NFI : Master the Art of Working Out

"§ 1 NFI : Master the art of working out [Inside front cover] Are you a gym slave? Do you pound the treadmill relentlessly and believe that reducing your speed, even a fraction, is a catastrophic failure? § 2 Do you try to lift heavier and heavier weights despite the messages of pain resonating from your body? § 3 Or do you simply drift through your workout focused only on the TV screens that adorn the gym wall or the sounds coming from your ipod? § 4 Then you are not alone. This is the routine for most people at thousands of gyms across the world every day - yet it’s a desperately unimaginative and ineffective way to exercise. § 5 Master the Art of Working Out offers a radically new approach to fitness training. Using the principles of the Alexander Technique, § 6 which places the fundamentals of coordination, balance and posture above everything else, § 7 the authors teach us how to make exercise more thoughtful and more stimulating by looking at working out as an art rather than just a means to an end. § 8 All aspects of gym-based exercise are covered — resistance training, using machines and free weights, fitness classes, flexibility, cardiovascular and core training — § 9 with the emphasis at all times on total awareness of the ‘how’ and ‘why’ of what you are doing, so you can better understand your body and, in turn, work out with greater ease, efficiency and grace. "

"§ 10 The book is crammed with illustrations and tips on how to enhance your skills - whether you are a dedicated gym-goer or a first-time exerciser. § 11 A variety of inspiring case studies from other converts to the Alexander Technique prove that mastering this approach to working out really is the key to getting the most out of your gym sessions. § 12 FOREWORD By Robin Gargrave Director, YMCA Fitness Industry Training YMCA Fitness Industry Training has been the largest training provider for exercise and fitness instructors in the UK since its inception in 1983. § 13 The thousands of exercise instructors we have trained have been taught the principles of safe and effective exercise, a basic understanding of how the human body works, and the vital importance of teaching ‘correct’ technique. § 14 However, we must ask the question: what makes an exercise ‘correct’? We advocate a number of checks that an instructor can use. § 15 For example, are the muscles targeted by a resistance exercise actually doing the work without other ‘helping’ muscles being brought in? § 16 Are locomotory exercises free-flowing and graceful? Does an exercise take place through natural planes of movement, allowing joints and levers to follow their correct alignment? § 17 All very good — yet we find these checks can be incredibly difficult for instructors to put into practice. § 18 Some trainee instructors have low levels of kinaesthetic awareness and may demonstrate bad habits in their own exercise technique. These habits can be tough to ‘unlearn’. § 19 If we encounter such difficulties when training would-be instructors, you can imagine the problems that instructors then face when teaching their clients! "

"§ 20 Implementing the principles of quality and effectiveness in exercise is a tremendous challenge to the fitness industry. § 21 After all, we could take the easy way out and simply ignore poor technique and inferior performance. § 22 However, the potential benefits of a more informed and thoughtful approach to exercise cannot be overestimated — which is where Master the Art of Working Out comes in. § 23 The aim of the book is to question the mechanical and task-oriented manner in which many people approach exercise, encouraging instead an attitude which values ‘thinking in activity’. § 24 When so many people struggle to make exercise a regular part of their lives and become bored and disillusioned, this book’s emphasis on gaining pleasure from the process of exercise rather than merely the end result is extremely valuable. § 25 YMCA Fitness Industry Training is committed to getting more people more active more often, in ways that promote their health and well-being in its broadest sense. § 26 Mastering ‘the art of working out’ has a significant role to play in helping to achieve this. INTRODUCTION § 27 ‘Fitness has to be fun. If it is not play, there will be no fitness. Play, you see, is the process. Fitness is merely the product.’ – George Sheehan, cardiologist § 28 Why do thousands of us resolve to get fit then quit our programme after a few weeks? § 29 Why do so many people pay hundreds of pounds to join a gym then attend no more than once or twice? "

"§ 30 Why is exercise so often described as ‘boring’, and considered a penance rather than a pleasure? § 31 These are some of the questions that Master the Art of Working Out aims to answer. § 32 Don’t pick up this book expecting quick-fix weight-loss plans, or thoughts on the latest celebrity-endorsed routine. § 33 You know the kind of thing: ‘Six weeks to a sexy new body — guaranteed!’ or ‘The ultimate no-sweat exercise plan’. § 34 These are part of an entirely different publishing genre — a very lucrative one, it must be said, but also one that rarely delivers results. § 35 They make fantastic promises, but demand strict adherence to rigid programmes in pursuit of difficult goals - with a yawning chasm of uncertainty between ‘now’ and ‘then’. § 36 The fitness world is full of such promises. Indeed, it is obsessed with measurements and targets. How often are newcomers enticed into a gym by this kind of claim: § 37 ‘If you follow our routine three times a week for six months, you will lose X kg in weight, your body fat will fall by Y per cent and you will be able to wear dress size Z’? This is clever marketing talk. § 38 However, in practice it is doomed because it fails to create any engagement with the process of working out, merely setting a clutch of alluring targets somewhere in the future. § 39 It suggests that the activity is not worthwhile in itself but is merely a way to achieve something else."

"§ 40 We exercisers are forced to pin our hopes on distant rewards without any understanding of how we’re actually going to get there. § 41 That journey, rather than the destination, is what this book is about. We see people wandering around fitness clubs with no idea what they are meant to do there. § 42 We spot others using equipment in a totally mindless, sometimes reckless, manner. § 43 And then there are those who want to get the best out of their workouts but are stuck in a comfort zone, reluctant to push themselves or to try something new and challenging. § 44 All these types of gym-goer are somewhere on the journey, but they’ve lost their way. § 45 This is why they are likely to give up, become bored or never reach their physical potential. § 46 As George Sheehan noted in the quotation above, fitness has to be fun. If it is, we are more likely to stick with it and achieve results. § 47 But too few people see exercise as play — instead, they consider it work. Hard work. And, let’s face it, don’t we do enough of that in the rest of our lives? § 48 Just as this is not a ‘get fit quick’ guide, nor is it a training manual, full of charts, schedules and those same problematic promises. § 49 Instead, it offers a new perspective on exercise and ‘gym culture’ through the principles of the Alexander Technique, a method of becoming aware of how we use and misuse our bodies."

"§ 50 We will learn more about F. M. Alexander and encounter some of his ideas and procedures in the following pages — § 51 with the aim of encouraging awareness and good form whenever we lace up our trainers and begin to work out. § 52 My Story : Malcolm Balk I first started working out in my teens, way back in the late 1960s, before gyms became the high-tech fitness centres of today. § 53 The set-up was pretty basic: free weights, benches, a few bikes and a platform to perform Olympic-type lifts. § 54 My aim was to build bigger arms, legs and chest so I could be a more intimidating ice hockey player. § 55 I was only 1.75m (5ft 9in) tall and weighed 68kg (149lb), but this did not get in the way of my quest to become a ‘dominant’ physical force in a sport that even then had players over 1.8m (6ft) tall, weighing at least 22kg (50lb) more than I did. § 56 Two or three times a week I'd pump it up until, by the end of one summer, I was a massive 72kg (158lbs) with huge 34cm (134in) arms and could bench-press nearly 89kg (200Ib). § 57 When ice hockey training camp opened, I felt so strong that I went around hitting everyone, convinced I was invincible. § 58 Sadly, the dream came crashing down when I suffered a leg injury and could hardly skate, making it impossible to get close enough to unleash my devastating power. § 59 Result? I got cut from the team. A few years later I was back in the gym, this time to improve my leg strength so I could run faster."

"§ 60 We’re now in the mid-1970s, it was the peak of the first marathon boom and I was determined to break three hours. § 61 When the first Nautilus gym opened, with its state-of-the-art machines promising unheard-of strength gains in record time, I was in there. § 62 And I must admit it was a pretty exciting place. Some of the top field-event athletes in the country trained there, huge men who could squat more than 267kg (600lb) and bench-press 222kg (500Ib). § 63 Serious stuff! And here I was, a wannabe marathoner, right in the thick of it. Although I got stronger, judging from the amount I could lift in a session, I didn’t get any smarter. § 64 The cycle of injuries that had always plagued me as a runner continued. Furthermore, the tendency to go out too quickly in a marathon was exacerbated by my newfound strength. § 65 I found myself running too fast without even trying, and paying the price by the end of the race. § 66 While all this was going on, I returned to a wholly unconnected activity from my younger days: I started playing the cello again, and several important things happened. § 67 I began to notice for the first time how much effort I put into everything I did, and realized that trying harder only made things worse. § 68 In running and other sports, excessive tension is often masked by momentum, effort, extreme physicality and a strong urge to compete and win. § 69 However, in music, such unnecessary tension makes it almost impossible to play. It gets between you and what you want to do. "

"§ 70 With hindsight, I now recognize that I was experiencing the same thing when it came to sport and exercise: that more was never enough, but at the same time more was too much. § 71 Thank goodness that my cello teacher at the time told me about the Alexander Technique, or I’m not sure where I would have ended up. § 72 Not only did discovering Alexander have a profound effect on the way I played the cello, it also made a dramatic difference to my running — a process described in the book Master the Art of Running. § 73 And, interestingly, it started to influence the way I worked out. Before I moved to London in 1981 to begin training as an Alexander Technique teacher, my exercise schedule was a hit-or-miss affair. § 74 I worked out mainly to be better at whichever sport I was involved with at the time. § 75 So I strengthened my major muscle groups using weights, in traditional exercises such as bicep curls, dips, lat pulldowns, hamstring curls, leg extensions, squats, bench presses, and so on. § 76 I assumed that if someone had impressive arms, a massive chest or powerful-looking legs, he was obviously capable of greatness, especially when it came to competitive sport. § 77 This assumption influenced my training, motivating me to try to develop a particular look. § 78 By copying the workouts of these supposed models of athletic wonder, I failed to find out what was really necessary to improve in my sport. § 79 I simply mimicked what was going on around me in the belief that if I did what they did, success would soon follow. "

"§ 80 My Alexander Technique training underway, I began to question the link between particular exercises and the sport at which I was trying to improve. § 81 Would bigger hamstrings help my kick at the end of an 800m race, or larger biceps improve my second serve at tennis? § 82 More often than not, I found that the link between a particular exercise and what I wanted to develop became increasingly tenuous. § 83 Likewise, I became less preoccupied with superficial appearance. Unless you’re planning a career as a lap dancer, not many people outside the locker room are going to see you naked. § 84 I realized that what Alexander Technique teachers describe as ‘good use’ (or what most people call ‘posture’) makes a far more important and long-lasting contribution to appearance (both clothed and in the buff) than pumping up your chest, tightening your butt and developing a so-called ‘six-pack’. § 85 Before I became an Alexander Technique student, the idea of ‘use’ meant nothing to me. I just trained hard and took pride in the effort I put into my workouts, even if a lot of it was misdirected. § 86 I still train hard, but now it’s different. I take a great deal of pride in doing things that may be difficult or demanding as easily and smoothly as possible. § 87 I don’t perform a set of chin-ups only with the idea of finishing it, but with the ongoing thought of how the chin-ups are affecting my use. § 88 And on those few occasions when I really go all-out and deliberately overdo it, I like to think that it’s more from choice than blind habit. § 89 We are assaulted on a daily basis, from a huge variety of sources, with information about the latest, greatest, newest and very best way to look younger instantly, run faster, lose weight, develop fab abs, and so on."

"§ 70 With hindsight, I now recognize that I was experiencing the same thing when it came to sport and exercise: that more was never enough, but at the same time more was too much. § 71 Thank goodness that my cello teacher at the time told me about the Alexander Technique, or I’m not sure where I would have ended up. § 72 Not only did discovering Alexander have a profound effect on the way I played the cello, it also made a dramatic difference to my running — a process described in the book Master the Art of Running. § 73 And, interestingly, it started to influence the way I worked out. Before I moved to London in 1981 to begin training as an Alexander Technique teacher, my exercise schedule was a hit-or-miss affair. § 74 I worked out mainly to be better at whichever sport I was involved with at the time. § 75 So I strengthened my major muscle groups using weights, in traditional exercises such as bicep curls, dips, lat pulldowns, hamstring curls, leg extensions, squats, bench presses, and so on. § 76 I assumed that if someone had impressive arms, a massive chest or powerful-looking legs, he was obviously capable of greatness, especially when it came to competitive sport. § 77 This assumption influenced my training, motivating me to try to develop a particular look. § 78 By copying the workouts of these supposed models of athletic wonder, I failed to find out what was really necessary to improve in my sport. § 79 I simply mimicked what was going on around me in the belief that if I did what they did, success would soon follow. "

"§ 80 My Alexander Technique training underway, I began to question the link between particular exercises and the sport at which I was trying to improve. § 81 Would bigger hamstrings help my kick at the end of an 800m race, or larger biceps improve my second serve at tennis? § 82 More often than not, I found that the link between a particular exercise and what I wanted to develop became increasingly tenuous. § 83 Likewise, I became less preoccupied with superficial appearance. Unless you’re planning a career as a lap dancer, not many people outside the locker room are going to see you naked. § 84 I realized that what Alexander Technique teachers describe as ‘good use’ (or what most people call ‘posture’) makes a far more important and long-lasting contribution to appearance (both clothed and in the buff) than pumping up your chest, tightening your butt and developing a so-called ‘six-pack’. § 85 Before I became an Alexander Technique student, the idea of ‘use’ meant nothing to me. I just trained hard and took pride in the effort I put into my workouts, even if a lot of it was misdirected. § 86 I still train hard, but now it’s different. I take a great deal of pride in doing things that may be difficult or demanding as easily and smoothly as possible. § 87 I don’t perform a set of chin-ups only with the idea of finishing it, but with the ongoing thought of how the chin-ups are affecting my use. § 88 And on those few occasions when I really go all-out and deliberately overdo it, I like to think that it’s more from choice than blind habit. § 89 We are assaulted on a daily basis, from a huge variety of sources, with information about the latest, greatest, newest and very best way to look younger instantly, run faster, lose weight, develop fab abs, and so on."

"§ 90 The list is endless and so are the promised ‘solutions’. Like many others, I too have been guilty of looking for the quick fix, the magic pill. § 91 During my three-year Alexander Technique teacher-training course, I remember discovering the secret of teaching the Technique about once a month during the first year. § 92 By the second year it was down to once a term. As for the third year, it was even less often than that. Almost 20 years later, I am still optimistic that the secret will soon be revealed! § 93 In the meantime, I have noticed improvements in my teaching, particularly in those areas where I’ve followed the principles learned many years ago. § 94 My experience in the gym is not all that different. If I master the basics and practise them regularly, perseverance will bring progress. § 95 Does this mean I never try new techniques, different exercises, novel approaches? Absolutely not — it’s fun to experiment and there is always room for improvement. § 96 Over the years, the two most important changes to my thinking about working out are § 97 (a) that I do actually think about it and into it; and (b) that I am more aware of the process of exercise rather than merely the end result. § 98 Likewise, my own reasons for working out have gradually changed. Dreams of athletic greatness have faded slightly. § 99 A 111kg (250Ib) bench press no longer holds the cachet it once did. And my self esteem is not as linked to the size of my biceps as it was when I was 16."

"§ 100 However, a workout is still an opportunity to see how well I can move, lift, flex and coordinate myself; to push my envelope, get out of the rut and into the groove where qualities such as connection, elasticity and skill are valued. § 101 Even if I’m not quite as fast, strong or flexible as I used to be, it doesn’t matter. § 102 The wonderful thing about the Alexander Technique is that not only is it portable, it also ages well. § 103 It’s still there after all these years and every trip to the fitness centre is another chance to explore its influence in ways that aren’t part of my usual day-to-day activities. § 104 My story: Andrew Shields As a sport and fitness writer, I’m often asked about my own workout schedule. § 105 When I reply that I take some form of exercise most days of the week, the usual comment is: ‘I suppose you have to for your job.’ § 106 That’s true — but it’s not the reason why I’m in the gym or out on a court, pitch or track. The real explanation is simple: because I enjoy it. § 107 ‘Pleasure’ is an underused word when it comes to exercise. People usually mention weight loss and muscle gain, or point to their flabby bits if pressed for the reasons why they work out. § 108 As for motivation, the initial impetus often comes from a stern-talking medical practitioner or a partner concerned that they’re now living with twice the person they once were. § 109 Hence the common obsession with end results and a narrow, mechanical and prescriptive approach, which can be both tedious and self-defeating. "

"§ 110 My main enjoyment comes from the process of exercise: the challenge of learning a new routine in a dance class, § 111 of trying to bench-press a heavier weight without creating patterns of tension throughout my body, of exploring the possibilities for ‘good use’ while perched on a gym ball. § 112 Yes, I get a sweat up and still experience the endorphin high that comes from lifting my heart rate into the training range for half an hour or so. § 113 But my main reaction is to think: ‘That was fun. I’m looking forward to doing it again soon. But first, I'll do something different tomorrow.’ § 114 ‘Cross-training’ is the term for this kind of varied workout programme. Its aim is to alleviate boredom and reduce injury by eliminating the repetitive use of muscle groups, joints and ligaments. § 115 Why, then, when most large fitness centres offer an abundance of activities and there’s also the great outdoors to explore, do so many people never veer from the routine they were given on the day they joined the club? § 116 I’m sure that if my workout schedule was an unchanging 20 minutes on the treadmill, ten minutes on the rowing machine and a prescribed route around the resistance machines, I’d have given up years ago. § 117 It was through sport that I came upon the Alexander Technique. I heard about Steven Shaw’s work linking the Technique with swimming and went for lessons. § 118 Although I could swim reasonable distances, my technique was poor. I envied those sleek specimens who reeled off the lengths without raising a ripple while I was a typical thrasher, wasting energy and getting nowhere. § 119 Shaw not only altered my swimming style, he also changed my awareness of what it felt like to be in water."

"§ 120 In practical terms, by teaching me to look at the bottom of the pool, I released the tension from my neck and shoulders. § 121 This helped to stop my body sinking and, allied to a more efficient breathing pattern, halved the number of strokes it took to complete a length. § 122 But it was his insistence that swimming should be considered an art with qualities of grace, flow, economy and sensuousness that struck me most. § 123 I’d never heard it discussed in this way. Steven introduced me to Malcolm Balk, who was taking a similar approach to the Alexander Technique and running, § 124 and we began work on changing my mindset from that of a former sprinter and jumper — particularly a tendency to pull my head back and compress the vertebrae in my neck — to someone seeking to run for pleasure and avoid injury. § 125 The sense of ease and freedom this gave made sense when I began taking Alexander Technique lessons and continued trying to conquer what I came to learn was called ‘end-gaining’. § 126 I discovered the importance of keeping my whole body flexible and poised, so I could choose how best to use it according to what I was doing. § 127 These lessons offered a fresh insight into my sport and fitness activities. Now, when I am in the gym, I gain immense satisfaction from trying to make every lift or move perfect. § 128 And if I’m tired or pressed for time, I won’t agonize about skipping a few reps and heading for the shower. I still get a kick from working out and, so long as I keep my brain switched on while I’m doing it, I hope that will never change."