princeton | I turned to Feldenkrais because a friend I respected a lot suggested it
as a solution to my hand and arm pain (RSI). I went to ATM classes and
took FI
lessons
from a local teacher in Princeton NJ. Though these whetted my
curiosity, they did not solve my RSI problems.
I found an excellent teacher, Angel DiBenedetto,
during a 5-month stay in
Seattle. She learned from Moshe Feldenkrais, and is herself a trainer
of other Feldenkrais teachers. Eight lessons from her
(over a 3-month period) completely changed my view of my body. My
hand was much better but still not 100%. Also, I sensed the tremendous
potential of this method and wanted to go further. So I took 8-9
Feldenkrais
lessons with
another amazing teacher, Anat Krivine,
during a subsequent 4-month stay
in Israel. Anat is also a trainer of Feldenkrais teachers. It was very
useful for me to learn from multiple teachers, since no two
teachers have
the same perspective. One important thing that Anat finally made me
realize and give up was my
tendency to ask for "the best way to do X"
which I think was limiting my learning. Furthermore, unknown to me, she
had a special interest in scoliosis (sideways curve of the spine) which
turned out to be relevant to my problems. By the end, my hand problems
were completely gone and my scoliosis (which the medical profession
thinks of as a skeletal problem, with no cure) much reduced. (See the
links below for an explanation of scoliosis and the Feldenkrais
approach to it.)
So what can you expect when you get Feldenkrais lessons from a good
teacher? The immediate sensation is one of calm that you
have never known. You may realize that you have lived in a background
of muscular tension that you had never noticed until it went away.
(Kind of like the change in background noise level you might notice if
you moved from Manhattan to Montana.) This
can be a powerful, even emotional experience. It is a good idea
to savor this calm right after the lesson, and to take a
nap. You may feel great, but avoid the temptation to go out and do
something strenuous. (Skip your usual exercise routine for a day or
two.) The calm may dissipate over the next few hours and days, but in
future sessions it will last longer and longer, until it becomes part
of your everyday state.
The FI's implant new ideas into your body, and over the next few days
and weeks it will slowly imbibe them and change. Do not be surprised if
you find yourself doing things differently.
Another thought that might occur to you is that much of what you have
known
about pain
is wrong. You will learn that often pain is caused by faulty movement
patterns,
not any
kind of damage to the body. Thus pain can be produced and
taken away at will, using simple change in movements. This knowledge is
extremely empowering for people who have suffered from chronic pain.
(Update Aug 2008): During the
year since I first wrote my page, I have continued to do ATMs every
week, and felt continuous
and noticeable improvement. However, I also slowly became more and more
aware of the asymmetries still left over from my scoliosis. These were
interfering with my enjoyment of activities I had newly started (Capoeira,
rollerskating, and running). In
Summer 2008 I got a few lessons from another excellent teacher, Reuven
(Robbie) Ofir, in Manhattan. (I heard of him from a friend.) Robbie is
also a Feldenkrais trainer and a
former head of
physical therapy at a leading NYC hospital. Robbie helped me work
out some deep
asymmetries and tensions in my body. Robbie also taught me do
ATMs at an even slower and gentler pace that I used to, which has taken
my learning to a higher level. I feel truly great now. But Robbie
has helped me appreciate that there is no end to the process of
improvement with the Feldenkrais method. (Encouraged by this, I also
took my aged parents to Robbie for a few
lesson, which helped them a lot. They are from
India and Feldenkrais is unlike anything they have experienced.)
I plan to
get an
occasional FI or two in future years to continue this learning. In
particular I plan to explore the use of the method in voice and music.
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