speak part of a m onologue or begin a song, she would take a breath, suspend (hold) the breath, and then begin. Even during the RELEASE OF THE BREATH lesson she would be able to repeat the /s/ several times, and then need to stop to refresh OR stop to exhale stacked air. On the lip trills the buzz would be delayed if not the first time, then by the third or fourth rep­ etition. There was almost always exhalation of air before she could renew. BARBARA: I feel as though I ca n ’ t get air in right away. I feel as though it is stuck or tight.

Releasing for Breathing

167

The audible exhalation often heard at the end of a phrase is a signifier of breath holding. Rather than allowing the air to flow consistently and easily between the vocal folds, some of the air is “ held back”increasing subglottic pressure. As a result the muscles surrounding the larynx, the strap muscles, start to work overtime holding back the air while at the same time allowing some to vibrate the vocal folds. Often the increased tension and vibratory pattern that results irritates the vocal folds causing swelling or impact injury such as nodules, polyps, or scarring of the tissue. In this case she was holding not at the level of the belly muscles, but at the level of the larynx. Getting someone first to recognize the holding and then to learn to allow the vocal folds to gently come together and maintain easy airflow is not easy. I find that the release of the breath exercise is help­ ful. Beginning with just the voiceless /s/, which offers a little resistance with the /s/9listening carefully to the release, sens­ ing are they holding back. What happens after fourth, fifth, or fifteenth repetition? Does the student stop and sigh, take a deeper breath, or slow the pace? All of these can be indications of holding. The air never really stops moving. It goes in then out becoming only slightly constricted by the tongue on the /s/.

TEACHER: Begin to say/s/ pause then repeat the /s/. Keep going. Pay attention to what is happening during the silence, between each /s/ Can you feel air softly com ing back into your body? It w on’ t be much as you only used a little air on the /s/ Keep going. Find a comfortable pace. Pay attention, listen and watch carefully for any signs of a deeper breath, or release of tension. When you notice som e­ thing, have the students stop and ask if they noticed anything. The student may or may not have noticed. Have them continue with the /s/—pause—/s/. Next time you see or sense holding and release have them stop. TEACHER: Stop. D id you notice that you just took a deeper breath? Do it again. Pay attention if you begin to feel as

168

Body and Voice: Somatic Re-education

though you need a breath. (If the student does not stop let it go on fo r a few more repetitions, but indicate to him or her when you feel they are breathing differently or taking a bigger breath.) BARBARA: Yes, Ifeel as though la m not getting enough air. TEACHER: Do it again , but I want you to stop when you begin to feel as though you need air. Suspend the breath, freeze so you can sense any tension. Where are you hold­ ing? Do it a few times until you begin to feel what you are doing. (If students are not aware what they are doing, stop them when you sense the beginning o f the holding or they are about to take a breath. I f you tune in to their pattern, you will begin to sense when they are holding.) Good, do you feel the tightness? BARBARA: Yes, I feel as though I need to push the air out. TEACHER: Now do it again , when you sense the need to push stop. Do it again and push the air out. See if you can begin to feel what you are doing. What happens at the end o f the sound, when you stop? BARBARA: la m letting go o f air. I can’ tjust take a new breath. TEACHER: Do it again and pay attention to what you are doing as you take the breath. BARBARA: I am not sure. TEACHER: What I see is that you are taking a breath, hold­ ing it, and then making the sound. Begin to make a sound and see if you can sense it. BARBARA: Yes, I think I feel it. TEACHER: Good, now just start without taking a breath. Trust there is enough air in your lungs already. I call this the uno-breath breath.”I f you release your belly muscles in the instant before you make the sound, there will be air. You d on ’ t need to “ take a breath.” Try making a sound without a “ real”breath a few times. Does it feel different?

Releasing for Breathing

169

BARBARA: I think so. TEACHER: You are breathing correctly, that is releasing your belly muscles and lifting in and up. The problem is in how you are moving the air between the vocal folds. L et’ s try something. While the lip or tongue trills, raspberry, or other vibratory sounds (Jv/ or /w/) will be effective in promoting optimal air­ flow, this is not always the case. However, Barbara was able to hold back the air while she was doing the lip trill. The audible exhale was evidence of this. A cup containing a small amount of water with a normal-sized drinking straw was used instead of the lip trill to provide her with biofeedback. Bubbling the water in the cup proved successful in giving her the biofeedback.

Straw phonation— phonation through a straw— is a wonder­ ful tool, but needs to be used properly. Often people will allow air to leak around the mouth or through the nose. They will push the air through the straw blowing too hard rather than just letting the air move naturally through the straw. The diameter of the straw is important. The smaller the diameter of the straw is, the greater the resistance. However, some people seem to benefit from a larger diameter straw (such as a normal drinking straw) more than the small diameter stir straw. According to the research done by Ingo Titze and oth­ ers, vocal fold contact is decreased, and there is a widening of the area just above the vocal folds, resulting in improved reso­ nance (Enflo, Sundberg, Romedahl, & McAllister, 2013; Gaskill & Erickson, 2008; Titze, 2006; Titze & Laukkanen, 2007).

TEACHER: First,just blow bubbles in the cup. See how little air you need to bubble the water. Now, add sound. D on ’ t take a big breath. Just make a sound and blow bubbles at the same time. How easy can you make it? Are you noticing a difference in the feeling as you make the sound? BARBARA: Yes I do. I d on ’ tfeel as though I am pushing.

17 0

Body and Voice: Somatic Re-education

TEACHER: Good, now take the straw away and mdke the same sound. See if you can do it the same way you did while bubbling. Go back to the straw and water. Alternate a few times. Now without the straw, make the sound the old way. Take a big breath hold it and make the sound. Do it again the new way. BARBARA: la m beginning to feel the difference. TEACHER: Good, now let's speak a line o f text with the bubbles. Make sure that the bubbles are consistent and not starting and stopping. Keep it as smooth as you can. We kept going back and forth with the straw, without the straw, with text and then singing, doing it the “ old”way then the “ new.”She began to recognize the difference and began to be able to generalize. At the end of the session her voice was beginning to take on a more resonant quality. In this case it is important to understand that while doing the RELEASING THE BREATH lesson, she appeared to be using her breath correctly. When she was isolating the action of breath­ ing. However, when speaking or acting she was in fact taking a breath and then holding it before initiating sound. Her internal understanding of “ forward focus”or “ placing the voice forward” led her to feel as though she needed to constantly place her voice forward. That was happening already. Her vocal placement was not the issue. Listening to her speak normally, in character or sing­ ing, it was difficult to detect a problem. Her voice was not really hoarse or rough. Listening carefully perhaps it was a little pressed, but only subtly so. On the surface there was nothing WRONG, yet she could not make it through a rehearsal without fatigue. Many pop singers use the audible exhalation at the ends of phrases. As a dramatic expression that is totally appropriate. However, used after every phrase the audible exhalation loses its emotional impact and communicative value. Aside from not adding to the expression there is, as we saw with Barbara, the potential of creating unwanted laryngeal tension. Singers are taught to take a big breath to get through a phrase. What is not said is “ take a big breath and then be stingy, only letting a little out at a time.”The result often is laryngeal squeezing or at the very least increased effort by the laryngeal

Releasing for Breathing

171

strap muscles. Actors are trained to image the text and learn to take enough air to get through the phrase. A subtle difference in these two approaches is that the actor is encouraged to let the body determine how much air is needed. Louise McClel­ land Urban, a wonderful voice teacher, taught me to give myself permission to run out of breath. Once I was able to really give myself permission I found I had all the breath support I needed. This is not an easy concept as it goes against our learning to control or manage our breath and breath support. Yet in daily conversation most of us do this all the time. Once we understand that we can just let the breath flow freely, not MAKE it go, but LET it go, life becom es so much easier.

A Word About the Words We Use As teachers we need to be aware how our words can result in confusion. We use images that are part o f our “ standard”descrip­ tive terminology without thinking how students are embodying or creating an image for themselves. I worked with a lovely choral singer several years ago. Her speaking quality was normal. Yet to my ears her singing was somewhat dark with back placement. We began to work on “ forward placement.”Coincidently her cho­ ral teacher kept telling the sopranos to bring the sound forward and up. The more my student tried to get the sound forward, the tighter and more back the sound became. In my frustration, I asked her to do the opposite, to put the sound back. Magically she was able to let go and really sing! Whatever she was doing to get the “ forward placement”was completely wrong for HER. Although it seem ed totally counterintuitive to have her go back, that was what worked. Providing language that is vague enough or using their own language that gives them the freedom to explore is very important. Their language may not make sense to you, but that is OK because it is THEIRS. They are the ones that need to make sense of it. They need to be able to direct their bodies and voice to produce the sound and emotion required. Purple triangles or blue flowing water are fine if they provide the student with the somato-sensory image needed; if not, let them use their own vocabulary.

172

Body and Voice: Somatic Re-education

References Enflo, L., S u n d b erg , J., R om ed a h l, C., & M cAllister, A. (2013). E ffects o n v o c a l f o ld c o llis io n a n d p h o n a tio n th r e s h o ld p r e s s u r e o f r e s o n a n c e tu b e p h o n a tio n w ith tu b e e n d in w a ter .Journal o f Speech Language H earing Research, 56(5). d oi: 10.1044/1092-4388(2013/12-0040) G askill, C. S., & E rick son , M. L. (2008). T h e e ffe c t o f v o i c e d lip trill o n e s tim a te d g lo tta l c l o s e d q u otien t. J ou rn a l o f Voice, 22(6), 634-643. P ettersen, V., & E g g e b o , T. M. (2010). T h e m o v e m e n t o f th e d ia p h r a g m m o n it o r e d b y u ltr a s o u n d im a g in g : P relim in a ry fin d in g s o f th e d ia ­ p h r a g m m o v e m e n t s in c la s s ic a l s in g in g . L ogopedics P h oniatrics

Vocology, 35, 105-112. T itze, I. R. (2006, April). V o ic e tra in in g a n d th e r a p y w ith a sem io c c l u d e d v o c a l tract: R ation a le a n d scie n tific u n d e rp in n in g s. Journ al o f Speech, Language, a n d H earing Research, 49, 448-459. Titze, I. R., & Laukkanen, A. M. (2007). C an v o c a l e c o n o m y in p h o n a ­ tio n b e in c r e a s e d w ith artificially le n g t h e n e d v o c a l tract: A c o m p u t e r m o d e lin g study. Logopedics Phoniatrics Vocology, 32(4), 147-156.

CHAPTER

6

Mobilizing the Pelvis The previous section focused on releasing the abdominal mus­ cles to optimize breathing. Many students will have no trouble with these lessons when leaning forward but at the point at which they resume their upright posture they may not be able to fully release. In these cases the difficulty lies in their habitual posture, such as a lack of pelvic mobility. Other indications of lack of pelvic mobility may involve balance, excess movement of an extremity such as the head or shoulders, or lack of move­ ment in the trunk. There are many potential explanations for the lack of pel­ vic mobility, some relating to stance, stability, or to a medical condition. When the top o f the pelvis is tilted forward, the lum­ bar arch is increased so that the extensors of the hip joint and deep muscles of the abdomen (transversus abdominis and inter­ nal oblique muscles known to be active during exhalation) are lengthened inhibiting further release of the abdominal muscles and limiting ability to contract on the exhalation. If the top of the pelvis is tilted back, that is, the pelvis is tucked under contracting the superficial abdominal muscles (rectus abdom i­ nis and external oblique muscles) making it more difficult to release them on the inhalation. At the same time the center of gravity is lowered when the top to the pelvis is tilted forward, decreasing mobility and inversely, the center of gravity is raised as the pelvis is tilted back, resulting in increased contraction in the thorax. Medical conditions such as chronic back pain, back injury, abdominal pain, or heavy painful menstrual cycles can 173

174

Body and Voice: Somatic Re-education

lead to “ protecting the lower back”and pelvic area. All of thtse may result in reducing the mobility of the pelvis and the spine. We all have a complicated and com plex relation to our bodies and the pelvis in particular. This can result in reduced mobility related to our sense of our own somatic map. The pelvis is not only the largest bone in the body, but the biggest muscles surround it. As we discussed in Chapter 2, there are important muscular attachments from the legs (psoas muscles) and the pelvis (quadratus lumborum) to the spine. These mus­ cles help us bend and twist as well as raise and lower our legs. They attach to the spine at roughly the same position as the crura of the diaphragm (the two long ligaments attaching the back of the diaphragm to the spine). Although these are by no means the only muscles responsible for movement of the pelvis, legs, and spine, understanding these relationships can help us to s ability see how the position of the pelvis might affect a person ’ to get a free breath. As we discussed earlier, the position o f the pelvis has a direct impact on stability, raising and lowering our center of gravity. This in turn will increase or decrease muscular contrac­ tion in the trunk or legs. The position of the head counterbal­ ances the position o f the pelvis. If both pelvis and head are forward it is likely we will fall forward. As we bring our head forward, the pelvis generally goes back. If, however, the pelvis does not adequately counterbalance, then we might contract the muscles of the chest to maintain an upright position. TRY THIS: Stand straight and bring your head forward. Do not move your pelvis; keep your legs straight. What do you notice? Is there tension or tightness in your chest? Try taking your head back. For some of you might notice a greater differ­ ence with your head back, if your habit is to have your head slightly forward. Did you notice what you did? Could you sense increased tension or stain as you brought your head forward? Now keep your head in place, but bring your pelvis forward and com e back to neutral then move it back. In other words overarch your lower back, then tuck your pelvis under. Do it slowly so you can feel. Do not let your head move. This means that the movement of the pelvis will most likely be less. Once again do you feel any increased tension? How was your breath-

Mobilizing the Pelvis

175

ing affected? Did your breathing change when you moved your head forward? Or back? You may be getting a sense how these seemingly small shifts in posture or position can change your balance and breathing. The lessons in this next section relate both to problems releasing the breath AND stability. We can affect any part of the body by working with any other part of the body. This is a difficult concept for many p eo­ ple to understand. If we think about the body in terms of the bones and muscles only affecting those adjacent or connected then such a view is very foreign. If however, we think in terms of flow and stability of the whole, it should make sense. In his book, Body and Mature Behavior, Moshe Feldenkrais (1949) talks about the body as a series o f inverted triangles. The bottom­ most triangle consists of the legs with the pelvis on top. The middle triangle consists of the spine with the shoulders on top, and the top-most triangle consists of the neck with the head on top. He argues: “ When a system of three pendulums is so aligned that the centre o f gravity of each is vertically above its resting point, the system is in equilibrium.”(p. 69) (Figure 6-1). In this image it is easy to see that movement or a shift in balance in any one of the triangles would disturb the equilibrium of the others. The lessons in this chapter can augment lessons in the previ­ ous sections. In fact the second and third variations of FREEING THE PELVIS can be used as the first part of the lesson RELEAS­ ING THE JAW presented in Chapter 4. Clearly the ability to freely move the pelvis is very important for appropriate breathing. It is also a major factor in stability, as you will see in the next chapter.

Figure 6-1. Feldenkrais suggests that the body is a series of inverted tri­ angles balancing one on the other. The top triangle is the head and neck; the middle triangle, the shoulders and trunk; and the lower triangle, the pelvis and legs. A shift in position of one must be counterbalanced by the others. 176

Mobilizing the Pelvis

177

The movements should be done slowly. As the teacher it is important that you watch carefully and make sure that the movements are smooth and slow. It is only then that students will be able to retrain their nervous system. The rest p eriod s are very important. They allow the person’ s nervous system to integrate what is being explored. As you teach these lessons keep in mind that keen obser­ vation on your part and feedback from the student are essen­ tial. None of these lessons are foolproof. None are THE KEY to success. They are provided as a guide for change. During the guided lessons questions are asked to guide the student’ s attention. These questions are not presented in order to be answered aloud by the student, rather they are being asked to stimulate an internal monologue in the student. They are also not intended to indicate what is right or wrong, only to aid the student in his or her discovery of options.

Freeing the Pelvis: Lesson and Variations Sometimes people have difficulty releasing the abdominal muscles especially while standing. The difficulty lies in their habitual posture or internal organization. The abdominal muscles cannot be released if they are standing with the pelvis tilted too forward or too far back (overarched back or pelvis tucked under) or are gripping with their abdominal muscles in order to maintain stability or “ pro­ tect”against pain or injury. Bringing the pelvis and the spine into improved mobility and position will improve breathing and may also release tension at the top o f the spine in the head and neck. There are several variations of this lesson to be done while sitting. All the variations can be combined into one longer explo­ ration. The lesson is also modified for standing.

When to Use These Lessons These lessons mobilize the pelvis and spine. In doing so, they promote more skeletal stability, reduced tension of the upper

178

Body and Voice: Somatic Re-education

body, and make it easier to release the abdominal muscles. These lessons can be used with students who: 1. 2. 3. 4.

Have trouble releasing the breath. Hold the upper body and/or head and neck rigid. Are not “ well grounded.” When looking up, shorten the back of their neck, collapse the chest, or have difficulty finding a way to be “ open.”

Basic Movements This lesson and its variations are designed to bring mobility to the spine from the level of the pelvis and then the head. The basic movement is one of arching and rounding the spine from the pelvis and then from the head (Figure 6-2). This lesson has variations in sitting and standing.

Figure 6-2. A. Sitting rounding the lower back. B. Sitting arching the lower back.

Mobilizing the Pelvis

179

Basic Lesson: Sitting One Hand on the Small of the Back This basic lesson emphasizes the relationship o f the spine to the pelvis through a simple movement of the pelvis. In sitting this lesson helps to provide a better internal sense of the spine from the pelvis. It brings awareness to the relationship between the position of the pelvis and the length of the spine. For many students this lesson is sufficient. Once the pelvis is free to move, the abdominals can more easily release. The upper body can release as well. 1. Sit with your feet on the flo o r and sufficient space behind you to comfortably bring your hand behind your back. 2. Place one hand behind on the small o f your back,just at your waist (Figure 6-3). 3. Slowly round your back into your hand and return to your upright position. Keep your eyes soft and looking forward. Repeat several times so you can begin to feel the spine begin to bend and the pelvis roll backward. Notice: if you are getting a little shorter. (Some people find that using the image o f tucking your tailbone under is useful.) The movement should be in the pelvis, rolling on the “ sitz bones”(the bones that constitute the bottom o f the pelvis). Make sure that the student is not rounding his or her upper back without any movement in the pelvis. The movement must be from the pelvis so the lower back rounds into the hand. As the lower back arches and rounds the spine will appear to get longer and shorter. RESTfor a moment. 4. Keeping your hand on the small o f your back, just at your waist, begin slowly to roll your pelvis forward, arching your lower back away from your hand. Perhaps thinking that you are lifting up your tailbone or imaginary tail. Keep your eyes forw ard and notice if you feel yourself getting a little taller. Repeat several times slowly.

Figure 6-3. Sitting with one hand on the small of the back so one can feel the movement of the pelvis as you round and arch the lower back.

180

Mobilizing the Pelvis

181

5. Now switch hands. Place your other hand on the small o f your back as you repeat the movements o f rolling first fo r ­ ward then back, rounding and arching (bringing the tailbone down and lifting it up). RESTf o r a moment. Notice: Do you notice any change in the way you are sitting or breathing? Students may or may not notice any change at this point. The question is posed to help focus their attention. 6. Keeping your hand on the small o f your back, just at your waist, begin again to roll your pelvis backward, rounding your back into your hand then rolling your pelvis forw ard, arching away from your hand. As you roll forw ard let your belly muscles release. Keep breathing. Find an easy rhythm fo r your breath. Gradually expand the range o f the move­ ment as long as it is free and easy. Repeat 10 to 15 times. Be sure to allow your belly muscles to release as you roll your pelvis forward. 7. Switch hands again as you continue rolling the pelvis fo r­ ward and back. Gradually allow the movement to expand as long as it is free and easy. Repeat 10 to 15 times slowly. Notice: Is there a difference in the quality or character o f the movement when you change hands? 8. Do a few more movements with each hand. Pay attention if the movement changes depending on whether the left hand or the right hand is in back. RESTfor a moment. Notice: Listen to your breathing. Notice how you are sitting on the chair. 9. Stand up and walk around. Sense if there is a change. Begin to speak or sing.

Variation 1: Sitting with One Hand on Small of the Back the Other Hand on Top of Head This variation adds the tactile element of the hand resting on the head. This gives the person a clearer sense of the relationship

182

Body and Voice: Somatic Re-education

between the pelvis and the head and thus the length of the entire spine. The placement of hand on the head provides subtle resis­ tance to the upward movement o f the spine as the pelvis tilts forward. In this way the spine is encouraged to lengthen more. (Make sure that the hand on the head is at the crown of the head— the top and back of the head where it begins to slope dow n— and not too far forward or back.) Some students do not know what it feels like to lengthen the spine. Their somatic map does not have a clear picture of the entire spine. The placement o f the hands on both ends—the pelvis and the head— helps somatically define the entire spine. In sitting they are then able to “ ground themselves better.”Stu­ dents begin to feel better supported by the chair, as they stop working in their upper body so hard to be upright. They find they do not have to work to stay upright. This feeling very often easily translates to the upright position. In standing students will feel better balanced. They will often remark they feel taller. (There are instances where a student will feel “ shorter”but more stable. Accept the students’self-observation as just that, their own altered sense of themselves. Their nervous system will need time to make the adjustments. Do not feel as the teacher you need to comment or change what they are doing.) The movement is the same in this variation with only the position of the hands changed. 1. Sit with your feet on the flo o r and sufficient space behind to comfortably bring your hand behind your back at the level o f your waist. 2. Place one hand behind on the small o f your back, just at your waist and the other hand on top o f your head with your elbow to the side. 3. Keeping one hand on the small o f your back, just at your waist and the other hand on top o f your head, begin to roll your pelvis forw ard slowly, arching your lower back away from your hand. Perhaps thinking that you are lifting up your tailbone or im aginary tail. Keep your eyes soft and forward. Repeat several times slowly (Figure 6-4). Notice: if you feel yourself getting a little taller. 4. Keeping one hand on the small o f your back, just at your waist and the other hand on top o f your head, begin to roll

Figure 6-4. Sitting with one hand on the small of the back and the other on the crown of the head. In this way you can feel the spine lengthen and shorten with the movement of the pelvis. 183

184

Body and Voice: Somatic Re-education

your pelvis backward slowly, rounding your lower back toward your hand. Perhaps thinking that you are tucking your tailbone or imaginary tail. Keep your eyes forward. Repeat several times slowly. Notice if you feel yourself getting a little shorter. RESTfor a moment. Notice: Do you notice any change in the way you are sitting or breathing? Students may or may not notice any change at this point. The question is posed to help focus their attention. 5. Keeping one hand on the small o f your back, just at your waist and the other hand on top o f your head, begin again to roll your pelvis backward, rounding your back into your hand then rolling your pelvis forw ard, arching away from your hand. With the hand on top o f your head, notice as you get taller and shorter. Be sure to allow your belly muscles to release as you roll your pelvis forward. Keep breathing. Find an easy rhythm fo r your breath. Gradually expand the range o f the movement as long as it is free and easy. Repeat 10 to 15 times. Your eyes an d head are looking forward. The neck should be freey eyes soft maintaining your peripheral vision so the eyes do not lock. RESTfor a moment. Notice: Become aware o f how you are sitting, how you are breathing. 6. Switch hands and continue rolling the pelvis forw ard and backward, getting taller an d shorter. Gradually allow the movement to expand as long as it is free and easy. Repeat 10 to 15 times slowly. 7. Repeat the movements again a few times placin g your right hand on your head, the left hand on the small o f your back and then a few times with the left hand on your head and the right hand on the small o f your back. Pay attention to the quality and ease o f the movement. Notice: Does the movement change with the change in the configuration o f your hands?

Mobilizing the Pelvis

185

Your eyes an d head are looking forward. The neck should be free, eyes soft maintaining your peripheral vision so the eyes do not lock. RESTfor a moment. Listen to your breathing. Notice: how you are sitting on the chair. 8. Stand up and walk around. Notice: What has changed? Is there any change in your breathing? 9. Come to standing,pay attention to your breathing. Is it easier to fin d the fu ll release breath? Trying speaking or singing? Be sure the student is not rigidly holding his or her head and that the eyes are soft. Both shoulders should be relaxed.

Variation 2: Sitting with One Hand on the Small of the Back, the Other on the Top of the Head, Head Tilts Up and Down Flexion and extension o f the spine from both the pelvis and the head are explored in this lesson. This variation introduces lift­ ing and lowering of the head coordinated with the arching and rounding of the pelvis, allowing the spine to begin to round and arch as a whole. In the process the spine becom es more flexible. This variation engages the entire rib cage in coordinated move­ ment with the pelvis. As the head tilts down and the pelvis tilts backward rounding the lower back, the sternum com es closer to the pubic bone rounding the whole back. As the pelvis tilts forward, the abdominal muscles can release helping the pelvis roll forward. The back begins to arch as the head lifts. In this way people begin to understand that the head can be lifted from the back and not just the neck. This variation is very helpful for students who carry tension in the upper body and are very rigid, or who sit or stand with their shoulders round, or who sit or stand with their sternum collapsed and head forward. Sometimes they raise their head only by moving their neck and thus letting their sternum sink, slightly rounding the upper back or shortening the back of the neck. This lesson is very useful as it can give students the sense

186

Body and Voice: Somatic Re-education

that they can lift their head from the mid-back so the chest-lifts as the head rises to look up. The movement of the pelvis is the same. The hands are in the same configuration as in Variation One, but the head moves engaging the entire spine. This lesson further expands the Basic Lesson and Variation One. If these lessons have been taught previously, then this lesson can be taught alone. However, these lessons build in complexity so it is important to review the basic movements and positions before going on. 1. Sit with your feet on the flo o r and sufficient space behind you to comfortably bring your hand behind your back. 2. Place one hand behind you on the small o f your back, just at your waist and the other hand on the crown o f your head with your elbow to the side. (Make sure that the hand on your head is at the crown o f the head— the top and back o f the head where it begins to slope down— and not too fa r forw ard or back.) 3. Keeping one hand on the small o f your back, just at your waist and the other hand on the crown o f your head, begin to roll your pelvis backwardy rounding your back into your hand then rolling your pelvis forw ard, arching away from your hand. Repeat this several times. REST. 4. Keeping one hand on the crown o f your head, look down with your eyes so your chin comes down toward your chest with the help o f your hand. Lead the movement with your eyes. 5. With the help o f your hand to guide your head, lift your eyes so your chin lifts to look up toward the ceiling. Once again let your eyes lead the movement o f your head (Figure 6-5). 6. Combine these movements slowly and gently keeping one hand on the crown o f your head, look down with your eyes so your chin comes down toward your chest with the help o f your hand. Lead the movement with your eyes. Then lift your eyes so your chin lifts to look up toward the ceiling. Be sure to guide the movement o f your head with your hands. Notice: Ls there movement in your sternum, ribs, or chest? Do you feel as though your sternum is com ing closer to your pubic bone as you bring your chin closer to your chest?

Mobilizing the Pelvis

187

Figure 6-5. Sitting with one hand on the crown of the head and the other hand on the small of the back. Use the hand on the crown of the head to assist in tilting the head down and up with the movement of the pelvis.

What happens in your back between the shoulder blades as you lift your head to look up? Do your shoulders fa ll back­ ward just a little? Does your chest lift as your back arches?

188

Body and Voice: Somatic Re-education

7. Repeat the movements o f your head with the other hand on top. Repeat this several times. Notice: Do the movements feel the same or different as you change hands? Is it easier with one hand than with the other? Do you fin d it difficult to lead the movement with your eyes? What about the movement o f your chest, ribs, and shoul­ ders? Does that change at all? Or perhaps just feel different? REST 8. Place one hand on the small o f your back,just at your waist, and the other hand on the crown o f your head. Begin again to roll your pelvis backward, rounding your back into your hand then rolling your pelvis forward, arching away from your hand. At the same time, as you roll your pelvis backward, with the help o f the hand on top o f your head, look down toward thefloor so your chin comes closer to your chest. Let your back round. As you roll your pelvis forward, arching away from your hand, look up toward the ceiling above and behind you so with the help o f your hand your chin will lift. Be sure to allow your belly muscles to release as you roll your pelvis fo r ­ ward. Keep breathing. Find an easy rhythm f o r your breath. Gradually expand the range o f the movement as long as it is free and easy. Repeat 10 to 15 times. Notice: Can you keep the movement o f your eyes smooth and soft? Let the movement o f the pelvis together with the movement o f your eyes guide the movement o f the head. The neck should be free and your eyes soft, maintaining your peripheral vision so the eyes do not lock. REST a moment. Notice: Pay attention to the contact o f your bottom with the chair. Can you sense the rocking o f the pelvis? What is hap­ pening to your breathing as you combine these movements? 9. Switch hands and continue rolling the pelvis backward bringing the chin toward the chest leading the movement with your eyes looking down, then leading the movement by looking up and bringing the chin up while rolling your pelvis forward. Gradually allow the movement to expand as long as it is free and easy. Repeat 10 to 15 times slowly. Notice: if there is any difference in the movement with your right hand on your head than your left hand? Are you

Mobilizing the Pelvis

189

aware o f movement in your chest or neck? What happens in your chest, sternum, and ribs as you roll the pelvis back while you are looking down and your chin is close to your chest? What happens when you roll forw ard and are looking up with your chin away from your chest? 10. Come to standing,pay attention to your breathing. Is it easier tofin d thefu ll release breath? Is it easier speaking or singing? 11. Come back to sitting. As before, place one hand on the small o f your back, just at your waist and the other hand on the crown o f your head, begin again to roll your pelvis back­ ward, rounding your back into your hand then rolling your pelvis forward, arching away from your hand. At the same time, as you roll your pelvis backward, let your eyes move UP and with the help o f the hand on top o f your head, bring your chin AWAYfrom your chest. Let your back round. (You are now taking your head in the opposite direction than before. Go slowly so you can feel how you need to reor­ ganize your spine fo r this movement. For some this direction will be easier.) For many this is very confusing at first. It may be easier for them to begin with the movement o f the head and then add the movement of the pelvis. Be sure to allow for sufficient repetitions for them to understand the nature o f the movement. Guide the cuing ONLY with reminders o f the direction not negative state­ ments. If the student is struggling, have them do the movements rounding the head and pelvis together, then as they are round­ ing, have them lift the eyes so the head lifts. 12. As you roll your pelvis forward, arching away from your hand, take your eyes down looking at theflo o r so your chin, with the help o f your hand, will come closer to your chest. This is the opposite organization from what you have been doing. Be sure to allow your belly muscles to release as you roll your pelvis forward. Keep breathing. Find an easy rhythm fo r your breath. For some people this might be a more fam iliar pattern, fo r others it will be more difficult. 13. Gradually expand the range o f the movement as long as it is free and easy. Repeat 10 to 15 times.

19 0

Body and Voice: Somatic Re-education

Notice: Are your eyes leading the movement of-your head? Be sure the hand on the head is active. What about your neck, does it feel relaxed and free? Are you aware o f movement in your chest or neck? What happens to your chest as you roll the pelvis back while you are looking up? What happens when you roll forw ard and are looking down? 14. Change over your hands so the opposite hand is on the crown o f your head. Continue rolling the pelvis forw ard as you take your chin down toward your chest and roll the pelvis back as you take your chin away from your chest. Notice: Be sure to use your eyes. Is there any difference in the quality o f your movement now? Are you aware o f movement in your chest or neck? What happens to your chest as you roll the pelvis back while you are looking up? What happens when you roll forw ard and are looking down? 15. REST, get up, and walk around. Sense any change in your walk, breathing, sense o f your length, and so forth. Let the student walk around without comment for a few moments. Notice if there is any change in the flow o f his or her movement. You can ask the student to speak a text or begin to sing. These movements can be com bined with voice once the student has done the lesson silently.

Variation Three: Standing Variation This variation more directly connects the feet with the pelvis and the head. Often students will lock their knees or stand with their pelvis slightly forward of their upper body. In standing their somatic map may not have a clear sense o f the connection between the feet, the pelvis, and spine or how to lengthen the spine so the head can float. Students often hold their upper body stiffly to maintain balance and are not fully connected to their feet. This lesson also helps students be more balanced over the feet. It might be a go o d lesson for women wearing heels to find their balance point. (Men, too, if they wear boots with heels or are playing a transgender role in high heels.)

Mobilizing the Pelvis

191

The standing variation of this lesson is very similar to the standing variation of the RELEASING THE BREATH lesson. The movements are similar to the yoga “ cat and cow ”poses, only standing rather than being on their hands and knees (Figure 6-6). 1. Stand with your feet comfortably apart knees bent, hands resting on your thighs and your fingers fa cin g one another so your elbows are slightly bent. Note: (It is important to keep your back straight. Think about growing a tail so your back will be straight. This helps keep the pelvis in line with the spine and not curled under.)

Figure 6-6. A. Standing arching the lower back. B. Rounding the lower back.

192

Body and Voice: Somatic Re-education

2. Arch your back, lifting your tailbone up gently as though you are lifting your tail. Look down toward the flo o r so the neck is an extension o f the spine. Come back to neutral. Repeat this a few times (Figure 6-7). 3. Now round your back, tucking your tailbone under. Let your head and eyes focu s at a spot on the flo o r a few feet in front o f you. Repeat a few times. This movement will be slight ini­ tially. Be sure that you are breathing. Release your belly as you lift your “ tail.” It is important to watch the student. Be sure the student is mobilizing his or her pelvis and not arching and rounding the upper back. The position of the head and eyes is important. They should be imagined as an extension o f the spine at the begin­ ning of the lesson.

Figure 6-7. A. Make sure that the student is standing with his or her focus down and slightly in front so the spine is straight. B. If the focus is up then the neck bends and the sternum collapses slightly.

Mobilizing the Pelvis

193

4. Combine these movements lifting your tailbone to arch your back then tucking your tailbone under to round your back. As you lift your tailbone and arch your back let your belly muscles release. Make sure you are well balanced on your feet. Repeat this slowly 10 to 15 times. Pay attention to the quality and flow o f this movement. The movement does not need to be exaggerated. (This movement is similar to the “ cat and cow "pose" in yoga.) Notice: Where are you balancing on your feet? Near the heel, near the toes, or in the middle? 5. Stand up and walk around. Notice: How are you breathing? Do you feel your con­ nection to the flo o r as you walk? 6. Come back to standing with your knees bent, hands on your thighs as before. Once again alternate slowly between lifting your tailbone to arch your back, while releasing your belly muscles and rolling your pelvis under as if you were tucking your tail. Gradually allow the movement to get bigger, letting more o f your spine participate in the movement. Go slowly and repeat 10 to 15 times. You may fin d that your head will want to lift and lower as you round and arch. This is fine. Let it happen. 7. Stop, stand a moment, and walk around. Try vocalizing a little to see what it feels like. For some students this might be enough for the moment. These lessons, although on the surface simple, are very powerful. If the student is tired stop the lesson at this point and change the activity. Come back to the lesson later in the session or dur­ ing the next lesson. 8. Come back to standing with the knees bent. Place your hands on your thighs just below the hip joints. (The hip join t is at the top o f the leg where the crease is when your knees are bent and you are leaning forward.) You will be standing a little more upright in this position. Once again round and arch your lower back (lift and tuck your tailbone). Pay atten­ tion that as you arch your back (lift your tailbone) the belly muscles release. Pull your belly muscles in as you round your back (tuck your tailbone). Allow your head to move freely.

194

Body and Voice: Somatic Re-education

Repeat 10 to 15 times. In this position you may not be able to do as big a movement as you did when leaning over. Notice: Has your breathing changed? Is itjust as easy to breathe in this position as it was leaning more forward? 9. REST a moment and walk around. Notice: Has anything changed in your walking, in your breathing, or your sense o f connection to the floor? 10. Come back to standing. Stand with your trunk slightly bent forw ard at a 45-degree angle. Imagine that your tailbone is slightly lifted. Place your hands on your upper thigh near your hip join t, this time with your fingers pointing down­ ward. Knees are slightly bent. From this almost upright posi­ tion begin to rock your pelvis forw ard and back (lifting and tucking your tailbone). The movement will be slighter. As you lift your tailbone let the belly muscles release to help the movement. Notice: Is it easy to release your belly in this position? How does itfeel to arch and round your lower back from this position? Is it easier or harder than when you were leaning more forward? REST. Walk around. 11. Come back to standing. Standing upright in your habitual position. Begin to sing or speak text. Let your breathing be easy and relaxed. Notice: Is it easier to release your breath than before? 12. Continue with the vocal task and begin to walk around, then stop and notice any changes while you are continuing with the text or song. After a rest if the student begins to revert to the breath holding pattern ask the student to lean forward just a little to facilitate the release. Many people will stand with their weight on their heels and the pelvis slightly forward of the shoulders. This position length­ ens the trunk in front. In order to counterbalance, the muscles of the abdomen and possibly those o f the chest tighten. As a result it is virtually impossible to release fully on the inhalation. Lock­ ing the knees has a similar effect. Coming up to standing then may require that the student find a new neutral. This neutral is the most upright place in which the student is able to rock the

Mobilizing the Pelvis

195

pelvis (lift and tuck the tailbone) even slightly. It may feel as though the student is tipping forward. This feeling will go away once the student’ s somatic map o f being upright is adjusted.

Troubleshooting Not Able to Isolate Lower Back When Sitting If the student is not able to differentiate the lower back in sitting, but begins by rounding the upper back with no movement in the pelvis, it may be useful to help the student feel the movement of his or her back with the help of manual manipulation or touch. Similar strategies can be used with the student standing. TEACHER: Please sit on a stool (or fa cin g the back o f the chair). I would like to place my hand on your back if that is OK. (Make a loose fist on the spine or place your thumb and the knuckle of the first finger on either side of the vertebrae of the student’ s lower back.) Resist the pressure by pushing back toward my hand. You are just leaning with your whole back, see if you can isolate that part o f your where you feel my hand. Try it again. Push back into my hand. STUDENT: I have never done this before. It is hard to isolate parts o f my back. TEACHER: Let me move my hand further up on your back. Move your hand up to the upper mid-back. This is an area that is somatically more familiar, so it is easier to isolate. In this way you are providing a tactile point of resistance for the stu­ dent. Isolating the vertebrae or portion of the back is difficult for many people. Have them repeat several times. STUDENT: Yes, this is easier. I am beginning to be able to isolate that part o f my back.

196

Body and Voice: Somatic Re-education

TEACHER: Good. Let me try another place. Push back against my hand using only the area o f your back where you feel pressure. Then relax. Push and relax. Push back here as well. Good, now try push back here. Once the student is able to isolate areas of the back, keep moving down until the student is able to round at the level of the lower back. TEACHER: Now place your hand on your lower back and see if you can roll your pelvis backward. STUDENT: It is much easier now. TEACHER: Now place your hand on your lower back and roll your pelvis backward and forward. If the student is still having trouble or you do not feel com ­ fortable with the above there are two additional strategies you can try. TEACHER: Place your hand on the crease at the top o f you r leg where your leg connects with your pelvis. I will place my hands on top o f yours and help you roll your pel­ vis backward. Keeping the hands where they arey roll fo r ­ ward so the space f o r our hands narrows as your pelvis rolls forward. You are suggesting a specific movement of the pelvis. Roll­ ing the pelvis backward and forward. Here is an additional option: TEACHER: Lie down on the floor. Put your feet standing so your knees are bent fa cin g the ceiling. Put one hand under the small o f your back to feel how your back arches a little. Roll your pelvis back onto your hand. And then roll it away from your hand so the space gets bigger. Do this a few times. Take your hand away and do it several more times. Can you feel the movement o f your pelvis? STUDENT: Yesy I can.

Mobilizing the Pelvis

197

TEACHER: Take your time and come back to sitting. See if you can do the same movement sitting with your hand behind your back.

Student Is Moving Too Fast One of the most difficult aspects of these lessons is the speed in which students do the lessons. The movement MUST BE DONE SLOWLY and WITH ATTENTION. In order for the body and nervous system to discover alternative movement pathways, it is important that they take the time to move slowly. Otherwise they are just recreating and reinforcing their habitual patterns. The questions or indications of where to focus attention are also very important. They help guide the student’ s attention.

If the Head D oes Not Move B ecause the Neck Is Tense If the head is held rigidly due to excess neck tension the pelvis cannot move freely. VARIATION TWO or VARIATION THREE should then be used. It is always possible to isolate one aspect of the movement. In this case using the hand to move the head forward and back isolates the movement of the head. Once the student can do this relatively smoothly and easily then isolate just the pelvis and finally put them together. TEACHER: Place one hand on top (crown) o f your head. Bring your eyes down to look at the flo o r so that your chin comes close to your chest (head down.) Do this with the help o f your hand. Feel your chest (sternum) come a little closer to your pubic bone, help with your eyes looking down toward the floor. With your eyes up look at the ceiling and using your hand on top o f your head to help tilt your head up. If you notice that just the student’ s head is moving— chin moving up and down but not engaging the upper spine—with no movement in the chest add the following: TEACHER: As you move your chin closer to your chest, bring your eyes straight down to look straight down at your lap

198

Body and Voice: Somatic Re-education

and the floor. Let your sternum slide down toward your pubic bone. It may feel as though you are slouching. That is good in this case. As you bring your head up, use your eyes to see something above and behind you on the ceiling. Let your chest lift a little so your neck will stay free. STUDENT: Is it really all right to slouch? It feels so odd. TEACHER: Yes, it is. The point o f this lesson is to help you feel how the movement o f your chest, ribs, and spine can facilitate the movement o f your head. I f you imagine that your neck begins in your mid-back, rather than above your shoulders, it might be easier. Place one hand on your sternum with your fingers pointing down. As you roll your pelvis backward, bringing your chin to your chest. Guide your sternum down toward your pubic bone. Do this a few times. STUDENT: It is a strange sensation, but when I think about my sternum moving down it doesn't feel so much like I am slouching. The whole movement feels easier. TEACHER: Combine these two movements, begin with your eyes and use your hand to guide the movement o f your head down—chin to chest, eyes looking down at the flo o r and then head and chin up, with your eyes looking up at the ceiling above you. I f it is helpful take your other hand and place it on your sternum as we just did. REST. Repeat the combined nodding o f the head using the other hand. REST. Place one hand on the small o f your back, just at your waist, begin again to roll your pelvis backward, rounding your back into your hand then rolling your pelvis forward, arch­ ing away from your hand. Repeat 10 to 15 times. You can keep the other hand on top o f your head as you feel yourself getting taller and shorter.

Mobilizing the Pelvis

199

Switch hands and repeat. Keeping one hand on the small o f your back, just at your waist and the other hand on top o f your head', begin again to roll your pelvis backward, rounding your back into your hand then rolling your pelvis forw ard, arching away from your hand. At the same time, as you roll your pelvis backward, wiYA o f the hand on top o f your head', bring your chin close to your chest, eyes looking at thefloor. Let your sternum sink toward your pubic bone. Let your back round. As you roll your pelvis forward, arching away from your hand, bring your head up with the help o f your hand taking your eyes toward the ceiling up and behind you. Be sure to allow your belly muscles to release as you roll your pelvis forward. Keep breathing. Find an easy rhythm fo r your breath. Gradually expand the range o f the movement as long as it is free and easy. Repeat 10 to 15 times. STUDENT: It is easier now to combine the movement. I am beginning to sense how my pelvis and head connect through my chest. It may not be necessary to roll the pelvis without the hand on the head and then with the hand on the head. It depends on the student. I cannot emphasize enough, how much each lesson progresses depends on the ability o f the student. Sometimes just getting a hint of the possibilities for movement is enough for their nervous system to begin to change. These lessons do not have to be done perfectly and there is NO “ RIGHT”WAY TO DO THEM. They are explorations in order for the nervous system to becom e aware of alternatives to existing patterns.

Case Studies Mary MARY, A SUCCESSFUL CLASSICAL SINGER, is having trouble getting cast in operatic roles. She gets encouragement from her coach. Conductors like her work and she is frequently hired for

200

Body and Voice: Somatic Re-education

oratorio work, but never for opera. She has taken acting classes to hone her acting skills and feels as though her skill level is competitive. As she came into the room, I saw a very attractive, self-assured woman. My eyes were drawn to her upper body. As she moved I had the feeling that her feet are not really holding her up. Her upper body was very present. Gestures were appro­ priate, but I felt as though I was looking at a marionette. Even her breathing pattern felt to me as though she was lifting herself up, but never coming down. Complicating or exacerbating the prob­ lem were the very high heels she always wore. These contributed to her instability by throwing her weight slightly forward. Even when I asked her to sit for a moment while we talked I had the feeling that she did not allow the chair to support her. Her upper body was not rigid, but seemed to be doing all the work keeping her upright. In this case it is what you don ’ t see that draws your atten­ tion. What you don ’ t see, what does not draw your attention, is her bottom half. Your eyes and attention are drawn to the upper part of her body whether standing or sitting. She is not physically grounded. Her breathing also is very high, not really clavicular, but she never lets go, always keeping her abdominal muscles contracted. In terms o f voice she has go o d technique, even moves well, but there is no foundation. It is almost as though she is singing balancing on a delicate ball with her feet suspended in air afraid to let the ball take her weight. We began our work together with her sitting comfortably with her feet on the floor. Pushing through the feet begins to waken the nervous system to the sense o f the foot pressing the floor, but also and in this case importantly, of the movement or force moving not only down, but up through the body. In this lesson it is VERY important to take off the shoes so the whole foot is making contact with the floor. TEACHER: Mary, please sit toward the fron t o f the chair with your feet fully resting on the flo o r Take o ff your shoes, so you can feel your whole foot on thefloor. Press your right foot down into the flo o r and release several times. Do the same with the left foot several times. As you press feel the movement travel up your leg to your trunk. Now several times press down with both feet as though you are trying to stand. Again pay attention to how pressing down with your

Mobilizing the Pelvis

201

feet results in movement up your spine. Repeat this several times until you begin to sense a connection. Notice: Has anything changed in the way you are sitting? Do you feel more or less o f yourself on the chair? Does it sup­ port your weight? What about the contact o f your feet with the floor? Has that changed? MARY: I am not sure. Something feels a little different. TEACHER: Place one hand on the small o f your back. Now roll your pelvis backward rounding your back into your hand. Do this several times. Notice: Are you really moving your pelvis or rounding your upper back? Try it again. MARY: I am not sure what I am doing. TEACHER: I am going to place my hand over yours. Can you round your lower back into my hand? Mary was having trouble isolating her lower back. She was diverting the movement to her mid and upper back so her pelvis was not moving. From behind her, I put my hands (with her per­ mission) on her hips (on the iliac crest) and as she tried to round, I guided the movement with my hands. (Sometimes as I am rolling the iliac crest [top of the hip bone] slowly backward, I will put the top of my head against the middle o f the back to pre­ vent movement at that point.) After several minutes she began to sense what needed to happen. TEACHER: Mary, I am goin g to place my hands on your iliac crest and my head against your upper back to help you feel the rolling o f the pelvis. Roll back as I guide your movement. Does this feel different? MARY: Yes that makes sense to me now. TEACHER: Good now put your hand on the small o f your back. When you roll back think about tucking your tailbone. Push down with your heels into the floor. Do not let your feet slide. Just press down with your heels as you roll backward. Does that feel a little different?

202

Body and Voice: Somatic Re-education

MARY: Yes, I can feel how to move my pelvis now. TEACHER: Roll your pelvis forw ard, arching in the lower back. It might help if you pull with your feet. Do not let them move; just press the balls o f yourfeet into theflo o r and pull. This is an isometric movement with your feet. Repeat several times. Notice: Does pulling through your feet help with the move­ ment o f your pelvis? MARY: Yes, it does a little. We continued with the lesson as described above. At one point she commented that she had not realized how much she was holding her abdominal muscles. Releasing them made it much easier to breathe. TEACHER: Mary, stand up and walk around. What do you notice? MARY: I feel taller and lighter. I am more aware o f my feet. She looked more present. My eyes were drawn to the whole of her, not just her upper body. As she began to sing, she went back into her old habit, and pulled herself up. TEACHER: Mary, do you notice your feet now? MARY: Not as much as I did a minute ago. TEACHER: Come back to sitting. Start to roll your pelvis forw ard and back as you have been doing. Now keep roll­ ing your pelvis and begin to sing again. Keep your pelvis moving pushing and pulling from your feet as you did a moment ago. Mary found it difficult at first to keep her pelvis in motion. The movement would becom e erratic or stop. With coaching she gradually was able to maintain the movement and keep singing. TEACHER: What does that feel like now? Get up and walk around. When you feel ready begin to sing.

Mobilizing the Pelvis

203

MARY: I feel there is more freedom in my voice and I can be more expressive! TEACHER: When you warm up and as you are working on your repertoire, singing, and fo r your acting classes do the pelvic rolling while seated, pushing and pulling from your feet. Not all the time, but every once in a while. This lesson begins with connection to the floor. I noticed that she was having trouble getting the movement to connect into her upper body. Releasing the pelvis using pelvic rock­ ing allowed the flow of the movement to go up the spine. As she pushed down with the feet, the pelvis could then begin to respond by rolling and transmitting the gravitational force up her spine. As she began to connect through the floor, she was able to release not only her abdominal muscles, but also the back and ribs. In this way her stance and movements were grounded and move fluid.

Robert ROBERT, AN ACTOR/SINGER, was experiencing vocal fatigue. This was unusual for him. Robert always was able to manage even challenging roles with no vocal problems. He was currently playing a very ambitious, high-strung businessman in a new play. His character was very wrapped up in his own sense of selfimportance, chest high, strutting when he walked. Rehearsals were very intense, especially now that the show was in previews with constant reblocking and script changes. By the end of each day his voice was tired and on bad days he felt mild pain on the right side of his larynx. Robert went to see a laryngologist who regularly treated professional actors. There was no pathology, his vocal folds looked normal and healthy. Although Robert was relieved that he did not have any swelling, nodules, or scarring of his vocal folds, he was at a loss as how to fix the problem. His coach was not sure what to do. Robert thought he was doing all the right things to keep his voice healthy: not using his voice much outside of rehearsals, warming up, keeping well hydrated, and so forth. Robert came in for a few sessions to try to figure out what was happening. Robert is a stocky man of medium height. Body

204

Body and Voice: Somatic Re-education

dynamics were excellent when talking, warming up, and present­ ing his audition material. However, when he went into character, his whole appearance changed. He stood with his chest high, pelvis slightly forward, abs tight resulting in a high center of gravity. Because his character was high-strung and emotional, he was speaking at a near shout most of the show. When he began to speak his chin would jut forward, shoulders fall slightly back, all the while keeping his abdominal muscles and tight chest high (Figure 6-8).

Figure 6-8. Robert standing with his weight on his heels, pelvis forward of his trunk while bringing his shoulders back.

Mobilizing the Pelvis

205

Several postural elements were interfering with his vocal production. First, in attempting to keep the chest high, he was constantly contracting his abdominal muscles increasing tension in the ribs, neck, and larynx. He was never able to fully release the mechanism during the breath pauses. As a result, he was overworking the strap muscles in the larynx. Next by “ leading with his chin,”in essence trying to push his voice into the room or push it at the person with whom he was talking, he was los­ ing the ability to amplify his sound through go o d vocal place­ ment. (As you know loudness results from increased contact of the vocal folds, but to be well produced one must combine good airflow with an optimization of the harmonic and resonant properties of the sound.) Because Robert is a very accomplished actor, we began the exploration with finding a stance that restored his vocal freedom yet allowed him to maintain the target physicality o f his charac­ don’ t mess with m e” ter. How could he maintain the chest high “ look and preserve his voice at the same time? We began looking at what he did when he was reading as Robert. TEACHER: Robert, please just walk around the room then come to standing. How are you standing? What do you notice about your breathing? About the way you are bal­ ancing on your feet? ROBERT: I feel pretty grounded. My weight seems to be across my feet. I know I tend to stand more on the right foot than o f the left. My breathing is easy. TEACHER: Good. Now let me hear some o f your best audi­ tion monologue. Great! How was that? D id you notice any changes in bal­ ance, breathing, or sense o f grounding? ROBERT: No, that was pretty good. I stillfeel very connected. TEACHER: Please launch into a high-intensity moment in the show. Again pay attention to any shifts in weight distri­ bution, breathing, or effort somewhere. (ROBERT reads the beginning o f a scene) ROBERT: Interesting. I noticed as soon as I began to think about my character, my weight shifted forward. I feel as

206

Body and Voice: Somatic Re-education

though his power comes from his chest, so I lifted my chest, but then to do that tightened my abs. As I began to talk I think my head came forward. This level of insight might not happen at once for many people. We continue between talking as himself, using his best or favorite material, and moments from the show several times, so he can begin to feel what he is doing. TEACHER: D id you notice any difference in how it felt to talk? ROBERT: Oh yes, there was more strain when I was in character! TEACHER: So let’ s explore some other ways you can embody your character but without the strain. Stand with your feet comfortably apart knees bent, bending forw ard with hands resting on your thighs and your fingers fa cin g one another so your elbows are slightly bent. It is important to keep your back straight. Think about growing a tail so your back will be straight. This helps keep the pelvis in line with the spine and not curled under. Arch your back lifting your tailbone up gently as though you are lifting your tail. Look down toward theflo o r so the neck is an extension o f the spine. Come back to neutral. Repeat a few times. Now round your back, tucking your tailbone under. Look down with your eyes at the flo o r and let your head follow. Repeat a few times. This movement will be small initially. Be sure that you are breathing. Release your belly as you lift your utail.” REST a moment. Stand. Has anything changed in your bal­ ance or the way your weight is distributed? ROBERT: Yes, Ifeel as though my weight is better balanced. The weight is not on the fron t o f my foot as it was when I was in character.

Mobilizing the Pelvis

207

Stand and walk around. What do you notice? Do you feel grounded? How is your breathing? Now keep walking fo r a moment as your character. Does anything change? ROBERT: Yes, I go back to the way I was doing it. My breath­ ing is tight and I am tightening my abs. Continue with the lesson as outlined above until #7 just before the lesson brings the student to standing. TEACHER: Come back to the same position and do the move­ ments o f rounding and arching several times AS YOUR CHARACTER. How is that changing what you are doing? ROBERT: It is much harder to move my pelvis and to round and arch my back. I keep wanting to do it all from high up in my back. TEACHER: Keep working slowly but pay attention to the movement o f your pelvis. Try to figure out how your char­ acter can do this lesson. Now after a few times shift your attention to the upper back, but don't stop the movement o f the pelvis and the release o f the abs as you tilt the pelvis forward. What is your back doing? Keep in character. Do this a few times and shift your attention to your midback. Keep rounding and arching, moving the pelvis and releasing the abs as you come forward. Stop and just walk around but stay in character. It may be that the movement o f the pelvis changes. Has anything changed? ROBERT: Yes, It is getting easier to breathe when I am in character. This was enough input for this session. A lot had happened. The next session Robert came in feeling better, but not yet fully recovered. He happened to mention that it was easier when in rehearsal before getting into costume. Once he had his costume on he found it much harder to maintain the easy breath and

208

Body and Voice: Somatic Re-education

release. The costume was not particularly tight, so he really didn’ t understand why the change. I asked him about his shoes. It turned out he was wearing boots with slightly elevated heels, just enough to throw his balance toward his toes! I suggested he practice the lesson with his boots on and see what happened. We reviewed the lesson with particular attention to the movement of his head as he arched (head and eyes up), rounded (head and eyes down). TEACHER: OK, now bring yourself up partway to standing. Hands on your upper thigh fingers down. Let the movement o f your pelvis get smaller, but keep on releasing the belly and as you bring your belly in and up lift your chest. Keep doing the movement o f the belly and slowly come to standing. Be in character. What do you notice? ROBERT: It is getting easier. For Robert, it was important to do the lesson as his charac­ ter. He needed to bring his character inside to create a somatic map for him, because it was different from R obert’ s internal map. Robert had im posed a character from the outside, which conflicted with his internal personal sense with the result that his breath was locked and the extrinsic laryngeal muscles overused. When coaching keep in mind that each character has his/her own physicality. It is important to vocalize and do these lessons both as yourself but also as the character, being literally in their shoes. (See IMPROVING BALANCE for a discussion of effect the shoes we wear have on stability.)

Reference F eld en k ra is, M. (1949). Body and mature behavior (R eprint ed.). L on ­ d on , UK: R o u t le d g e a n d K agan Paul Ltd.

CHAPTER

7 Improving Stability Stability * Stasis When we think about stability, we generally think about inani­ mate or animate objects that don ’ t fall down: tables, furniture, or four-legged creatures like the proverbial cat that always lands on its feet, or even no-legged creatures like snakes and snails. Really what we should be talking about or thinking about when we imagine human stability is stability in motion. Although this may seem like an oxymoron, it is not. We walk, dance, run, and climb. We constantly twist and turn, shifting our balance forward, back­ ward, or bend forward often at odd angles to pick up objects. We do these and many more destabilizing movements yet generally we don’ t fall down. If we are well organized, these brief moments of instability are fluid with a minimum of extraneous tension. As performers (especially as singers) we often practice, rehearse, coach our material standing or sitting. I find it curious that it is only after we have “ learned”the music or the text, after we are “ off book,”that we add action, we add physical move­ ment. In doing so we demand o f ourselves the ability to instantly incorporate into stage action the organization we so carefully developed in the studio or practice room while we were fairly passive. Frequently much of the wonderful coordination of voice, resonance, breathing, and expression falls apart when we add a new layer of complexity by introducing blocking, choreography,

209

210

Body and Voice: Somatic Re-education

or props. Why would this be? After all we developed our muscle memory in the earliest stages o f learning the material, adding to this our careful work done in the studio. How many of us have watched young performers “ relaxing,” shaking out the tension by flailing their arms, wiggling their bodies, doing everything but releasing real tension? They think they are shaking out the tension, but there is no movement in the trunk, all the movement is superficial. How often do we see an actor shake out or wiggle around in “ preparation”to perform? Even in the moment they com mence the song or monologue they continue to make small adjustments. What are they doing? Is it necessary? D oesn’ t it take away from the focus and energy needed? When you watch great actors move seamlessly between characters or emotions, there is no extraneous movement. They shift into the new physicality without the audience realizing that it has happened. What happens when we are feeling unstable, when we feel as though we are about to fall? We tense all or part of our body. At the same time, we may begin to shift our position to coun­ terbalance and try to reestablish equilibrium. Yet, paradoxically we are constantly shifting between stability and instability not only when we move, but also when we are standing or sitting. Think about walking. We begin on both feet planted on the ground, then we shift our weight off the standing leg so it can be lifted, moved forward, and again placed on the ground, at which time we shift our weight to the other leg, repeating the process. As the leg is lifted, moving forward we are shifting our weight over only one leg. Most of the time we are not aware of this brief moment o f instability. However, if one leg is impaired in any way due to knee, ankle, hip, or other injury, and can­ not bear weight, we suddenly find ourselves very unstable. The momentum generated by the forward movement propels us to some degree through the moments of instability as long as our system remains well organized. Even in standing we are constantly adjusting and counter­ balancing. Stand on a balance board. What happens? You start to wiggle in order to find your balance. Our bodies are never still even when we are able to maintain a level of stability on the balance board. To maintain balance we can do several things. We

Improving Stability

211

can allow our system to make the adjustments necessary without interference or we can tense to maintain a level o f control. I am using falling as the most visible sign o f instability. We all experience more subtle instabilities all the time. If I stand with my weight over my heels, my upper body will lean slightly back­ ward so I tense my upper back and chest. On the other hand, if I stand with my weight on the balls of the feet, I grip with my toes to maintain balance. Standing on the sides o f the feet increases muscle activity in the thigh and calf muscles, resulting in compensation elsewhere in the body. Sometimes these com ­ pensations are positive, other times they are not. Think about a hose or a chain. One can bend the hose, twist the hose in many different ways, and water will continue to flow, but the minute we kink the hose the water will stop. Likewise a chain, as long as the links are in alignment, the chain can assume any shape. If I pull on one end the rest will follow unless there are links along the chain out of alignment. Then the movement will go only as far as the misaligned link or links. In order to realign the links I have to pull from slightly different angles until the forces realign them. This phenomenon frequently happens in our bodies. The gravitational forces move smoothly up to a point— the crooked link— and then stop. Because our bodies are more dynamic than a link chain, the movement moves along the path of least resistance, but not necessarily the most efficient path. This may be the case when there is a lack of connection between abdominal movement and elevation o f the chest dur­ ing exhalation. The trajectory is wrong, so while the belly is in motion, releasing out and pulling in, there is no corresponding movement in the chest, or rather the movement is som ehow diverted elsewhere, resulting in an inefficiency in coordination of respiration and phonation. Let’ s think about this from another vantage point. Imagine a baseball player batting at the plate. Even if he wants the ball to drop and not go very far, he must make a preparatory movement prior to making contact with the ball. It might seem counterpro­ ductive to take the bat backward to move the ball forward, but in reality that is what is needed, even if he wants to bunt. The whole body is engaged in the movement. The beautiful corkscrew twist of the expert batter is essential for a successful hit. If even one

212

Body and Voice: Somatic Re-education

aspect (one link)— a slight movement of the wrist, one shoulder moving too far back, the bat not balanced in the hand— is not lined up, the ball will not follow the desired trajectory. The flow of the movement will continue, but the energy or force will divert or dissipate before there is contact with the ball. Baseballs don ’ t have muscles. They are not controlled by the brain. They will take the path predetermined by the trajec­ tory of the bat and point of contact. Voice is different. The vocal folds are in constant motion, even during quiet respiration, pas­ sively ab- and adducting with the flow o f air. On the signal to phonate many things happen. In a nanosecond, pitch, intensity, shape of the sound, that is, phoneme, and emotional content are determined. The resonant characteristics are also determined by the trajectory of the newly formed sound waves. The trajec­ tory of the airflow is determined depending on the position of the head, neck, and trunk, which in turn are dependent on our relationship to gravity, that is, prone, supine, upright, standing, or in motion. Along the way there are muscles, ligaments, and bones to align. All of these factors influence the vibratory pattern of the vocal folds.

What to Look For Instability is not easy to recognize. We have already talked about the impact on breathing— an inability or difficulty releasing the abdominal muscles. Other indicators of instability include: ■ Being constantly in motion, shifting weight, adjusting position whether rocking back and forth or side to side. ■ Movement of the arms that is not connected to the trunk — indicative of holding in the core. ■ Rigid stance. ■ Locked knees. ■ Chest held high, rigid, and disconnected from the lower body and feet. As one looks at the person the eyes are drawn to the upper body. The lower body has no “ presence.”This is a difficult phenomenon to explain. It is almost as though the person is holding them-

Improving Stability

213

selves up by the chest and trunk. The lower body is not “ grounded.” ■ Upper body is either in front o f or back of the pelvis. ■ Weight is toward the toes or toward the heels. (In women who perform in high heels, their weight is on the balls of the feet, changing the alignment of the pelvis.)

What to Listen For Because we are able to change our voices, imbue them with a wide spectrum of colors, dynamics, pitch, and resonances, the changes or characteristics o f the voice that result from poor stability or increased tension are harder to identify. I am talk­ ing here about those qualities that are NOT voluntary, are not intentional, that are not in our control. For dramatic effect, I can create a strained or pinched quality, I can reduce ring in the voice or make my articulation sticky or sluggish. It is when these things happen beyond my control that they becom e indicators of tension or even potentially a physiological problem. Often these vocal qualities are very subtle and certainly hard to detect. In order to avoid strain the student will frequently adopt compensatory strategies, masking the influence of the postural component. We have already talked about many o f these com ­ pensatory, often very transitory, movements. They may include a quick toss of the head, a clearing of the throat, a quick movement of the jaw, or shake of the shoulder to release building tension. It could involve bringing the head/jaw forward, lengthening the back of the neck to reach a high note or belt, or pulling the chest/shoulders back. In the lower trunk, shifting weight from one foot to the other, gripping the toes, rocking back and forth. Stasis, no movement at all, is also very indicative of instability. Holding every muscle tight seems to produce stability but it actu­ ally makes the body too rigid to function competently. What you observe may have a simple solution. These were discussed in Chapter 4. If you see the knees locked— unlock the knees. However, when the simple solution does not address the problem, the underlying postural pattern that results in locking the knees needs to be addressed before the student can truly and

214

Body and Voice: Somatic Re-education

consistently stand with the knees “ soft.”Subtle shifts in thd way we balance on our feet—which part of the foot makes contact with the floor, whether weight is more toward the balls o f the feet, to the outside, or toward the heels, the symmetry o f stance, which leg is the dominant standing leg— can change our breath­ ing or vocal freedom. All o f these “ small”adjustments can make a HUGE difference in what our voices can do.

Balance, Shoes, and Body Physiognomy The shoes we wear play a major role in determining how we balance on our feet. Fashion dictates the kind of shoes we wear and how high the heels should be. For many the style of the shoe is more important than real fit and comfort. Men for the most part have fewer choices than women, but are still at the mercy of fashion designers. When it com es to performing we often have less choice of footwear because shoes are an integral part of our costume. Shoes will help define the physicality o f the character. Yet they will also change the dynamics of balance. It is very important that performers recognize how the elevation of the shoe or the fit of the shoe changes how they move, and may even com e into conflict with on e’ s internal body map. The elevation o f the heel throws the weight to the balls o f the feet. In order to maintain balance, the knees will tend to lock. I am not advocating never wearing heels. What I am suggesting is that the performer becom es aware of how his or her balance is shifted depending on the height of the heel and fit of the shoe. I am asking performers to recognize on som e level how the resultant shift in balance can negatively impact their vocal capabilities in important but subtle ways. Once there is heightened awareness, then adjustments can be made to counterbalance and keep the energy, sound, and/or gravitational flow free. Locking the knees, a stiff torso, wearing certain shoes, boots, or heels all shift our balance and lead to not being well grounded. Up until now we have been focusing on the freeing the breath with emphasis on the pelvis. In the previous lessons, RELEASING THE BREATH and FREEING THE PELVIS the move­ ment of the pelvis was explored to guide the neuro-musculo-

Improving Stability

215

skeletal system to a new “ neutral”that does not involve locking the knees or tensing the abdominal muscles. Yet we rarely think about our feet when performing. We generally are unaware of the relationship between our feet and our vocal production. Often when teaching I will ask a student: “ Where are your feet?”Nine times out of ten they look down at their feet. This is an unexpected question. They never think about their feet. They are not aware of how their weight is distributed through the feet. We don’ t think o f how our contact with the floor moves through the body as we walk or stand. We don ’ t think there is a connec­ tion between our feet and our voice. This series of bottom-up lessons is designed to bring improved stability to the body. When we are balanced our bodies move with ease and a sense of light­ ness. All highly coordinated actions such as speaking, singing, performing, dancing or any combination becom e easier. Our body type, weight, or physiognomy influence balance. Men with big barrel chests carry themselves differently than men with smaller rib cages. By the same token women who are well endowed need to learn to compensate for the weight of the breast tissue pulling down on the upper chest. People who are very tall, especially women, often tend to stoop, rounding the upper back and head somewhat forward. A person with increased body mass may have learned to carry it well, whereas others have not. Those with excess body fat concentrated around their mid-body will have more trouble with the abdominal release especially in sitting. They cannot lean forward easily. Becoming aware of all these differences and the impact they have on voice and move­ ment training is very important. Begin to watch people as they stand and talk. How are they standing, how are they sitting? Begin to notice the relationship between the chin and the chest, the chest and the pubic bone in sitting and standing. Is the head forward or back of the neck short? What is the angle of the back o f the neck? Is the spine w idow ’ s hump?”Are they pulled forward straight, or is there a “ by big breasts or a large midsection? This is not a comprehensive list by any means. Just a place for you to start. The big question is what do they do when they shift into performance mode? What if anything changes? Is it congruent with their character?

216

Body and Voice: Somatic Re-education

The theme of this book is learning how to build aware­ ness and provide new sensory input so the somatic map can be redrawn or expanded. This will result in long-lasting change. Once the body finds the new stability, then voicing, movement, and position— whether fast, slow, seated, or standing— can becom e one highly coordinated action. The lessons in this sec­ tion start with the feet. They are designed to improve aware­ ness of balance, but more importantly to build awareness of the resulting holding and tension patterns. When we have neck tension, we don ’ t think that the problem might be how we are standing. We are trained to look to the neighboring areas of our body. This series of lessons takes you to the foundation, the legs and feet. Acting directors, trainers, and coaches frequently talk about being “ grounded.”When actors are not grounded there is some element of their bearing or performance that gives the impres­ sion they are not fully connected either to the work, their body, or both. Mary, described in Chapter 6, was not “ grounded.”There was an element of instability and stiffness in her singing and her acting. Our eyes were drawn to her upper body, not to her whole body. Clearly her feet were holding her up, but she was maintain­ ing balance more from her upper body. She did not allow gravity fully to support her. When people are not “ grounded,”not well balanced physically, they compensate with stiffness or holding somewhere in their bodies. Many people lock their knees when standing. As we have seen, locking the knees has the effect of tilting the top of the pelvis forward, slightly arching the lower back. The rectus abdominis muscle lengthens preventing the abdominal muscles to release. Voice students are often taught to tuck the pelvis under or “ pinch the penny”(squeezing the buttock cheeks) when singing. The knees may not lock, but the thigh muscles contract. If we were to look at our footprints in the sand as we stand or walk, we might notice how different the patterns are on the right and left. We might see a tendency to stand more on the inside or outside of one foot or the other, or favor the heel or the balls of the foot. Just as we have a handedness preference, we have a standing leg, the leg that tends to sustain more of our weight than the other. How that leg stands depends in part on

Improving Stability

217

the contact o f the foot with the ground. All these factors change how gravitational forces travel up the leg through the pelvis and up the spine. Locking the knees or tensing the spine adds stabil­ ity to an unstable system but reduces mobility. We have already talked a bit about the effect that shoes have on balance. These lessons are to be done WITHOUT SHOES to build awareness of how we balance and find alternatives. The somatic awareness or new somatic mapping developed doing the lessons barefoot will most often be maintained when adding footwear. They can then be repeated with shoes if necessary.

When to Use These Lessons As we have seen, sometimes the difficulty singing or acting is not related to holding at the level o f the pelvis or holding the abdominal muscles. Signs of instability are often more subtle than those of breath holding. Often the instability is masked by difficulty in the release or in upper body tension. We generally don ’ t think to look at balance or how the weight is distributed over the feet. The following are some places to start looking: ■ Tension in the upper body or neck. ■ Knees habitually locking. ■ The pelvis is tucked under or the back is overarched. ■ If the eyes are drawn to the upper body. ■ Students seem to be moving all the time shifting weight or just in motion or moving mostly from the periphery with little connection to their core. In addition, for a student who habitually wears high heels weight will be forward and/or the student will overcompensate and bring the upper body back to balance. Many learn to adjust and are able to maintain optimal balance, but it is worth explor­ ing if a student is having trouble with range, endurance, or a sense of increased effort overall. Or if the student’ s resonance is not “ quite”what is expected. Finding the appropriate middle optimal balance point can be a challenge. These lessons can be a good starting point.

218

Body and Voice: Somatic Re-education

Lesson One: Pencil Lesson Basic Movements This series of lessons can have a profound effect on the nervous system, so it is important to provide frequent rest times, go slowly, and watch the student. The movements involve SMALL explorations shifting weight over the feet. The movement is primarily in the ankle with the weight shifting over the feet. Frequent breaks should be encour­ aged to walk around or sit, allowing the nervous system to pro­ cess and regroup. The lessons begin with “ mapping”the four (4) cardinal directions standing with the feet comfortably apart— forward toward the ball o f the foot, backward toward the heels, as well as side to side— toward the instep and then toward the outside of the foot. The lessons expand to include circles over the feet, in oppositional movements. As with the other lessons there are several variations that can be explored.

Improving Stability

219

The movements should be done slowly. As the teacher it is important that you watch carefully and make sure that the movements are smooth and slow. It is only then that the stu­ dent will be able to retrain his or her nervous system. The rest p eriod s are very important. They allow the person’ s nervous system to integrate what is being explored. As you teach these lessons keep in mind that keen obser­ vation on your part and feedback from the student are essen­ tial. None of these lessons are foolproof. None are THE KEY to success. They are provided as a guide for change. During the guided lessons questions are asked to guide the student’ s attention. These questions are not presented in order to be answered aloud by the student, rather they are being asked to stimulate an internal monologue in the student. They are also not intended to indicate what is right or wrong, only to aid the student in his or her discovery of options. ALL THESE LESSONS SHOULD BE DONE WITHOUT SHOES. The student should begin while standing with the feet a comfortable distance apart. It is important to be able to feel the contact of the foot to the floor. If necessary for balance, students can rest a hand on a chair or other stabile surface for support. All the movements should remain in your comfort zone. You should not feel as though you are falling forward or back. At no point should the heels or toes com e off the floor. 1. Stand with your feet comfortably apart, knees and thighs relaxed. Take a moment to notice which parts o f your feet have more contact with thefloor. SLOWLY begin to shift your weight FORWARD toward you r toes onto the balls o f your feet and come back to neutral. Repeat 10 to 15 times always moving SLOWLY enough to feel changes. DO NOT LIFT YOUR HEELS FROM THE FLOOR. This means you are going too far. Notice: Pay attention to the angle o f the forw ard move­ ment. Are you shifting more over the big toe, the middle toes, or the outside toward the little toe?

220

Body and Voice: Somatic Re-education

As you repeat the movement begin to shift intentionally toward first the big toe, then with each repetition toward the other toes individually. Stop and feel how you are standing. Notice any shift in your breathing. As with all these lessons students must be encouraged to go slowly so they can feel how they are shifting their weight over their feet. Reminders to keep breathing as they approach the limits of the movement and reminders to stay within their comfort zone of balance are important (Figure 7-1). Be sure to notice whether students are locking their knees or holding their breath. The upper body must remain relaxed and free. In this lesson it is very important that the movement is from the ankle and felt over the foot. Although the spine needs to remain free, there should not be independent movement of the pelvis or upper body. I will sometimes ask students to think they have a long pencil through the top of their head, drawing a line on the ceiling. 2. Stand with your feet comfortably apart, knees and thighs relaxed. Take a moment to notice what parts o f your feet have more contact with the floor. Begin to shift your weight BACKWARD toward your heels. Repeat 10 to 15 times always moving SLOWLY enough to feel changes. a. For some this will be a bigger movement than going fo r ­ ward, fo r others it will be smaller. It depends on whether you habitually stand with your weight toward the front or the back o f your foot. b. Notice if your breathing changes as you move toward the edge o f your stability. REST and walk around. Notice any change in the sensation o f your feet contact­ ing the floor. Pay attention to how you are breathing. 3. Come back to standing and notice any change in your bal­ ance or breathing. Notice: How is your weight distributed now? 4. Combine the movements. Shifting your weight forw ard toward the balls o f yourfeet and then going past your neutral backward toward your heels. Repeat 10 to 15 times always moving SLOWLY enough to feel changes.

Figure 7-1. Shifting weight forward and back over the ankle. It is important to maintain stability.

221

222

Body and Voice: Somatic Re-education

Notice: As you shift forw ard notice whether you terld to shift toward the inside or the outside o f your foot. Explore both as you repeat the lesson. Can you begin to sense where your neutral is? Does your breathing change at points? Is there a point at which your breath releases or becomes easier? 5. Continue to do the movements forw ard and back. As you come forw ard slightly shift your weight first toward the big toe a few times, then the second toe a few times. In the same way go back and forth aiming to the third, then the fourth, then the fifth toe. Do this several times over each toe. Stop and RESTfor a moment. 6. A few times go back to shifting forw ard and back as you did before. Sense if you favor one forw ard angle or another. The student might need to be coached to shift the weight over each toe. Stop and walk around. Notice: How you are contacting thefloor? Are you stand­ ing as you did before or has something shifted? Come to back to standing with your feet comfortably apart, knees, and thighs relaxed. Take a moment to feel how you are balanced over yourfeet. What parts o f yourfeet have more contact with the floor? 7. Now begin to shift your weight to the RIGHT and back to neu­ tral. This time you will be rolling over the feet so the weight shifts to the outside o f the right foot and the inside o f the left foot. Be sure to return to neutral. Repeat 10 to 15 times slowly. Stop and focu s on your breathing and sense o f balance. Stand with you r feet comfortably apart, knees and thighs relaxed. Notice: What parts o f your feet have more contact with the floor? 8. Change direction and shift your weight first to the LEFT and back to neutral. This time you will be rolling over the feet so the weight shifts to the outside o f the left foot and the inside o f the rightfoot. Be sure to return to neutral. Repeat 10 to 15 times slowly. The movements can be small (Figure 7-2).

t

t /

Figure 7-2. Shifting weight side-to-side feeling the movement through the feet. 223

224

Body and Voice: Somatic Re-education

Notice: Feel the weight shift through the whole body. Keep breathing. Make sure your upper body stays relaxed. Students will often begin this movement from the pelvis. Swaying the hips side to side rather than rolling over the feet. Be sure they are shifting the body from the feet and ankle. The upper body and head should stay free. Eyes kept soft. Stop and walk around. Come back to standing with your feet comfortably apart, knees and thighs relaxed. Notice: What parts o f your feet have more contact with the floor? Take a moment to check in with your balance and breath. 9. Combine the movements, shifting your weight first to the right then through neutral to the left and back to neutral. Be sure to go slowly and with attention. Repeat 10 to 15 times slowly and with attention. Notice if it is easier to one side or the other. Does one side feel more stable or familiar? Stop and walk around. Notice: Take a moment to sense any changes in the way you are standing, breathing, or anything else that draws your attention. 10. Come to standing as you normally do. Take a moment to notice what parts o f your feet have more contact with the floor. Take a moment to check in with your balance and breath. Be sure the knees are soft, your spine is relaxed, and your eyes are soft. 11. Go back to tracing the cardinal points. Forward and back, then side to side a few times. Notice: Has anything changed? Is it easier now? Easier to breathe? Are you clearer where the cardinal points are? Walk around again. 12. This time when you come back to standing as you would if you were about to sing or present a monologue. Notice: Whether you are standing the same way you did a moment ago, when you were just standing. Has any aspect o f your stance changed? I f you are not sure then walk around again and just stop. Then begin to move around but begin to THINK about

Improving Stability

225

vocalizing as you stop a n d stand. What if anything has changed? Standing “ normally”and standing for performance are often different. There is more energy in the performance stance. Often the character determines the stance. Students can use this lesson to explore the subtle shifts in balance as they prepare to pres­ ent a monologue, work on a scene, or to sing or read script. For students who will need to sing/speak and dance within a scene this is very important. They need to be ready to dance at any moment. They must be able to make the transition to movement at anytime. 13. ADD VOICE', (sing or hum) and at the same time begin to shift your weight FORWARD AND BACK as you did before, keeping your knees soft the whole time. Notice if it is any different than before. Go back and forth a few times. Breathe whenever you need to, but con­ tinue to hum as you shift your weight forw ard and back. Do you stop the movement as you breathe? Can you maintain the flow o f the movement when you breathe? Do you stop the sound in parts o f the movementforward and back? Can you maintain the flow o f sound through the whole movement? I f you notice a halt in theflow o f sound or move­ ment, stop vocalizing and just do the movement. Keep alter­ nating until you feel you can add voice without changing the range or quality o f the movement or the range and quality o f your sound. Notice: Pay attention to your breathing, does it stop or feel constrained at points as you shift weight? What happens to your sound? Is it consistent or does it change as well? Is there a balance point in which you feel your voice stronger or easier than at other points? Stop. REST. As the students begin to add sound, be vigilant that the sound remains free and the movement soft and light. Give them a little time to sense what they are doing, but if you sense increased effort or tension, cue them to pay attention to the

226

Body and Voice: Somatic Re-education

quality of the movement or the quality of the sound— one or the other. Let them explore. Cue them to pay attention to the quality and range of the movement through the breath. If you see the movement stop or change in quality just ask them to notice what is happening. D on’ t tell them— let them discover for themselves. It may happen in this lesson or it may be later. That is OK. 14. ADD VOICE as you shift your weight SIDE TO SIDE, sustain sound on a vowel, or hum. Notice: Do you stop the movement as you breathe? Can you maintain the flow o f the movement when you breathe? Do you stop the sound in parts o f the movementforw ard and back? Can you maintain the flow o f sound through the whole movement? I f you notice a halt in theflow o f sound or movement stop vocalizing and just do the movement. Keep alternating until you feel you can add voice without changing the range or qual­ ity o f the movement or the range and quality o f your sound. Notice: Pay attention to your breathing, does it stop or feel constrained at points as you shift weight? What happens to your sound? Is it consistent or does it change as well. Is there a balance point in which you feel your voice stronger or easier than at other points? Stop and walk around. Firstjust walk and see if you are more aware o f thefloor. Then begin to vocalize maintaining the same feeling. What has changed? Once students have learned the lesson, one can add the basic movements to voice work, so they learn to stay connected to the feet. This lesson could also be done in character as part of preparation for a role.

Lesson Two: Circles Over the Feet This lesson can be an extension of the previous lesson or taught separately. In this lesson you will be drawing a circle under your feet or the imaginary circle on the ceiling. Imagine there is a

Improving Stability

227

clock in front of you. Forward is 12 o ’ clock, directly to the right is 3 o ’ clock, back toward your heels is 6 o ’ clock, and directly to the left is 9 o ’ clock. Stand with your feet comfortably apart, knees relaxed. Take a moment to notice what parts o f your feet have more contact with thefloor. Imagine your body as a long pencil with the tip coming out the top o f your head drawing a circle on the ceiling. Begin by defining the cardinal points—forward', back, right, and left— as you did in the previous lesson. 1. SLOWLY begin to shift your weight FORWARD toward your toes onto the balls o f your feet (toward 12 o ’ clock) through neutral BACKWARD toward your heels (6 o ’ clock). Repeat this 10 to 15 times. Make sure that the movement is from the ankles. Imagine a pencil com ing from the top o f your head drawing a line back and forth on the ceiling. Notice: Feel your weight shift over your feet. Pay atten­ tion to the quality o f the movement. Is there a point at which you hold your breath? Do you feel increased tension in the neck, back, or jaw ? Stay within your comfort zone. Stop and just stand f o r a moment. Notice if there is any change in the way you are standing or breathing. Are there other areas to which your attention is drawn? 2. SLOWLY begin to shift your weight over yourfeet to the RIGHT (3 o ’ clock) then across to the LEFT (9 o ’ clock). Repeat this 10 to 15 times. Make sure that the movement is from the ankles. Imagine a pencil com ing from the top o f your head drawing a line back and forth on the ceiling. Notice: How is your weight shifting? Can you sense the change o f the arc through the floor? Pay attention to the quality o f the movement. Is there a point at which you hold your breath? Do you feel increased tension in the neck, back, or jaw ? Stay within your comfort zone. Delineating the clock. In this part o f the lesson you will begin making a circle under your feet (or you can think o f an imaginary pencil protruding from your head drawing a circle on the ceiling.) You will begin by defining each quarter

228

Body and Voice: Somatic Re-education

hour. (12 o ’ clock to 3 o ’ clock; 3 o ’ clock to 6 o ’ clock; 6 o ’ clock to 9 o ’ clock; and 9 o ’ clock back to 12 o ’ clock.) The circle may" not be very round. That is OK. What is important is the qual­ ity o f the movement, fin din g the pathway that allows you to breathe easily. Shoulders, eyes, head, and hands all need to stay relaxed. As the lesson becom es more complex observe students mak­ ing sure they are not holding their breath. Watch for hard focus of the eyes (staring), clinching o f the hands, tightness in the jaw. Cue to soften the eyes, relax the hands, or pay attention to breathing. 3. Begin to shift your weight forw ard (12 o ’ clock) and then arc to the right toward 3 o ’ clock. You are drawing the outline o f the quarter hour 12 o ’ clock to 3 o ’ clock under yourfeet or on the ceiling. Go back and forth slowly 10 to 15 times. Notice: Are you aware o f the clock under you r feet? Above your head? I f you feel a place where you hold your breath or it is difficult, reverse, come back toward 12 o ’ clock then forw ard again toward 3 o ’ clock. You can also jum p to 3 o ’ clock, go counterclockwise to 12 o ’ clock, and then back to 3 o ’ clock. You may fin d that there are areas in which it is difficult to draw an arc. The shape may be somewhat ragged. This is OK. Stop and REST. 4. Begin at 3 o ’ clock and move from 3 o ’ clock to 6 o ’ clock. Go slowly. Notice changes in breathing. Go slowly. Repeat slowly 10 to 15 times. Notice: I f you feel a place where you hold your breath or it is difficult, reverse, come back toward 3 o ’ clock, then again forw ard toward 6 o ’ clock. I f the movement becomes difficult, you can also jum p to 6 o ’ clock, go counterclockwise to 3 o ’ clock, and then back to 6 o ’ clock. 5. This time begin at 12 o ’ clock and move in the arc through 3 o’ clock to 6 o ’ clock and back around counterclockwise to 12 o ’ clock. Do this slowly several times. REST.

Improving Stability

229

6. Begin at 6 o ’ clock and move to 9 o ’ clock. Go slowly. Notice changes in breathing. Go slowly. Repeat slowly 10 to 15 times. Notice: Pay attention to the shape you are drawing under your feet or on the ceiling with your imaginary pen ­ cil. I f you feel a place where you hold your breath or it is difficult, reverse, come back toward 6 o ’ clock then toward 9 o’ clock. You can also jum p to 9 o ’ clock, go counterclockwise to 6 o’ clock, and then back to 9 o ’ clock. Stop and REST. Notice if your breathing changes when you are resting. Were you holding your breath while making the circles? 7. Begin at 3 o ’ clock and move through 6 o ’ clock to 9 o ’ clock. Go slowly. Notice changes in breathing. Go slowly. Repeat slowly 10 to 15 times. Notice: I f you feel a place where you hold your breath or it is difficult, reverse, go back and forth over the area you feel is the most difficult. Stop and REST. 8. Begin at 9 o ’ clock and move to 12 o ’ clock. Go slowly. Notice changes in breathing. Go slowly. Repeat slowly 10 to 15 times. Notice: I f you feel a place where you hold your breath or it is difficult, go back and forth over the area you feel is the most difficult. 9. Begin at 6 o ’ clock and arc through 9 o ’ clock to 12 o ’ clock. Go back and forth several times. Notice where you have difficulty, where the movement is not so rounded. Go back and forth around these areas to see if you can feel what you are doing. REST. Students will often stop the movement during the breath, on the initiation o f the movement, or at places that are unfamiliar. Let them discover what they are doing. That is what is powerful about these lessons. Stop and REST. Walk around. Come back to standing. Notice your breathing and any changes you might feel, in your breathing, sense o f length, connection to the floor; or anything that draws your attention.

230

Body and Voice: Somatic Re-education

10. Now a few times make a circle beginning at 12 o'clock going SLOWLY around to the right past 3 o'clock through 6 o'clock then on around through 9 o'clock and finally back to 12 o'clock. BE SURE TO GO CLEARLY THROUGH ALL THE CAR­ DINAL POINTS—FRONT, SIDE, BACK, AND SIDE. Do about 10 to 15 circles. See how easy you can make the movements. The arcs do not need to be big. Go slowly. Notice: How round your circle is? Are there areas in which it is difficult to maintain the circle? Does it feel more like a zigzag, oval, or some other strange shape? That is fine, just notice. As you continue making your circle, feel free to reverse and retrace your steps to try again. Sometimes is it good to jum p over the spot and approach it from the other side. Stop and REST. Walk around notice how it feels. Then gradually begin to use voice as you continue to walk. Come back to standing. Take a moment to notice how you are standing. Has that changed? Stand with your feet comfortably apart, knees and thighs relaxed. Take a moment to notice what parts o f your feet have more contact with the floor. 11. Resume the circles, but in the other direction. Begin at 12 o ’ clock goin g SLOWLY around to the left past 9 o ’ clock through 6 o ’ clock then on around through 3 o'clock and finally to 12 o ’ clock. Do about 10 to 15 circles. See how easy you can make the movements. They d on ’ t need to be big. Go slowly. Notice: Does the circle have a similar shape in this direc­ tion? Are there areas that are easier or harder? What about your breathing? I f you fin d a sticky spot stop and go back in the other direction. Stop. REST. Walk around. Notice any changes in your breathing. Make sure as you do the movements you keep breathing. Come back to standing in preparation fo r adding voice. Notice: Does this change your stance? Your sense o f the weight over your feet?

Improving Stability

231

The circles are rarely round. Students should be encouraged to retrace parts of the arc where it is difficult and see if they can change the trajectory. Or skip ahead and com e at the difficult spot from the other direction. Once again pay attention that they are breathing and not locking their upper body. Frequent rests are important. 12. Begin making the circles as you begin ADDING VOICE, hum­ ming, or sustaining a sound on a vowel. Pay attention to the ease and quality o f the sound. Do it only a few times clock­ wise and a few times counterclockwise. Notice: Are there places that are not so easy? Notice what happens to the movement when you breathe? When you begin to make sound gradually expand the range o f your sound increasing volume, pitch, and/or add­ ing text, singing scales, or songs. Can you maintain the circles in a smooth easy way? Stop and REST. Walk around. There is so much information being absorbed during this lesson that the voicing should be kept simple with only sustained sounds or at most repeated consonant vowel (i.e., ba, ba, ba) in a very limited pitch and loudness range, breathing when needed. Although this is a “ simple”lesson, it is very demanding. A lot of information needs to be processed by the nervous system. As with all these lessons, it is not necessary for the movements to be done elegantly, just with attention. The nervous system will continue to process the information over time. Some students will be able to add voicing easily; others will have more difficulty with this task. In those cases do not add voice until the student is more comfortable with the lesson. Save the addition of the voice for another day. In either case give the students a moment or two just to rest before beginning another task. For some this might be all they can do without a real break. Once the student has gone through the lesson at least once it can be repeated with increased vocal complexity (five-note scales, arpeggios, short phrases, articulation, and flexibility exer­ cises, or simple text.) Be sure to watch for changes in movement or breathing patterns as they approach high notes, get loud, or

232

Body and Voice: Somatic Re-education

begin to increase the intensity o f the vocalization. Again cue their attention to the quality of sound, movement, or breathing. I would not recommend increasing the vocal complexity from sustained easy vocalization to more com plex vocal tasks on the first iteration of the lesson. There is too much information to be processed by the nervous system. These lessons are complex. Allow for breaks. Watch the stu­ dent. If it looks like the student is tired or on overload let him or her sit or lay down to rest. Go on to other activities or perhaps just stop the lesson for today.

Troubleshooting In this series of lessons the person is standing without shoes. The weight is shifting over the feet. If students are not accustomed to letting their weight shift from the ankle, if they don ’ t have goo d mobility of the ankle, or if they find it difficult to stand this lesson will be a challenge. (This series of lessons might not be appropriate if they are really struggling. These lessons can also be done sitting in a chair or lying on the back with knees bent, shifting the weight over the foot.) It is very important to monitor the student for upper body tension including stiffness of the head and neck, tight jaw, and breath holding.

Trouble Finding Balance TEACHER: Stand with your feet comfortably apart, knees and thighs relaxed. Take a moment to notice what parts o f your feet have more contact with the floor. SLOWLY begin to shift your weight forw ard TOWARD your toes onto the balls o f your feet and come back to neutral. Repeat this 10 to 15 times. DO NOT LIFT YOUR HEELS FROM THE FLOOR. This means you are going too far. STUDENT: I fin d it hard to keep my balance. TEACHER: Yes I notice you are holding your breath. Let’ s get a chair (or use a table) so you can stand and use it to balance yourself. D on ’ t lean against the chair, but let it help

Improving Stability

233

with your balance. Also, don't make the movements so big. Just shift your weight a little toward the balls o f your feet. Now shift your weight back toward your heels. Make sure that you are balanced over both feet. Try to do the movements again. STUDENT: That is much better. I feel as though I can do it. Initially just the four cardinal points might be enough. Exploring the lesson sitting, or lying on the floor, feet on the floor and knees at right angles, is a variation. In this configura­ tion the weight is shifted over the foot so the attention is on the movement of the ankle.

Feeling as Though They Are Falling Backward Sometimes as people shift their weight backward they will begin to move their upper body back rather than keeping the trunk upright. (The same can apply although to a limited extent, in a forward motion.) Be sure to monitor the upper body movement. STUDENT: When I go backward, Ifeel as though I am going to fall. TEACHER: D on’ t come so fa r back. Do not go back to thepoint in which your toes come off thefloor. Goforward again. Make sure you are shifting your weight onto the balls o f yourfeet, but leave the heels on thefloor. The movement is small. Now come back just fa r enough to feel your weight shift onto the heel. STUDENT: It is better, but I still feel as though I am going to fa ll back. TEACHER: Lean forw ard with your upper body from your hip join t just a little. It may help to place your hands on your upper thigh. Now shift your weight forw ard and back. Can you feel a difference? STUDENT: Yes, that is better. TEACHER: Now stand up again and go back and forth a few times. Then do it a few times leaning slightly forw ard as you just did.

234

Body and Voice: Somatic Re-education

STUDENT: Oh, I am beginning to feel what I was doing. I think as I went backward, I was leaning backward not shifting weight backward.

Trouble Moving Side to Side Without Taking the Pelvis Side to Side Sometimes students cannot easily feel the weight shift over the foot. As a result they will move from the pelvis. TEACHER: Be sure to shift your weight over your feet. Do not take your pelvis side to side. Student may continue to move from the pelvis. TEACHER: Do you sense the weight shifting across the foot? Stand still. With the right foot only roll your right foot to the outside on the side o f the little toe, then to the inside on the side o f the big toe. Do it a few times. Stand still and feel the movement o f yourfoot. Now do the same thing with your left foot. Roll your leftfoot to the outside and then to the inside. Is it the same on both sides? Does one foot move easier? STUDENT: It feels easier to do it to the right. TEACHER: That’ s good to notice. Now roll both feet to the outside at the same time. Just a few times. See how even you can get the movement— that means that you do it so the movement is that o f the less mobile foot. I know this doesn’ t make sense, but it is easier f o r the more flexible side to do less. Do the opposite. Roll both feet to the inside a few times. Now shift your weight to the right and back to the middle a few times. So the rightfoot will be rolling toward the outside and the left foot toward the inside. Now go to the left. STUDENT: Oh, now le a n feel my weight shifting. I can ’ t go far, but I guess that’ s OK. Right? TEACHER: Yes, that’ s fine.

Improving Stability

235

Trouble Differentiating Movement o f the Pelvis from Actual Weight Shift Let students explore the weight shift a few times. If they continue to move primarily from the pelvis try this variation. TEACHER: Stand quietly f o r a moment. Feel how your feet are making contact with the floor. Listen to your breathing. Keeping your weight over both feet. I want you to move your pelvis a little to the right and a little to the left. You might notice movement in your knees or maybe your ribs. D on ’ t let your knees bend. Stop fo r a moment. Now shift your weight to stand on your right leg. Now shift your weight to stand on your left leg. Can you feel your weight shift as you shift your weightfrom one leg to the other? Can you feel the weight shift through your feet? Do the movement from your hips again a few times. Then shift your focu s to the sensation o f shifting the weight over your feet. As with many of the trouble shooting variations, it is impor­ tant NOT to correct, but rather to give students variations that will help them notice the difference. The idea o f all of these lessons is to retrain the nervous system in part by providing new options. This series o f lessons are about feeling the floor and getting grounded. They are designed to help students feel the power o f their skeletal structure and find ways to use it to support their voice and ability to em body all the wonderful characters they need to be.

Troubleshooting Circles Over the Feet This is a challenging lesson. It is very important that the students keep breathing. Let them explore the movements for a while with no comment, just reminders to breathe. Students will often stop the movement during the breath, on the initiation of the movement, or once voice is added at the

236

Body and Voice: Somatic Re-education

onset o f sound. Let them discover what they are doing. That is what is powerful about these lessons. TEACHER: Make sure you are really breathing. Go slowly as you begin to make your circle. Be sure to come fully forw ard so that you can make the arc, the quarter circle to the right toward 3 o ’ clock. As you go from 3 o ’ clock to 6 o ’ clock sense the movement under your right foot. In the Pencil lesson the attention was on both feet. In this lesson as you being to make the circle bring your attention to the right foot, as you go from 12 o ’ clock to 6 o ’ clock and then the left foot as you come around from 6 o ’ clock to 12 o ’ clock. STUDENT: When I begin to go from 3 o ’ clock to 6 o ’ clock I feel as though I am going to fa ll so I tense up. TEACHER: As you begin to go around to the back, from 3 o’ clock to 6 o ’ clock make sure that you are not leaning backward with your body. Let your knees bend a little to keep you stable. Go from 12 o ’ clock to 6 o ’ clock several times. Now begin at 6 o’ clock and move counterclockwise around to 3 o ’ clock then back. Does that feel easier? Now begin at 3 o ’ clock through 3 o ’ clock, stop f o r a moment, then exhaling on an audible /s/ or /f/go to 6 o ’ clock then on to 9 o ’ clock. Work counterclockwise from 9 o ’ clock to 6 o’ clock. Remember the circle may not be very round. It can be a little flat on the bottom, or have ja gged sides. It does not matter. What matters is that you keep exploring different ways to explore how you can shift weight over your feet and at the same time keep breathing and figure out what your upper body does. Let’ s try one more variation. Keep your feet still. Without leaning very fa r forw ard begin to make a circle from your head with your upper body only. Your pelvis might move a little to counterbalance, but mostly you are exploring cir-

Improving Stability

237

cles with your head, shoulders, and trunk. Go slowly, keep breathing. Notice: What happens as you go back? Do your toes want to lift a little? Keep them in the ground even if it means that the circle is more oval. STUDENT: That is interesting. As I go back between 3 o ’ clock and 9 o ’ clock I feel as though I will fa ll backward. My toes grip the floor. TEACHER: Go slower and make the circle smaller. STUDENT: That was easier. Stop and walk around. Come back and try to make the half circles with just your feet. When you can begin to make the whole circle. Do it again just from your head, shoulders, a nd torso. First go clockwise, then counterclockwise. Take your time. Stop and REST. Now do it again just from the feet. Has there been any change? STUDENT: Yes, I think it has. TEACHER: Good, let’ s break and move on to something else.

Case Studies Latisha LATISHA, A JAZZ SINGER, had sung with a jazz band for many years but stopped to have a family and deal with family issues. After a break of several years she wanted to resume singing. A perfectionist, she was hesitant to return to singing profes­ sionally until she felt “ ready.”Latisha came for a session at the suggestion of a mutual colleague. Her teacher had commented on Latisha’ s excess neck and shoulder tension and extraneous movements associated with breathing. Latisha was aware of her

238

Body and Voice: Somatic Re-education

upper body tension and felt she was locking her knees when singing, but did not know what to do. She was very confused about breath support, which led to frustration as she felt she HAD to take big breaths to get through phrases. Yet when she took what she thought was a good breath she didn’ t have enough breath to get through the phrases the way she should. As we talked at the beginning o f the session I noticed she hardly ever took a go o d breath. I began the session with a little negative practice so she could sense that it was not her lack of understanding of g o o d breathing, but the posture and stance that was getting in the way. TEACHER: Latisha, please stand as you usually do but lock your knees. Now begin to sing paying attention to your breathing. Now sing the same thing again, only let your knees be soft. Repeat this once or twice more, first doing it with knees locked, then with knees unlocked. What do you notice? LAHSHA: Yes, it is easier to release my abs when my knees are not locked! At this point I had her walk around just to see if there was any difference, and to give her brain a break. TEACHER: Come back to standing. Notice how you stand. Is your weight more on one leg than the other? LAHSHA: I think I am standing more on my right leg. TEACHER: Do you have any sense what part o f your right foot you are standing on? More toward the toes, more toward the heels, or the outside? LAHSHA: No, I don't have any sense o f that. TEACHER: Pay attention just to the right fo o t a n d begin to shift your weight a little forw ard and then back to neutral. (At this point we began the pencil lesson exploring the car­ dinal points. The attention was first only on the right foot although she was shifting her weight over both feet.)

Improving Stability

239

Stand with your feet comfortably apart, knees and thighs relaxed. Take a moment to notice what parts o f your RIGHT FOOT have more contact with the floor. Begin to shift your weight BACKWARD toward your heel. Focus only on the RIGHT FOOT. Notice: You are shifting your weight over both feet but notic­ ing only the RIGHTfoot. Repeat 10 to 15 times always moving SLOWLY enough to feel changes. Stop. Notice if your breathing changes as you move toward the edge o f your stability. Stand with your feet comfortably apart, knees and thighs relaxed. Take a moment to notice what parts o f your RIGHT FOOT have more contact with the floor. Begin to shift your weight FORWARD toward your toes. Focus only on the RIGHT FOOT. Repeat 10 to 15 times always moving SLOWLY enough to feel changes. REST and walk around. Notice any change in the sensation o f your feet contacting the floor. Pay attention to how you are breathing. Come back to standing and notice any change in your bal­ ance or breathing. Notice: Is there any difference between the sensation in your RIGHTfoot and your LEFTfoot? How is your weight distributed now? Combine the movements. Shift you r weight FORWARD toward the balls o f the feet and then go past your neutral shift your weight BACKWARD toward you r heels. Do this a few times still paying attention only to the RIGHT foot. Repeat 10 to 15 times always moving SLOWLY enough to feel changes.

240

Body and Voice: Somatic Re-education

Notice: As you shiftforward notice whether you tend to shift toward the inside or the outside o f your foot. Explore both as you repeat the lesson. Does your breathing change at points? Is there a point at which your breath releases or becomes easier? Good now shift your attention to your LEFTfoot. Shifting your weight as we just did,forw ard and back. Notice: Do you notice a difference paying attention to the LEFTfoot? How is your breathing? Stop and walk around. Come back to standing. Are you more aware o f how your weight is distributed over each foot? LATISHA: Yes, I think so. On the right foot my weight was more on the toes and on the left foot more toward the heels but toward inside o f my foot. I am aware that I am stand­ ing with my knees locked, but left knee is more locked than my right. TEACHER: Sing a little bit as you shift your weight forw ard and back. Pay attention to you r sound. Is there a place between forw ard and back that is easy? LATISHA: Yes, but it is more back than I think I should be. TEACHER: Now sing again, this time shift your weight to the right and left a few times. What do you notice? LATISHA: I am really not sure. TEACHER: Let's take this a step further. I want you to begin making circles. First come forw ard, then side, back and side as though you were imagining a clock under your feet. Begin forw ard at 12 o'clock then SLOWLYgo to 3 o'clock and back to 12 o ’ clock a few times.

Improving Stability

241

We continued with the clock lesson as described above. When she got to the bottom o f the clock working around 6 o’ clock she stopped. LATISHA: I am holding my breath! TEACHER: Begin the clock circles again this time pay atten­ tion to the quality o f the movement in relation to breathing. Pay more attention to your exhale as you do the circle move­ ments. Does that change your experience? LATISHA: Yes! When I fo cu s on maintaining the exhale, I seem to be doing something a little different. TEACHER: OK, now let’ s add singing. Sustain an easy hum or simple vowel. Keep sustaining the pitch as you go around your clock. Can you maintain the ease you are discovering? LATISHA: It is hard to keep the sound going. TEACHER: Breathe when you need to, but keep your focu s on the easy exhale. If you need to as you continue stop the sound, so you can reconnect to your exhale, then add the sound again. LATISHA: Yes, it is getting easier. TEACHER: Walk around then come back to standing and sing a little. Has anything changed? LATISHA: Yes, I feel my breathing is a bit easier. TEACHER: As you practice, every once in a while shift your weight as we did, forw ard and back, side to side a few times, or begin to make the circles. Focus on your exhale. See if you can fin d the ease o f breathing combined with your movement byfocusing on your exhale. Then do the same thing singing.

Fred FRED IS A VERY ENERGETIC, HIGH-ENERGY ACTOR who aspires to becoming a voice-over talent. He has the voice, but is

242

Body and Voice: Somatic Re-education

very uncomfortable standing still in front o f a microphone. He know s that as a voice-over actor he needs to be able to stand in close proximity to the microphone when doing his spots. He finds himself constantly shifting his weight from one foot to the other, bending one knee then the other that pulls him away from the microphone. Bottom line, he is just not comfort­ able standing and feels that the discomfort is reflected in his voice. When sitting he is more comfortable and his voice more powerful. Fred has not had any known injuries that could influ­ ence his balance. During the initial interview, Fred was calm. His voice was strong and deep. I asked him to demonstrate some o f his audi­ tion material first sitting, then standing. TEACHER: How do you think you did? Was there a differ­ ence between doing your material sitting and standing? FRED: Yes, I felt my voice was stronger when I was sitting. I feel as though le a n be more expressive when I sit. Ia m not sure why, but when I stand I have to work harder. TEACHER: Can you talk about that a little bit more? What kind o f work? Is it harder to get your breath, do you feel tense? Physically can you identify what is harder? Do your material again and think about it from this perspective. FRED: Wow, I never thought about it from that standpoint. My teachers always emphasized the text, the emotion, and getting it out. Fred does his material several times. There are several voice­ over spots, one a sports announcement, one for a spa, and the last one for an insurance company. Each one demanded a dif­ ferent pace and vocal quality. TEACHER: What are you noticing? FRED: Ifeel a lot o f energy, maybe tension, in my upper body especially when I am doing the sports spot. In the spa spot I feel as though I lose the energy. I know it is supposed to be soft, but I just lose quality.

Improving Stability

243

TEACHER: Good observations. What about your feet? (Fred looks at his feet almost as if he forgot they were a part o f him.) FRED: I never think about my feet. TEACHER: Let's start. Take o ff your shoes. Stand comfort­ ably. Pay attention to how yourfeet are contacting thefloor. Take a few steps forw ard and back. Come back to standing and feel your feet. What do you notice? Is one foot in front o f the other? Is your weight more on one foot than the other? What captures your attention? FRED: I never thought about this before. I think I stand more on the right leg. I am more aware o f the weight over the heel o f my right foot. Not really sure what my left foot is doing. TEACHER: Shift your weight onto your left leg. Stay that way fo r a moment. Now shift back. Stay on the right leg fo r a while and then shift again. What are you noticing? FRED: When I stand on the right leg, back on the heel, I lock my knee. It seems as though my breathing is restricted. So then I shift to the left leg, but I don't feel very stable. My breath releases a little, but then I just don'tfeel comfortable so I go back to the right. This is so fam iliar to me! TEACHER: Let’ s get a chair. I want you to stand next to the chair so you can use the back o f the chair f o r light support if you need it. Stand comfortably paying attention that your weight is distributed over both feet. I f you are not sure shift your weight a little over the right foot, then over the leftfoot. Repeat this several times until you can come to the place where your weight is over both feet. We began the pencil lesson, shifting weight forward then back. TEACHER: Continue to shift your weightforward and back, but focu s on your RIGHT foot a few times then shift your attention to the LEFTfoot a few times. Then back to shifting with your attention on both feet.

244

Body and Voice: Somatic Re-education

Stop and REST Walk around f o r a moment. Allow your awareness or attention to go where it wants to go. Stop walking and just stand. Don't tell me what you notice, just acknowledge it. Now begin to shift your weight side to side over your feet. Go slowly enough to feel how you can move over your foot as you shift your whole body side to side. As you shift to one side feel where you feel stability. FRED: I don't understand. TEACHER: Shift your weight over your right leg. Stay there a moment and without shifting your body just move your right foot so you are standing more on the inside o f the foot, then more on the outside o f thefoot. Go back and forth slowly until you can fin d the place that you feel is more comfortable or stable. I f you are not sure where that place is, then listen to, pay attention, to your breathing. Is there a place in which you breathe easier? Stop take a few steps forw ard and back then come back and do the same on the other side, with the weight over your left leg. Move your left foot to the inside then to the outside. Lis­ ten to your breathing. Walk around. Come back to standing and shift your weight over your right foot then your left foot. Go slowly. Gradually fin d the mid­ dle. Take a few steps around. Now stand however you want to stand and let's hear your material again. FRED: My voice is so much clearer. I don't feel as though I am working as much! As I think about it I realize I am not shifting around as much as I did before. TEACHER: Good let's take a break. When you are standing in line at the grocery store or getting coffee, wherever, I want you to shift your weight forw ard and back, side to side a few times. It will feel different in your shoes, so I also want

Improving Stability

245

you to do the same thing at home barefoot. For only a few minutes at a go, but also do it while you are warming up. At the next session Fred reported progress, but still felt unbalanced. During this session we expanded the lesson to cir­ cles. Working on the circle lesson he began to notice increased tension in his back and upper chest. He felt this was preventing the smooth movement from the feet. First in sitting, then stand­ ing we worked on the FREEING THE PELVIS lessons. I felt as though the tightness in the upper back was the result of a lack of movement of the pelvis. He was using his upper back muscles to stabilize himself. Fred had to go out of town for a few weeks. When he returned, he reported picking up a last-minute studio job and finding to his surprise that he was very comfortable standing at the microphone for a 2-hour session!

Index A

B alan ce, 18, 22, 28, 35, 56-58, 67, 77, 113,115,

A b d o m in a l m u scle s, 10, 27-28,

148-149, 153, 173, 175-176, 190, 200,

40, 43, 45, 54, 62-63, 82, 91, 134,138-139, 141-142, 147, 150,

208-211, 214-217, 219-220, 232, 239, 242 B ergm an , U., 45, 48 B etsch , M., 45, 47 B jorkoy, K., 42, 48

153- 159, 164, 173, 177-179, 185, 200, 202-205, 212,215-217 A irflow , 40, 63, 81, 118, 126, 132, 141, 144, 149-151,

B lake, E., 43

154- 155, 159, 167, 169, 205, 212 Airway, 149-150, 164 A le x a n d e r te c h n iq u e , 10, 12

B o d y m ap, 9, 12-13, 15-16, 18, 21, 24, 49, 120, 214 B ok a riu s, A.V., 48 B o n e s, 20-21, 29, 34-37, 41, 60, 62, 89, 95, 108, 174-175,

A lexander, F.M., 10-12, 31, 35, 95 A lveolar, 10, 155 A n atom ical, 14, 21, 31, 37 A n a tom y a n d p h y s io lo g y , 25, 33, 37, 119-120 A n d e rsso n , M., 45, 48 A nkle, 17, 210, 218, 220-221, 224, 227, 232-233 A rticulation, 34,110,112, 213, 231 A w a ren ess, 3-9, 25, 27, 31, 68-75, 78, 89, 92, 95, 121, 123, 125, 160, 179, 214,216-217

B B abin sk i, 26

179, 185-186, 197-199, 201, 212,215 B races, 13, 15, 103 B raune, C.W. , 18-19, 31 B reast tissu e, 215 B reath h o ld in g , 10, 91, 94, 113, 123-125, 142, 148-152, 157, 159-162, 165, 167, 170, 194,220,228-229, 232, 241

c C a r b o n d io x id e ( C 0 2), 155 C a se s tu d ie s A lice, 64 B ob , 65 247

248

Body and Voice: Somatic Re-education

C a s e s tu d ie s (continued) Brent, 124 D aniel, 115-118 Fred, 241-245 G loria, 110-113 Joe, 142-144 John, 49-50, 92-94 Latisha, 237-238, 240-241 Mary, 199-203, 216 R obert, 203-208 Sam, 86-88 Sarah, 13-15, 96, 100, 103-106 S h a r o n , 60-61, 157-158, 160-162, 164-165 S tep h a n ie, 54 Susan, 27, 37, 54 T om , 62-63 C e rv ica l sp in e, 6, 12, 21, 81 Chairs, 82 C lavicle, 40, 46, 64-65, 89 C la v icu la r b rea th in g, 89, 200 C lo t h in g c o stu m e , 207-208, 214 s h o e s , 9, 200, 208, 214, 217,

in n ervation , 126, 153 m u s c le fibers, 40, 126, 153 D ifferen tiate, 106, 195 D iv e r sio n a ry m o v e m e n ts, 26-27, 30, 49-50, 54, 56, 68, 77, 79, 86, l 6 l Dor, L., 47

E E g g e b o , T.M., 126, 172 E m b od y , 13, 17, 22, 47, 70, 94, 113, 119, 159, 171, 235 Enflo, I., 169, 172 E pilarynx, 150 E pstein , R., 43 E rick son , M.L., 169, 172 E x h a la tion a u d ib le ex h a la tion , 152-153, 167,169-170 E xperien tial, 6, 9 E x tern a lization , 112, 163-164 E x tra n e o u s m o v e m e n ts, 26-27, 50, 54, 67, 77-79, 95, 132, 209-210

219, 232, 243-244 C lo t h in g a n a to m y fabric, 57, 63-66, 152 shirt, 57-60, 62, 64 trouser, 58 C on stra in ed , 20, 27, 78, 86, 90, 92, 103, 112, 150 C O P D , 44 C o u n te rb a la n ce , 34, 174, 176, 194,210, 214, 236

D d e jo n g , F.I.C.R.S., 48 D en ta l o c c lu s io n , 45, 48 D ia p h r a g m attach m ent, 40, 174 crura, 40-41, 174 attach m ent, 40

F Fan, J., 57, 66 F e ld e n k ra is A w a re n e ss T h r o u g h Movement® , 96 F eld en k ra is, M., 12, 20, 26, 31, 35, 56, 67, 118, 175-176, 208 Fischer, O., 18-19, 31

G G askill, C.S., 169, 172 G ilm an , S.L., 18, 31 G raam an s, K., 48 G ra ssm a n n , J.P., 47

Index

Gravity, 11, 18, 20-23, 29, 34-35, 45, 48, 134,173-175, 203-204, 211-212, 214, 216-217

jaw, e x c e s s iv e o p e n i n g o r m o v em en t, 27, 50, 55, 79, 213 Ju n gblu th , R, 47

H

K

H abit, 12, 92, 94, 139, 174, 202

K endall, 18, 31 Kera, T., 44, 48

H abitual, 5-10, 12-13, 26, 42, 46-47, 49-50, 75, 77-79, 81, 105-106, 125, 159,173-174, H ip joint, 134 Hirani, S., 43 H oit, J.D., 40, 47 H uinck, W., 48

53, 70, 73, 96, 102, 137, 139, 197

Hunter, I., 57, 66 H y o id b o n e , 37-40, 65, 107

249

K in em atic, 37, 45 K o b e so v a , A., 48 Kolar, P., 40, 48 K ooijm a n , P.G.C., 35, 45, 48 Kynchl, M., 48

L Larynx la ry n g e a l m u sc le s, 6, 36, 45, 60, 62-63, 118, 150, 159, 162, 206 la ry n g e a l ten sion , 21, 52, 125,

I Ilia c crest, 40-41, 43, 201 In h alation , 27-28, 40, 54-55, 58-62, 65, 78-79, 89, 92, 113, 120-123, 125, 129-132, 153-156, 173, 194 In sp ira tio n a u d ib le in h alation , 13, 79, 143 Instability, 21, 29, 60, 62, 65, 113, 157, 200, 209-213, 216-217 In ten tion , 69, 78, 92, 113, 124-125, 130, 154, 161, 213 In v erted trian gles, 175-176

J Jaw ja w ten sion , 13-15, 53, 94-108, 123,125, 232

141, 148-149 Laukkanen, A.M., 151, 169, 172 L ea n d erson , R., 44, 48 Lee, Y-K., 45, 48 Lessac, A., 95 L o c k in g th e k n ees, 21, 28, 53, 75, 139, 153, 194,213-217, 220, 238 L o u ise M cC le lla n d Urban, 171 Lung, 7, 23, 37, 40, 50, 119-120, 122, 124, 145, 148-150, 153-158

M M a cd on a ld , I., 43 M aladaptive, 4, 11, 148-149 Mann, M., 26, 32 M aruyam a, H., 44, 48 May, S., 66 M cAllister, A., 169, 172

250

Body and Voice: Somatic Re-education

M oon , H-J., 45, 48 M u sc le s crico th y ro id , 44, 48 e x tern a l o b liq u e , 173 e x trin sic la ry n g ea l m u scle s, 35, 37, 45, 107, 118, 159, 208 in fra h y o id m u scle s, 37 o m o h y o id , 37-38, 64-65 attach m ents, 40 ste r n o h y o id , 37, 39, 60 stern o th y ro id , 37, 39, 60 attach m ent, 37 th y roh y oid , 37, 45 attach m ent, 37 in sp ir a to r y m u scle s, 44, 60, 149 in te rco sta l m u scle, 42

o O u d e s , M.J., 48 O x y g e n , 155 O x y g e n a tin g , 155

P Palate, 11, 27, 34, 95, 107 P aradigm , 21, 30-31 Parasitic, 26-27, 30, 49, 52, 54-56, 77, 79, 89, 108 Pelvis, 9, 17, 27-29, 36, 40, 45, 54, 58, 66-67, 70, 82, 106,114-115, 126, 134,137-139, 148-150, 153-154, 162, 173-199, 203-204, 213-214,

in tern al o b liq u e s , 43, 173 lateral o b liq u e s , 42 m asseter, 95, 103, 106 p e c t o r a l gird le, 44 p e ria b d o m in a l, 43 p s o a s , 40-41, 174 p te r y g o id , 95 q u a d ra tu s lu m b o ru m , 40-41, 174 re c tu s a b d o m in is, 42, 62, 82,

216-217, 220, 224, 234-235 P en d u lu m s, sy s te m of, 175 P ettersen , V., 42, 48, 126, 172 Pivec, M., 48 Plantar reflex, 26 P o stu re p ostu ra l, 20, 35, 40, 56-57, 63, 65, 151, 157, 205, 213 p o stu ra l stability, 20, 45, 157

173,216 sca le n e , 42, 89 s te r n o c le id o m a s to id , 38, 42, 45,156 s u p r a h y o id m u scle s, 37-38 d iga stric, 37-38 attach m ent, 37 g e n io h y o id , 37-38, 45, 107 m y lo h y o id , 37, 107 sty lo h y o id , 37-38 tra n sv erse a b d o m in u s, 43, 173 tra p eziu s, 42, 45, 48

N

R e o x y g e n a te , 150 R esp ira tion , 3, 6-7, 11, 40, 42, 44-45, 63, 89, 120, 124, 148-151, 153, 155, 211-212 Ribs, 27-28, 36, 40, 42-43, 46, 50, 54, 58, 60-62, 66, 78, 89-90, 114, 119-122, 136,147-150, 152-157,

185, 203, 205, 215 Rolf, I., 34-35, 48 20, 33, 35, 214 R om ed a h l, C., 169, 172 Rubin, J.S., 43

N e u ro - m u scu lo - sk eleta l system , 5, N euw irth, J., 48

R

Index

s Sanda, J., 48 Scapu la, 40, 64-65, 89, 154 S c h n e p p e n d a h l, J., 47 Self-im age, 5-6, 11-13, 15-17,

126-128, 150, 152, 154-156, 161-162, 185-186, 192, 197 S ty lo id p r o c e s s , 37, 107 S u b g lo tta l p re ssu re , 42, 62, 151,

24-25, 29,50 Self-talk, 73

154, 159, 167 S u ch a n ek , V., 48 Sulc, J., 48

S h a llo w b rea th in g, 28, 79, 89,

S u n d b e rg , J., 44, 48, 169, 172

152-153, 155 S h ou ld er, 17, 21, 27-28, 30,

S u p r a g lo ttic s p a c e , 7, 25, 149 Svata, Z., 48

36, 40, 42, 46, 49-50, 53-54, 56-57, 60, 63-67, 69,77-79, 89-94, 100, 116,119,125-126, 132, 135-137, 141,152-153, 158, 161, 173, 175-176, 185, 187-188, 194, 198, 204, 212-213, 228, 237 Sitz b o n e , 179 Skeletal, 3, 5, 11, 18, 20-22, 33, 35-37, 82, 89, 134-135, 148, 150, 177, 215, 235 S o m a tic d iso r g a n iz a tio n , 51, 53,

65-66 S o m a tic m ap, 5, 7, 10, 12-17, 26, 29-30, 35, 46, 49, 68, 96, 99, 103, 149, 155, 174, 182, 190, 195, 208, 216-217 S o m a tic patterns, 4, 7, 16, 30, 47,

T T e m p o r a l b o n e , 37, 95 T e m p o r o m a n d ib u la r jo in t (TMJ) ja w p o s it io n of, 75 TM joint, 14-15, 95-96, 106-107 TMJ, 45, 48, 95, 99 T ern strom , S., 45, 48 T h o ra cic, 6, 42, 173 T h y r o id cartilage, 37, 39 Titze, I.R., 151, 169, 172 T od d , M., 18, 34-35 T orp, H., 42, 48 T rach ea, 37, 40, 44, 120, 125, 149-150 T rian gle, 175-176

65, 73, 121, 124 S om a to-sen sory , 171

V

Stability, 9, 21, 23, 28-29, 35, 44-45, 68, 77, 82,113,

va n Acht, H., 48 V ertebra, 6, 40, 42, 128, 195 Vestibular, 16 V olejnik, J., 48 V on Euler, C., 44, 48

147, 156-157, 173-175, 177, 208-211, 213, 215-217, 219-221, 239, 244-245 Stasis, 34, 36, 209, 213 S te rn o cla v icu la r jo in t attach m ent, 89 Sternum , 28, 37, 39-40, 57-58, 60, 62, 70, 81, 89, 119,

251

w W estgaard, R.H., 42, 48 W ild, M., 47 W in dolf, J., 47

252

Body and Voice: Somatic Re-education

X

Y

X ip h o id process, 41

Yu, W ., 57, 66

dy and Voice: Somatic Re-educati presents a new paradigm for working with students of v o ice in a way that a llow s them to work with their body rather than against it. This text is a valuable r e s o u r ce for te a c h e r s of singing, v o ice co a ch e s, and sp e e c h - la n g u a g e pathologists who work with sin g e rs and other v o ice professionals. It provides to o ls to g u ide the student toward self-awareness of habituated patterns, strategies to implement ch a n g e from the inside out, and le s s o n s to identify patterns that interfere with students’ respiration, phonation, and/or resonance.

Existing p e d a g o g i c a l and therapeutic a p p r o a c h e s offer little training in the recognition of the subtle, habituated patterns of movement, stance, or tension that can prevent students from su c c e s s fu lly optimizing their v o i c e use, whether for acting, singing, or just for fun. a d d r e s s e s how to retrain the student’s neuro-musculo-skeletal system to affect real change. Audio recordings of all of the le s s o n s presented in this bo o k are included in the a cco m p a n y in g CD. T hese are intended for use by te a c h e r s and students to facilitate retraining.

Marina Gilman, singing voice teacher, performer, Guild Certified Feldenkrais® Practitioner, and speech therapist. She has taught voice at Cornell University, Syracuse University, and in The Theatre School at DePaul University. Ms. Gilman has worked as a licensed speech pathologist at major medical voice centers in Chicago and is currently part of the interdisciplinary team at the Emory Voice Center, Department of Otolaryngology in Atlanta, Georgia. She has also taught at The School at the Steppenwolf Theatre Company summer program. Over the past 35 years, Ms. Gilman has developed her interest in somatic aspects of voice training through her clinical, academic, and studio teaching.

ISBN

uELELTl

978-1-59756-509-7

9 781597 565097