Art, Awareness, Feldenkrais, Freedom, Language, Slowing Down, Writing, Zen

Common Denominator: Moshe Feldenkrais and Gertrude Stein

 

Feldenkrais_stein2 MTE4MDAzNDEwNjk1NTg3MzQy“Let me listen to me and not to them” Gertrude Stein

“The object of this learning is to remove outside authority from your inner life” – Moshe Feldenkrais

Friends invited me to a “Night of Gertrude Stein” at a bookstore the other evening. I knew little about her poetry, save for the oft-quoted line: “Rose is a rose is a rose is a rose”. The event was to last four hours. I said I’d join at halftime. As I arrived, a man and a woman read aloud at the front of the room. It took me a few minutes to decipher that they were reading from the same text and the woman was (deliberately) further along, creating a syncopated echo. I noticed that my ears gravitated to her voice and that I wanted to track what she was saying. Thanks to my Feldenkrais studies, I was aware that there was more than one way to listen. Could I generalize my attention to take in the sounds created by the two voices, even if the cacophony made no sense? What if I focused on the man’s voice, making it the foreground instead of the background? I experimented with these choices and treated them as equally valid, rather than trying to “figure out” which was best or trying to grasp every word. In the end, my habit of wanting to make sense of the language was strong and the woman’s voice dominated my experience.

Other readers chose passages that showcased Stein’s propensity to use the same words again and again, much like her rose line, variants of which populate Stein’s work. I found myself by turns impatient with and mesmerized by hearing nearly identical sounds in close succession, over and over. And over. After the reading, my friends (one a poet, the other not) and I discussed our impressions.

“I hadn’t realized that repetition was such a hallmark of her work,” I said, adding that maybe Stein’s poetry was an acquired taste.

“Theres’s no such thing as repetition,” said the poet.

I suppressed the urge to raise my eyebrows. He explained that each time the words are spoken, it’s a new moment. They are not said in exactly the same way each time and, if we’re present, we hear them differently each time. Of course! As my Zen teacher would add, it’s our conditioned mind that wants to label these sounds “repetitive” rather than listening afresh in each moment, much as we might appreciate birdsong or classical music (per Gertrude herself: “There is no such thing as repetition. Only insistence.”)

While driving my friends home, the non-poet shared that he wished he’d been educated in how to best participate in such an experience, since much of Stein’s work does not make sense to a mind that’s been trained to form narratives and create meaning, an “elusive obvious” habit writ large. His experience, and mine to a lesser degree, seemed similar to how I reacted to my first Feldenkrais lesson. Then, I had expected something other than what was happening and my mind, not knowing how to be with confusion, rebelled and took me out of the moment by judging the experience.

A Feldenkrais Awareness Through Movement (ATM) lesson and a Stein poem share language as a means of cultivating greater presence. A Feldenkrais teacher might say the same instruction more than once. Perhaps we don’t hear it precisely or at all the first time, if our minds are elsewhere. Maybe hearing it a second time helps us tune in more closely or reminds us to direct our attention to physical sensation instead of inner narratives. Perhaps a third or even fourth listening is required to refine our kinesthetic sensing, to feel a part of the body normally off the radar. Moshe Feldenkrais, a student of hypnosis, knew that using language in a particular way can induce a trancelike state, allowing people to experience themselves beneath the level of discursive thought. Ditto for poems whose words are arranged not to communicate meaning or even evoke emotion but to open us to deeper or novel ways of perceiving, allowing us to hear our innermost selves, often drowned out by culture and society.

Like Stein’s poetry, which that evening did not follow an obvious thread if any at all, ATMs are also designed as a journey without a destination, in which the movements are not the point. One tenet of Feldenkrais’ “How to Learn” manual is: We do not say at the start what the final stage will be. Since there are no poses or goals in a lesson, the mind’s habit of planning or achieving is temporarily deactivated and the student is invited to inhabit each moment fully, with as much curiosity and attention as they are willing and able to bring to bear. That willingness and ability are, for many of us, skills cultivated over time, similar to learning how to appreciate spoken word events or wine tastings.

After dropping my friends off, it occurred to me that the evening had enlarged my self-image to include attending poetry readings more than once in a blue moon, rather than believing it’s “not my thing” or “I don’t get it”. As I contemplate teaching Awareness Through Movement lessons in the future, perhaps I can learn from poets how to deliver phrases so they sound fresh each time while continuing to practice listening with my whole self and tune into the sensations evoked by the sound of language, rather than clinging to literal meanings. Had I followed my old script and skipped the reading, I would not have discovered that Moshe and Gertrude, born in dissimilar places at different times and identified by others as having seemingly distinct professions, have at least one common denominator*. Regardless of whose phrasing one prefers, the two mavericks shared a message of inner freedom as well as similar visages. That they resemble twins separated at birth makes me laugh which, according to Moshe, means that I’m open to learning.

*(they also shared Jewish roots, the loss of or separation from parents at a relatively young age, and later residence in Paris.)
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About ilona fried

Writer, Feldenkrais champion, Aikidoka and explorer of internal and external landscapes.

Discussion

15 thoughts on “Common Denominator: Moshe Feldenkrais and Gertrude Stein

  1. Yes, they do look similar! And yes they both succeed by bringing our awareness to the present moment by disrupting the expected story our mind clings to. Thanks for the observation!

    Posted by daniel ziskin | March 10, 2015, 11:22 am
  2. I might just have to re-visit Gertrude Stein’s poetry after reading this. I’m sure to have a completely new perspective. Thanks for this great post, Ilona

    Posted by Wally Walsh | March 10, 2015, 4:16 pm
  3. As I read your post, I found myself longing to hear the two voices. The embodiment of the words through sound and gesture. Wondering all the while, did they embody them differently? Did the sounds of the words touch you differently? As I read your post, I found myself recalling the training I received in my Feldenkrais Training Program on how one–how I, could use my voice to direct a students attention. Not just though words but through pitch, tone and intention. The art of what is communicated beyond the words. As I read your post, I found myself longing to read more of Stein and to feel for myself how her words touch me, moment-to-moment.
    -Buffy

    Posted by Buffy Owens | March 10, 2015, 7:36 pm
  4. Gertrude Stein! I was first exposed to her in college, when we performed “Four Saints in Three Acts.” You’ve made me want to revisit that piece, and her work.
    My favorite line in this post is the description of your reaction to your first Feldenkrais lesson: “Then, I had expected something other than what was happening and my mind, not knowing how to be with confusion, rebelled and took me out of the moment by judging the experience.” WOW, that is a lifetime of work right there.
    Confusion, unmet (or exceeded) expectations, judgments — it’s all the stuff of life.
    Thanks for making connections!

    Posted by divamover | March 11, 2015, 7:58 am
  5. Another connection: Carl Rogers the psychotherapist. Gareth Newell wrote an autobiographical essay about Feldenkrais and the dancer and mentions how frustrated she felt at one stage in her training with Moshe: he wouldn’t give her the answers she wanted. Aha, I thought: this resonates with a short talk Rogers gave at the Harvard School of Education in 1952. In summary, what he said is that he was only interested in learning that changed people and that teaching was largely useless. In contrast, self-appropriated learning is powerful. His audience was somewhat disturbed!

    Posted by Matthew Henson | March 27, 2015, 10:47 am
    • Yup, I can imagine that message might not have gone down so well at the Harvard School of Education! Do you have a source for that essay? I’d be interested in reading it.

      Posted by ilona fried | March 27, 2015, 10:51 am
      • The essay is reprinted in Rogers’ “On becoming a person”. In my copy, a 1967 edition from Constable, London, it is chapter 13 “Personal Thoughts on Teaching and Learning”, page 273. The same edition (although labelled 2004) is on Amazon US but that chapter is not in the ‘see inside’ selection. It’s a powerful piece so I may end up copy-typing it.

        Posted by Matthew Henson | March 27, 2015, 12:26 pm

Trackbacks/Pingbacks

  1. Pingback: Feldenkrais Off the Mat: One Sidedness | à la carte spirit by ilona fried - March 30, 2015

  2. Pingback: Feldenkrais Experiments in Self-Image: Joining a Health Club. Really!? | à la carte spirit by ilona fried - October 25, 2015

  3. Pingback: A Year Ends. Thoughts on Learning and Possibility. | à la carte spirit by ilona fried - December 31, 2015

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