In Disc 1, we are introduced to key concepts such as the use of thought to effect change, awareness, inhibition, and direction. Kosminsky refers to these and other principles as she demonstrates on her Juilliard dance students. These dancers are classically trained in techniques such as ballet, Graham, and Limón; therefore the types of movements and concerns that are addressed relate especially to this kind of training. Dance movements including plié, tendu, extension, bending, twisting, arm movements, and jumping are explored, each with a different dancer. Each section ends with a short improvisation allowing the dancers to explore the principles in a more playful way.

In Disc 2, Kosminsky continues to delve into the intricacies of applying the Alexander principles to dance by responding to students’ questions and demonstrating through hands-on work. Issues such as turn-out, arabesque, sitting on the floor, contractions, and back port-de-bras are addressed. Following this, three professional dancers chat informally about their experiences with the Alexander Technique. The dancers are charming and generous in sharing their varied perspectives. The DVD ends with a short explanation of Alexander’s story, beautifully illustrated with archival photos.

Throughout the two DVDs, Kosminsky gives alternate ways of approaching many key issues dealt with by dancers. Examples of “dancer traps” are sprinkled throughout, including such misconceptions as attempting to plié by rotating the legs out to bend the knees, or rolling out on the little toe side of the foot when standing. Kosminsky offers dancers a more efficient way of approaching these movements through the Alexander Technique, giving very simple but profound information. I appreciated her emphasis on breathing and recognizing that even small or isolated movements are a whole body experience.

There were several other aspects of the DVD that I particularly enjoyed. First, I liked Kosminsky’s use of musical accompaniment during the demonstrations, keeping the emphasis on dancing while acknowledging that musicality and rhythm can enhance coordination. Second, it was good to have the skeleton “Blanche” appear periodically to illustrate the principles. Finally, I was glad to see the inclusion of movements that are not necessarily easy or natural, but are nevertheless enhanced by good use.

For Dancers is a rich and informative introduction to the principles of the Alexander Technique especially for dancers, and to my knowledge, the only resource of its kind. May this inspire others in the field to add to the literature.

© Rebecca Nettl-Fiol. Reproduced with permission.