Uses of the Erotic: The Erotic as Power

[Paper delivered at the Fourth Berkshire Conference on the History of Women, Mount Holyoke College, August 25, 1978. Published as a pamphlet by Out & Out Books (available from The Crossing Press). Reprinted in Sister

Outsider: Essays and Speeches by Audre Lorde, Crossing Press:1984]

THERE ARE MANY kinds of power, used and unused, acknowledged or otherwise. The erotic is a resource within each of us that lies in a deeply female and spiritual plane, firmly rooted in the power of our unexpressed or unrecognized feeling. In order to perpetuate itself, every oppression must corrupt or distort those various sources of power within the culture of the oppressed that can provide energy for change. For women, this has meant a suppression of the erotic as a considered source of power and information within our lives.

We have been taught to suspect this resource, vilified, abused, and devalued within western society. On the one hand, the superficially erotic has been encouraged as a sign of female inferiority; on the other hand, women have been made to suffer and to feel both contemptible and suspect by virtue of its existence.

It is a short step from there to the false belief that only by the suppression of the erotic within our lives and consciousness can women be truly strong. But that strength is illusory, for it is fashioned within the context of male models of power.

As women, we have come to distrust that power which rises from our deepest and nonrational knowledge. We have been warned against it all our lives by the male world, which values this depth of feeling enough to keep women around in order to exercise it in the service of men, but which fears this same depth too much to examine the possibilities of it within themselves. So women are maintained at a distant/inferior position to be psychically milked, much the same way ants maintain colonies of aphids to provide a life-giving substance for their masters.

But the erotic offers a well of replenishing and provocative force to the woman who does not fear its revelation, nor succumb to the belief that sensation is enough.

The erotic has often been misnamed by men and used against women. It has been made into the confused, the trivial, the psychotic, the plasticized sensation. For this reason, we have often turned away from the exploration and consideration of the erotic as a source of power and information, confusing it with its opposite, the pornographic. But pornography is a direct denial of the power of the erotic, for it represents the suppression of true feeling. Pornography emphasizes sensation without feeling.

woman sitting on chair beside green plant

The erotic is a measure between the beginnings of our sense of self and the chaos of our strongest feelings. It is an internal sense of satisfaction to which, once we have experienced it, we know we can aspire. For having experienced the fullness of this depth of feeling and recognizing its power, in honour and self-respect we can require no less of ourselves.

It is never easy to demand the most from ourselves, from our lives, from our work. To encourage excellence is to go beyond the encouraged mediocrity of our society is to encourage excellence. But giving in to the fear of feeling and working to capacity is a luxury only the unintentional can afford, and the unintentional are those who do not wish to guide their own destinies.

This internal requirement toward excellence which we learn from the erotic must not be misconstrued as demanding the impossible from ourselves nor from others. Such a demand incapacitates everyone in the process. For the erotic is not a question only of what we do; it is a question of how acutely and fully we can feel in the doing. Once we know the extent to which we are capable of feeling that sense of satisfaction and completion, we can then observe which of our various life endeavours bring us closest to that fullness.

The aim of each thing which we do is to make our lives and the lives of our children richer and more possible. Within the celebration of the erotic in all our endeavours, my work becomes a conscious decision – a longed-for bed which I enter gratefully and from which I rise up empowered.

portrait of woman holding a sword in dramatic lighting
Photo by Freddy Rezvanian on Pexels.com

Of course, women so empowered are dangerous. So we are taught to separate the erotic demand from most vital areas of our lives other than sex. And the lack of concern for the erotic root and satisfactions of our work is felt in our disaffection from so much of what we do. For

instance, how often do we truly love our work even at its most difficult?
The principal horror of any system which defines the good in terms of profit rather than in

terms of human need, or which defines human need to the exclusion of the psychic and emotional components of that need – the principal horror of such a system is that it robs our work of its erotic value, its erotic power and life appeal and fulfilment. Such a system reduces work to a travesty of necessities, a duty by which we earn bread or oblivion for ourselves and those we love. But this is tantamount to blinding a painter and then telling her to improve her work, and to enjoy the act of painting. It is not only next to impossible, it is also profoundly cruel.

woman in white long sleeve shirt and gray skirt holding white ceramic mug

As women, we need to examine the ways in which our world can be truly different. I am speaking here of the necessity for reassessing the quality of all the aspects of our lives and of our work, and of how we move toward and through them.

The very word erotic comes from the Greek word eros, the personification of love in all its aspects – born of Chaos, and personifying creative power and harmony. When I speak of the erotic, then, I speak of it as an assertion of the lifeforce of women; of that creative energy empowered, the knowledge and use of which we are now reclaiming in our language, our history, our dancing, our loving, our work, our lives.

There are frequent attempts to equate pornography and eroticism, two diametrically opposed uses of the sexual. Because of these attempts, it has become fashionable to separate the spiritual (psychic and emotional) from the political, to see them as contradictory or antithetical. “What do you mean, a poetic revolutionary, a meditating gunrunner?” In the same way, we have attempted to separate the spiritual and the erotic, thereby reducing the spiritual to a world of flattened affect, a world of the ascetic who aspires to feel nothing. But nothing is farther from the truth. For the ascetic position is one of the highest fear, the gravest immobility. The severe abstinence of the ascetic becomes the ruling obsession. And it is one not of self-discipline but of self-abnegation.

The dichotomy between the spiritual and the political is also false, resulting from an incomplete attention to our erotic knowledge. For the bridge which connects them is formed by the erotic – the sensual – those physical, emotional, and psychic expressions of what is deepest and

strongest and richest within each of us, being shared: the passions of love, in its deepest meanings. Beyond the superficial, the considered phrase, “It feels right to me,” acknowledges the

strength of the erotic into a true knowledge, for what that means is the first and most powerful guiding light toward any understanding. And understanding is a handmaiden which can only wait upon, or clarify, that knowledge, deeply born. The erotic is the nurturer or nursemaid of all our deepest knowledge.

The erotic functions for me in several ways, and the first is in providing the power which comes from sharing deeply any pursuit with another person. The sharing of joy, whether physical, emotional, psychic, or intellectual, forms a bridge between the sharers which can be the basis for understanding much of what is not shared between them, and lessens the threat of their difference.

Another important way in which the erotic connection functions is the open and fearless underlining of my capacity for joy. In the way my body stretches to music and opens into response, hearkening to its deepest rhythms, so every level upon which I sense also opens to the erotically satisfying experience, whether it is dancing, building a bookcase, writing a poem, examining ai idea.

That self-connection shared is a measure of the joy which know myself to be capable of feeling, a reminder of my capacity for feeling. And that deep and irreplaceable knowledge of our capacity for joy comes to demand from all of my life that it b lived within the knowledge that such satisfaction is possible and does not have to be called marriage, nor god, nor an afterlife.
This is one reason why the erotic is so feared, and so often relegated to the bedroom alone, when it is recognized at all. Fo once we begin to feel deeply all the aspects of our lives, we begin to demand from ourselves and from our life-pursuits that the1 feel in accordance with that joy which we know ourselves to b capable of. Our erotic knowledge empowers us, becomes a lens through which we scrutinize all aspects of our existence, forcing us to evaluate those aspects honestly in terms of their relative meaning within our lives. And this is a grave responsibility, projected from within each of us, not to settle for the convenient the shoddy, the conventionally expected, nor the merely safe.

During World War II, we bought sealed plastic packets o white, uncolored margarine, with a tiny, intense pellet of yellow colouring perched like a topaz just inside the clear skin of the bag We would leave the margarine out for a while to soften, anc then we would pinch the little pellet to break it inside the bag releasing the rich yellowness into the soft pale mass o margarine. Then taking it carefully between our fingers, w< would knead it gently back and forth, over and over, until the colour had spread throughout the whole pound bag of margarine, thoroughly colouring it. I find the erotic such a kernel within myself. When released from its intense and constrained pellet, it flows through and colours my life with a kind of energy that heightens and sensitizes and strengthens all my experience.

We have been raised to fear the yes within ourselves, our deepest cravings. But, once recognized, those which do not enhance oui future lose their power and can be altered. The fear of our desires keeps them suspect and indiscriminately powerful, for to suppress any truth is to give it strength beyond endurance. The fear that we cannot grow beyond whatever distortions we may find within ourselves keeps us docile and loyal and obedient, externally defined, and leads us to accept many facets of our oppression as women.

When we live outside ourselves, and by that I mean on external directives only rather than from our internal knowledge and needs, when we live away from those erotic guides from within ourselves, then our lives are limited by external and alien forms, and we conform to the needs of a structure that is not based on human need, let alone an individual’s. But when we begin to live from within outward, in touch with the power of the erotic within ourselves, and allowing that power to inform and illuminate our actions upon the world around us, then we begin to be responsible to ourselves in the deepest sense. For as we begin to recognize our deepest feelings, we begin to give up, of necessity, being satisfied with suffering and self-negation, and with the numbness which so often seems like their only alternative in our society. Our acts against oppression become integral with self, motivated and empowered from within.

In touch with the erotic, I become less willing to accept powerlessness, or those other supplied states of being which are not native to me, such as resignation, despair, self-effacement, depression, self-denial.

And yes, there is a hierarchy. There is a difference between painting a back fence and writing a poem, but only one of quantity. And there is, for me, no difference between writing a good poem and moving into sunlight against the body of a woman I love.

woman in black tank top

This brings me to the last consideration of the erotic. To share the power of each other’s feelings is different from using another’s feelings as we would use a Kleenex. When we look the other way from our experience, erotic or otherwise, we use rather than share the feelings of those others who participate in the experience with us. And use without consent of the used is abuse. In order to be utilized, our erotic feelings must be recognized. The need for sharing deep feeling is a human need. But within the European-American tradition, this need is satisfied by certain proscribed erotic comings-together. These occasions are almost always characterized by a simultaneous looking away, pretense of calling them something else, whether a religion, a f mob violence, or even playing doctor. And this misnaming the need and the deed give rise to that distortion which result in pornography and obscenity – the abuse of feeling.

When we look away from the importance of the erotic in the development and sustenance of our power, or when we look away from ourselves as we satisfy our erotic needs in concert with others, we use each other as objects of satisfaction rather than share our joy in the satisfying, rather than make connection with our similarities and our differences. To refuse to be conscious of what we are feeling at any time, however comfortable that might seem, is to deny a large part of the experience and to allow ourselves to be reduced to the pornographic, the abused, and the absurd.

The erotic cannot be felt secondhand. As a Black lesbian feminist, I have a particular feeling, knowledge, and understanding for those sisters with whom I have danced hard, played, or even fought. This deep participation has often been the forerunner for joint concerted actions not possible before.

But this erotic charge is not easily shared by women who continue to operate under an exclusively European-American male tradition. I know it was not available to me when I was trying I adapt my consciousness to this mode of living and sensation.

three women smiling
Photo by Radomir Jordanovic on Pexels.com

Only now, I find more and more women-identified women brave enough to risk sharing the erotic’s electrical charge without having to look away, and without distorting the enormously powerful and creative nature of that exchange. Recognizing the power of the erotic within our lives can give us the energy to pursue genuine change within our world, rather than merely settling for a shift of characters in the same weary drama.

For not only do we touch our most profoundly creative source, but we do that which is female and self-affirming in the face of a racist, patriarchal, and anti-erotic society.

Source: https://www.centraleurasia.org/wp-content/uploads/2023/02/audre_lorde_cool-beans.pdf

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Are you Turned On, Lit Up, Fully Alive, Creatively Free?

I have been keeping a lil’ secret from you!
You haven’t heard from me in a while because I have been completing a 6 month training in Women’s Pleasure Coaching with Regena Thomashauer, feminist icon and author of “Pussy: A Reclamation” which culminated with a 5 day retreat in Costa Rica.

I am so passionate about teaching Alexander Technique and I LOVE supporting my clients transformations from tight, closed off, and in pain to taking up space, feeling open, relaxed, and confident (I will continue to teach AT). But after the very traumatic end to my marriage in 2020 during the pandemic & my work almost completely disappearing, I had to look deep inside myself not only to heal but to EVOLVE into the woman I desire to be.  I wanted to be a woman who is turned on, lit up, fully alive, and creatively free!

I knew there was more to me than posture, breath, undoing and confident presence. That work is infused throughout my life and the future of my coaching business. I also felt a strong pull to take a deep dive into my own feminine embodiment, pleasure, sensuality, and desire. This pull towards the feminine and the er@tic nature of women landed me at the lap of Regena Thomashauer, aka Mama Gena and her Pleasure Coaching Certification.

With the events of the world and women losing rights over their own bodies, now more than ever, I want to uplift, support, guide and teach women about their own bodies, their sensuality, their beauty, and the power of their er@ticism. It’s innate. It’s visceral. It’s divine. You are divine.

My work as an Embodied Sensuality coach for women will include many of the same principles and practices of AT but will also include Womanly Arts that allow you to drop into your body, strengthen the muscle of pleasure, guide you to your deepest desires, and tap you into your creativity and emotional freedom. I will be offering these life changing “tools” to women who are on stages, on camera, and sharing their art, their gifts, and their talents with the world.

As my first offering to the women or the women who are connected to the men I have taught Alexander Technique to, I am excited to announce…  

This a transformative 3-part virtual class designed for women performers who are ready to feel fully alive, turned on, and creatively free. I will guide you through practices that unlock the deep connection between your body, voice, and artistic expression—so you can show up fully turned on in your art and life.

Are you already DROOLING? We are doing this in April!

For all the juicy details and REGISTRATION, CLICK HERE

You know you want to….

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Why Do You Have a Tight Neck & Rounded Shoulders?

It’s not because you are lazy and weak. Rounded shoulders are a symptom of a whole body pattern. Great posture and confident presence are open and relaxed. You don’t have to “hold” yourself up.

I bet you were told to lift your chin and pull your shoulders back. This guidance is military posture and it doesn’t work. That forced position is too rigid and quite painful.

Watch this brief video so you can see what is actually causing your tight neck and rounded shoulders. Releasing the pattern can open up your body language and free you from A LOT of tension and pain.

During sessions in the Alexander Technique, you discover how easy you can be in your body. It becomes clear that you don’t have to clench all your muscles to stay upright. With the sophisticated hands- on guidance, you have a brand new experience of moving through life with lightness and power.

Learn more about lessons in the Alexander Technique by visiting HERE.

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Tips to Soothe Yourself during stressful times

With the drastic changes that have occurred because of the spread of COVID-19, our stress levels have risen. Fear and anxiety are everywhere. It’s easy to carry the weight of the world in our bodies and I want to give you “tools” to better manage this unprecedented level of pressure and worry.

I will be creating simply videos to help you release tension and SOOTHE yourself so you can feel calmer, more grounded, and more at ease. You do not want to make yourself sick with stress. You want your immunity strong!

Jaw Tension is a symptom of stress and worry. Here is my first video to help you release your jaw:

For more practices to soothe yourself, sign up for “5 Ways to Instantly Reduce Stress” to the right of your page. You will learn more about Alexander Technique and how it can help manage stress, relieve pain, and calm your nervous system.

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Why Do Actors STUDY ALEXANDER TECHNIQUE

Sharon Jakubecy Klehm was interviewed for The Actor’s Summit last year. She has worked with many professional performers so they “nail” auditions, overcome Performance Anxiety, and perform with confidence.

Watch this interview and see what an Alexander Technique session looks like. See the transformation that the interviewer experiences as Sharon guides him through a release of compression and collapse in his body.

Want this openness, presence, and power for your performance? Train with Sharon in the Alexander Technique. Find out more about private, individualized sessions HERE

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Couples Valentines session

Want a special and unique way to celebrate Valentine’s Day with your loved one?

Image Source: https://onehugaday.files.wordpress.com/2014/02/alive-in-the-fire_sarah-rhoads-2.jpg
Image Source: https://onehugaday.files.wordpress.com/2014/02/alive-in-the-fire_sarah-rhoads-2.jpg

Want to release tight muscles and open up your body to the one you love?

Schedule a Couples Session in the Alexander Technique for Valentine’s Day

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Feeling stressed, tight and overwhelmed interferes with your
relationships by distracting you with bogged down thoughts and pain. When you and your partner (or dear one) unravel stress and tension in an Alexander Technique session with certified Alexander Technique teacher, Sharon Jakubecy Klehm, you feel light, open, relaxed, and HOT!

The physical release of the chest and muscles across the heart release and you feel vulnerable and connected to others.

Here is what one happy client wrote about her couples sessions:

We heartily recommend Sharon’s couples class (semi-private for friends) Alexander Technique. The information and new way of moving your own body is fantastic enough but seeing the immediate, clearly visible, positive changes in someone you love – your partner in life, family member or best friends – adds a whole other dimension. I literally felt myself more powerful and calm and saw that in my fiance too. He looked so strong, powerful, confident and at peace in his body. (guys, be prepared to get pounced on after class…seeing our men look like that has an effect on us!:)

The physical learning was surpassed by the emotional/spiritual experience for me. When your body is in natural alignment energy flows easier allowing you to meet your day with big support. We both realized the Alexander Technique sessions brought us closer and helped us support each other in ways we wouldn’t have otherwise thought of. We remind each other to ‘bend at the knee’ when we walk and it’s at once helpful, shows we’re thinking of the other, and is our in-joke that we share.

There are many excellent reasons to choose this experience – gaining understanding of your body and how it can move, increasing energy available to you in your life, new perspectives on physical and emotional experiences, deepening your relationship and a new kind of intimacy with your partner.

Sharon is a wonderful, knowledgeable, fun teacher and a fantastic leader for your Alexander Technique adventure! We each did a package on our own then did a package of couples sessions. Clearly we think she’s fabulous 

Have a great time!

During your Couples Alexander Technique Session, you and your loved one will:

  • Release old painful patterns of tension
  • You both experience Stress Relief and Pain Relief
  • Calm your nervous system so you both feel Relaxed and Open
  • Experience the Joy of breathing free and easy together
  • See each other stand tall with great posture and Embody your Full Powerful Height
  • Shed physical armoring that closes your body off and blocks your intimacy
  • Feel your bodies so you feel sensation
  • Experience true Confidence with each other

The Valentine’s Day Special is an hour  of lightness and freedom in the body.

Your Valentine’s Special is only $180 (normally $120 for a single private session.)

Surprise your Valentine with this unique and wonderful Alexander Technique session today!

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Alexander Technique for Actors on Backstage

(Click on the photo to watch the video interview on BACKSTAGE)

‘Un-Getting Ready’

(This is an excerpt from the article ” Keeping Up with Alexander Technique” by Lisa Jo Sagolla.  For the entire article click here)

Jakubecy teaches mainly performers and public speakers, working with them on making direct connections between Alexander work and what they do in auditions and presentations.

“It’s all about application,” she says. “If you understand the work but can’t apply it to what you want to do, it’s not very useful. For example, when I teach, it’s ‘Okay, we’ll do some floor work, some hands-on guidance, some identify and release tension, but now let’s have you stand up and do a monologue.’ At the very beginning of a monologue, a performer’s habits jump in right away, so as soon as they go up on stage, I’ll ask them what they notice. They might notice that they’re locking their legs, or their lower back, or their chest—and that’s before they even begin speaking. Then at the next class, I’ll have them say just the first line of the monologue and notice what they do when they’re getting ready to speak. Do they gasp for breath? Lift their chin? Tighten their neck? Then I give them guidance regarding how to undo all of those inhibiting habits—’un-getting ready,’ so to speak. That’s one of my favorite terms. I teach actors how to ‘un-get ready.’ ”

Jakubecy thinks the growing interest in Alexander work stems from an August 2008 article in the British Medical Journal reporting the results of a study that had been done in England on the relationship between back pain and the Alexander technique. It compared the effectiveness of Alexander, exercise (in the form of walking), and massage in the relief of generalized lower back pain, and Alexander was found to be the most effective of the three. Patients who had 24 Alexander technique lessons experienced 85 percent fewer days of pain in a month than the control group. “So with the publication of that study, more people started seeking out Alexander technique for back pain relief,” Jakubecy says.

For the entire article, please visit Keeping Up with Alexander on BACKSTAGE

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Open & Emotionally Available Without Over-Exertion

An Acting Teacher’s Take on What the Alexander Technique Can Do For You (first posted on Backstage.com)

There’s a reason the Alexander Technique is the only form of movement training that the Yale School of Drama requires its acting students to study for the full three years that they attend. It’s an extremely powerful practice of body-mind integration that pays dividends for actors on many levels.

If you talk to an Alexander teacher, you’re probably going to hear them talk about ease of movement and efficiency—both extremely important when it comes to acting. And while studying the technique certainly requires that you invest your time and money in the practice, I’m here as an acting teacher to convince you that it’s a tremendously worthwhile investment both for your work and yourself.

A big part of the Alexander Technique is becoming conscious of the unconscious physical habits we’ve developed to move through our lives and do the things we need to do. Most of these habits involve chronic tension or overexertion aka using more effort than we really need to.

Engaged in continuously over time, chronic tension and overexertion have an impact on our neuromuscular system: the tensed muscles form a kind of body armor that we use to brace ourselves against the incoming emotional volleys we’re constantly subjected to.

For actors, this is a problem. We need to be emotionally available to the impulses being directed at us by our scene partners and the armor chronic tension outfits us with obstructs this process.

One thing we learn with the Alexander Technique is how unconscious we are of much of this chronic tension. This means we can’t expect to be able to just throw a switch and deactivate the armor when we want to—or at least not without some training. It’s this training that’s one of the most valuable things that the Alexander Technique can offer an actor: the ability to consciously promote physical openness and receptiveness, which go hand-in-hand with emotional openness and vulnerability.

The ability to be vulnerable is essential to crafting a memorable performance, but so is the ability to engage, to assert oneself, to play to win. The characters we play have needs and we need to embody these needs and then take up the character’s struggle to get those needs met. If that involves confrontation or conflict, we need to be able to enter into this conflict fully, to truly care about the outcome of the conflict, and to use our will, body, and voice to resolve it in a way that means that our character’s needs are met. In this process of pursuing what we need, we want to avoid either under-exerting or overexerting ourselves.

The Alexander Technique is terrific for learning to do what is necessary but not more so that we manifest our emotional truth without clogging ourselves up with unnecessary tension.

There are other advantages to the Technique as well. Through the study of the Technique, you will gain an intimate understanding of the human anatomy and how it functions, allowing you to see more subtle possibilities as you explore a character’s physicality. But in some sense this is icing on the cake; the Technique’s capacity to help us become more emotionally available on the one hand and to assert ourselves without overexerting on the other are gifts any actor can derive enormous benefit from for fuller, richer, more memorable work.

Andrew Wood is the founder of Andrew Wood Acting Studio in L.A., artistic director and founder of Uranium Madhouse, a Los Angeles-based theater company, and Backstage Expert. Check out his full bio here!

Ready to take your performance on stage, on camera, and in the spotlight  to the next level?  Train in the Alexander Technique for professional performers who want to up level your game so you feel unstoppable in auditions, on set, and when all eyes are on you! 

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LIVE Talk Radio Mind, Body, and the Effects of Texting

Is texting hurting you and your relationships? Got text neck? Stephanie Michele, host of Relatable, with me and Matt Formica discussed texting norms and the hidden harms of texting too much. Setting guidelines to mindfully decrease texts exchanges were emphasized with a review of the No Text or Next pledge. Watch the interview HERE.

Doctors are now diagnosing patients with “texting neck.”  Carrying your head forward of your spine to use your smart phone is causing pain, harming your posture, and interfering with your breathing.  My best advice is to prioritize your body over your phone and watch the interview!

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Brazilian Singer uses Alexander to Calm Performance Anxiety

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Carla Hassett, singer. musician, and Alexander Technique client, was just interviewed by Linda Wertheimer on NPR about Carmen Miranda, São Paulo, and the making of a far from traditional Brazilian album +Blue.

Her CD Release Concert is happening July 10, 6pm and a Killer band is locked in (with members of Sergio Mendes and Bebel Gilberto’s band), to play in Los Angeles at Kulak’s Woodshed. But if you’re not in LA, you can catch the concert LIVE ONLINE at ClapMe.com!!

Read how she has used Alexander Technique to calm performance anxiety:

“When I finished recording my album and started thinking about playing shows in support of it’s release, I knew I had to do something to address my performance anxiety.

Thankfully I found Sharon and embarked on a 10-week intensive one on one training with her. It never occurred to me to come at emotional anxiety from a physical perspective, but I know from years of singing that the mind-body connection works both ways, so I was eager to get started. Sharon helped me to change my experience of feeling hopeless and helpless to overcoming very powerful feelings of anxiety that I feel while performing.

I put these skills to the test in a big way this week when I was invited to do an interview with Linda Wertheimer on NPR. Before, this sort of thing would floor me, but I used the breathing techniques and alignment skills that Sharon taught me and they keep me calm, cool, and present. Of course I had moments of panic, but I was able to work quickly through them and get back to a confident, calm state of mind. Success! Next challenge will be the album release concert and live webcast. I’m already practicing and applying the techniques Sharon taught me and I know It’ll be a great show!”

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Want to overcome performance anxiety? Train in the Alexander Technique!

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