What is physical strength?

13 years ago, when I first walked the streets of Shanghai, China, I stopped at a construction site. In fact, the whole city of Shanghai was one giant construction site.

There must have been a good three dozen workers where I stood, building a subway station. Right in front of me three workers worked a manhole in the middle of the street. They lifted rusty, sizeable iron bars, and heavy cables from a large cable roll. Although they didn’t wear shirts they didn’t have big arms. They were not swole. Their bodies didn’t say “gym membership on steroids.” In fact, they didn’t look anything like Influencer strongmen or Olympic-style weightlifters. Their upper arms looked rather small in comparison, and their torsos lean and compact, just like the steel pillars they were driving into the ground everywhere. And I’m pretty sure they didn’t spend an hour every morning grooming themselves in the bathroom.

They looked like how I imagine wild tigers looked like in the jungle. Pure power, strength, agility, flexibility. These are the people who build 5 lane roads complete with bridges, underground tunnels, and all the tech involved; railroads, the canalisation, shopping malls, parks, and skyscrapers. These are the people who build megacities in record time with their bare hands and a few machines. They lift big weight under the most challenging conditions below minimum wages every day from early morning to late night, and also all through the nights, except for a few weeks holidays in early February, with a smile.

The original lessons of Moshé Feldenkrais (pun intended)

Which one is the original Mona Lisa? And which one is the most original Mona Lisa? Can you tell one apart from the other, at a glance? Which one do you enjoy looking at the most? Which one is the most inspiring to you? Which one has the freshest look? Which one makes you think, engage, and want to investigate, do more? Which one reflects the art and thinking of its time? And, would you say that it’s ok for all of them to exist? Is only the first version the real, the great, the valuable one – or do all of them have value?

Credits, left to right: Mona Lisa by Leonardo da Vinci in 1503, Mona Lisa L.H.O.O.Q. by Marcel Duchamp in 1919, Mona Lisa by Andy Warhol in 1963

Consent form for comments

In the early days of Youtube, the Youtube comment section was a bottomless pit, a cesspool of darkness, emotional rage put into words. Things got a lot better since then. Youtube viewers noticed: even in writing we are socialising with sentient, fellow beings. We not only have the capacity to be aware of feelings, but we actually do live through our feelings.

I thought of a list for your own comment section, to let others know what you’re comfortable with and not. Of course, tongue in cheek. But I like my idea of it. It came to me after watching a Youtube video where an author – after his book presentation – was verbally attacked by a person from the audience. Q&A is not a feedback session. A comment section underneath another person’s work is not a place to vent. Here’s the form:

– – – – – – – – – – – – – – – – – – – – –
I welcome you to point out the following in a disapproving, critical voice:

☐ my spelling and grammar
☐ the way I express myself, my choice of metaphors, adjectives, and figures of speech
☐ my findings, opinions, and conclusions
☐ me as a person
☐ my gender, name, family, or culture as a whole
☑︎ NONE OF THE ABOVE
– – – – – – – – – – – – – – – – – – – – –

Turning the head in prone position – Starting position

Please come to lie on your front side. In this position the floor is directly in front of you, and the ceiling is in the back of you. The orientation is obvious, but these things might go unnoticed if not mentioned explicitly. Or maybe I’m just giving it a double stitch so to speak. In this way these light and elusive things hold together much better. Being wide aware of your orientation is part of the lesson and learning. 

Your shoulder girdle and your pelvic girdle are parallel to the floor, and at the same time they are parallel to the ceiling. If you are in a squared room, that is.

Extend your left arm downwards, alongside your torso. Park your left arm like this. Then stand your right hand next to your shoulder, so that your right elbow is pointing backwards, towards the ceiling. Your right hand should stand somewhat like in a push-up, the fitness exercise.

Then turn your head to the right, at least a little bit. I know that’s not comfortable for everyone. There’s no need to have your left ear fully flush on the ground, just turn your head to the right as far as it’s comfortable.

Place both your legs on the floor, extended, straight downwards, more or less, let them fall into place, and rest them too, relaxed.

So that’s the starting position.

Filming again

I need to giggle at the facts. How I’m filming in my living room, me on my own with you in my mind. I enjoy it, I grow with it. I find that the movements have so many aspects, psychologically, philosophically, worldly. I always discover something new. I really enjoy it.

I don’t have a production team. I’m not working in order to make the big numbers. I’m just grateful that I’m able to work, be my own boss, flow to my own rhythms, and do what I’m most interested in. I think that in itself is a miracle.

Say who you are

I have not nailed down a definition of myself just yet.

Finding an end, and a beginning

During the past three months or so, for 102 days to be precise, every day, I dedicated a couple of hours to writing. Every day I wrote a short essay, a commentary, a movement sequence, or a short story. It started out as a project of curiosity – a lot has been written about the benefits of daily writing, and I wanted to see where daily writing would take me – how it would change me, what would improve, what I would discover. I showed up every day and I did the work. I never had writer’s block. As long as I would sit down and start to write I would write something, and after two to six hours I would have something that I deemed worth sharing.

Even though I had no idea for how long I would keep going, or where I would eventually arrive at, right from the beginning I had a general idea of what I would want to write about, and what I would not want to write about. Within those limits I allowed myself to experiment with different styles and different stories.

Stephen Krashen, professor emeritus, linguist, educational researcher, and political activist, states what we’ve learned from science: „We write for two reasons. One is obvious: We write to communicate with others (letters, emails, reports) and ourselves (notes, lists, reminders). The second is less obvious but profound: We write to solve problems and to make ourselves smarter.”

I don’t know if I became smarter over the past 102 days, but for one I have the impression that my writing as well as my thinking have improved. And secondly, more importantly maybe, I have had many important insights, and I have made many discoveries crucial to my development as a person and as a teacher – which I would probably not have made otherwise. I have the feeling that these 102 days cleared up many things for me and set me on my path again. With confidence, cheerfulness, and bright optimism that there’s a wonderful world out there, that is open for and supportive of our personal development and sharing amongst each other. „Trust your head around, it’s all around you. All is full of love, all around you.” to quote a song from the Icelandic singer Björk.

One more thing. David Sedaris said that a story needs to end, and not just stop. He recalls himself being Live on Tour, where he would read his stories to a different audience each night, “Every night I had to say thank you to the audience and that means that my ending didn’t work,” he says. “You shouldn’t have to tell people that the story is over.”

The story isn’t over yet. Our story isn’t over. Maybe you too would like to sit down sometimes and write down a movement sequence in your own words, and add your own observations.

Maybe you would like to start with a few stick figure drawings, and a few arrows and annotations. Then add some comments or speech bubbles, and before you know it you will have sketched out an entire movement based story.

Or maybe you would like to start with a personal movement diary. Writing helps us to make sense of what we experience. You could use your challenges, victories, discoveries, your Instagram posts, or your favourite movement moments as seedlings that you then grow into text. Or copy an inspirational quote from here or there, add your thoughts, your movements, your moments. You could start a page with „Would you please come to lie on your back”, as a possible replacement for „Once upon a time.” And then observe where the story will take you.

Or maybe you would like to start with a super-mini-essay in the form of a comment somewhere, for example on one of my videos, like Tracy did a few days ago, on one of my Shoulder Circles videos called „Simple movements, powerful changes”: 

„I love that moment at the very end of a lesson when I realise, »Oh, it’s all been leading to THIS!« [..] Lovely! What I particularly noticed after this lesson was how easily my shoulders swayed back and forth as I walked, and how upright my pelvis is. Another piece of Feldenkrais magic – how does a lesson focusing on my shoulders reset my pelvis?! Thank you for another great lesson, Alfons.”

Writing down movement sequences is not so different from writing stories. We have some sort of a plan, a general idea or direction, and start writing.

„When I started writing that story, I didn’t know there was going to be a Ph.D. with a wooden leg in it. I merely found myself one morning writing a description of two women I knew something about, and before I realized it, I had equipped one of them with a daughter with a wooden leg. I brought in the Bible salesman, but I had no idea what I was going to do with him. I didn’t know he was going to steal that wooden leg until ten or twelve lines before he did it, but when I found out that this was what was going to happen, I realized it was inevitable”, excerpt from Flannery O’Conner, „Writing Short Stories”

As long as we start somewhere, we will be going places. A new journey begins. Thank you for reading, you have been wonderful. And, if you haven’t yet, where will you start your next movement-based lesson?