Your Body — Your Instrument
To be well disposed means to be in a state that allows us to freely express ourselves. Our inner musical imagination is transformed into sound without inhibitions from body or mind.
We are born with this perfect disposition, but for several reasons, we sometimes unwillingly replace it with artificial skills and forms. Outside factors such as a rigid education, inappropriote playing techniques, maladapted instruments or inflexible chairs and stands or inner reasons such as stress, perfectionism, exaggerated ambitions, or anxiety can cause us to lose our disposition.
Derived from the latin word disponere („to have at one‘s disposal“) and the greek word kinesis („movement“), the Dispokinesiology was developed in the 1950s in the Netherlands by Gerrit Onne van de Klashorst. After an accident had ended his career as concert pianist prematurely, he dedicated his life to the study of the physiology of music in order to understand postural inhibitions, pain and stage fright and develop exercises specifically adressed to musicians. Dispokinesis is based on functional anatomy, neurophysiology as well as developmental psychology and has proven to be beneficial even in cases of severe diagnoses (such as musician‘s dystonia) by offering the performer a new sensation and feeling whilst playing, thus retraining the fine motor control skills.
"...to always have the right answer ready"
Dispokinesis works on different levels, with and without instrument. It takes a holistic approach and looks at the musician in his or her entirety, not only at the playing technique or posture with the instrument. Ergonomical aspects as well as the relationship to music and the instrument are part of Dispokinesis lessons.
The main focus lies on the teaching of the Original Shapes of Posture, Breathing and Movement. They train our body awareness and fine motor skills in several positions, starting lying down, then in an all-fours position, sitting on a chair and finally standing up. Through these Original Shapes of Posture, Breathing and Movement we get to experience a quality and fineness of movement, breathing support and stability away from our instruments and are offered the possibility to discover and retrain stereotype or unconscious patterns. The Originals are also a very important tool in learning how to use movement in a goal-oriented way, as a means of expression. Training and refining the body awareness is an important factor in conquering anxiety and fears, slowly (re)gaining our ideal disposition on stage.
No magical remedy — but a helpful tool
In my early twenties I was diagnosed with TOC (Thoracic Outlet Syndrome) — the result of years and years of (unknowingly) playing with poor posture and inappropriate practice methods. An odyssey through the practices of neurologists, chiropractors, osteopaths and physiotherapists followed, a desperate search for pain relief and improvement.
A few years later, at the height of my orchestral „career“, I started developing embouchure and breathing problems, which where a mystery to me, my teachers and colleagues. Again followed a period in which I determinedly looked for answers and solutions trying various methods, without much success.
Due to my own experience I already became intensely interested in music medicine as a student, attending many conferences and further trainings. In 2014, I completed the certificate „Musikphysiologie im künstlerischen Alltag“ in Berlin, which is where I learned about Dispokinesis for the first time. After taking my first individual lessons I knew I had found the key to a new way of experiencing music and expressing myself on stage. It offered me exactly the tools I needed for entering into a better body-instrument relationship. In 2017 I enrolled in the certificate course to become a Dispokinesis teacher myself with the European Society for Dispokinesis in Hildesheim — and I am thrilled to be able to now introduce this helpful method in Luxembourg!
The clarinet, in all its shapes and forms, is my main instrument; however I also have some basic piano skills and used to play the viola as a second instrument before studying the clarinet. Two years ago I entered the vocal studio at the conservatoire and am now also studying orchestral conducting. This said, I hope to be an understanding partner in your quest for a better disposition!
For further information or to schedule a lesson, you can contact me either by filling out the contact form or by calling my phone at +352 661850611.
2, rue Edward Steichen L-3324 Bivange
How to get there:
By bus 195: stop "Bivange Schoul", walk 3 minutes
By train: stop "Berchem Gare", walk 4 minutes
By car: you can use the free parking at the church