by Aline Benoit
Flutist Vanessa Mulvey, a colleague at the Longy School, recently expressed her enthusiasm for a course she has taken, and now teaches on Body Mapping. The course is called, “What Every Musician Needs To Know About the Body.” Designed by Alexander Technique teacher Barbara Conable, Body Mapping is an educational program that expands one’s understanding of the body’s anatomical structure as a way of “enhancing technical facility, breath capacity, control and overall musicality.” My years of teaching experience have made me realize that different approaches appeal to different individuals. Although I haven’t had any first-hand experience with Body Mapping, my impression is that it provides a visual and more concrete illustration of concepts used in many body awareness techniques, such as Alexander Technique. I invited Vanessa to share with us exactly what Body Mapping is, and how it can be of benefit to performers and teachers.
What can we do to regain natural free movement? Body Mapping provides a powerful tool to achieve the natural free movement for great music making. Body maps are mental representations of our physical structures that form a road map, guiding movement for the entire body. Accurate body maps set the stage for graceful, efficient movement since movements take place where joints are actually located. Inaccurate body maps offer awkward restricted movements for music making because movement is not integrated with the design of the body. Performers with an inaccurate map move in a way that does not agree with the body’s design, causing unnecessary tension. Body maps include detail of structure, function and size of bones, joints and muscles.
For example, compare two different maps of the finger joints and observe their implications on movement. First, look at the palm of your hand (fig. 1) with your fingers pointing to the ceiling and imagine the structure of your index finger. Include in your map the locations of bones and joints and how they move. On first examination, the creases on the finger’s skin appear to match the three joints. Move the index finger at the top crease noticing that it coincides with the joint. Repeat this at the crease in the middle of the finger. Next move at the crease located at the finger’s base. Notice that movement feels different. This is because this crease does not correspond to the third finger joint. In fact, the crease is almost an inch above the joint. Now turn your hand over and compare the palm map with one based on the back of the hand (fig. 2). Similar creases exist at the top and middle joints. Move each. The difference on this side is where we see the third joint. Here it is marked by the bump of the knuckle, which does coincide with the location of the joint. Move the third joint at the knuckle. Notice that movement at the knuckle feels free and easy. This is because it is moving at the actual joint. If we base movement on the palm, movement at the third finger joint feels awkward and stiff. Furthermore, the body tries to create the illusion of movement with tension that holds the joint still. This tension not only impairs finger movement, but affects hand and arm movement because of the physical proximity of hand muscles to other arm moving muscles.
One way to access a body map is to draw a picture of the area in question, including details of the components (bones, joints, and muscles), how these move and their relative size. Comparing this map to an accurate anatomical depiction highlights the differences between concept and reality. With the finger joints and observe their implications on movement. First, look at the palm of your hand (fig. 1) with your fingers pointing to the ceiling and imagine the structure of your index finger. Include in your map the locations of bones and joints and how they move. On first examination, the creases on the finger’s skin appear to match the three joints. Move the index finger at the top crease noticing that it coincides with the joint. Repeat this at the crease in the middle of the finger. Next move at the crease located at the finger’s base. Notice that movement feels different. This is because this crease does not correspond to the third finger joint. In fact, the crease is almost an inch above the joint. Now turn your hand over and compare the palm map with one based on the back of the hand (fig. 2). Similar creases exist at the top and middle joints. Move each. The difference on this side is where we see the third joint. Here it is marked by the bump of the knuckle, which does coincide with the location of the joint. Move the third joint at the knuckle. Notice that movement at the knuckle feels free and easy. This is because it is moving at the actual joint. If we base movement on the palm, movement at the third finger joint feels awkward and stiff. Furthermore, the body tries to create the illusion of movement with tension that holds the joint still. This tension not only impairs finger movement, but affects hand and arm movement because of the physical proximity of hand muscles to other arm moving muscles.
One way to access a body map is to draw a picture of the area in question, including details of the components (bones, joints, and muscles), how these move and their relative size. Comparing this map to an accurate anatomical depiction highlights the differences between concept and reality. With the differences identified, the map can begin to be refined. By exploring bones and joints through touch to learn their locations we can experience how they are designed to move. The updated map is integrated into the performer’s movements elevating the level of music making.
Body Mapping is a preventive solution to injury as well as relief from discomfort and pain. Length of study depends on the individual. Some find they can work independently after a few sessions. Accurate body maps enhance the study of Feldenkrais and the Alexander Technique and are a valuable problem-solving tool for teachers.
The Andover Educators are a group of musicians trained to teach Body Mapping. In workshops and lessons they guide musicians to natural, free movements through the refinement of body maps. The organization was founded in 1997 by Barbara Conable, teacher of the Alexander Technique, who is well known for her ability to help musicians suffering from performance-related pain and injury. Her ground breaking book, What Every Musician Needs to Know About the Body (GIA), is used by performers and teachers alike. Today there are approximately forty Andover Educators around the world whose mission it is to “save, secure and enhance musical careers with accurate information about the body in movement.” For more information visit www.bodymap.org.
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