Alexander Technique teacher
Percussionist &
Alexander Technique teacher
Professor of Music and Theatre
The University of Louisiana at Monroe
I’m so grateful for
my Alexander Technique training experience at the Performance School. As a
longtime student and trainee of the work, I’d started and stopped two other
training programs, unable to finish. I finally found the right combination of
information and support through Catherine and David’s program. The flexibility
in their course structure, their expertise in and passion for the subject,
their generosity of time, and their enthusiastic encouragement of my
development really helped me achieve my goal.
One of the things I most appreciated
about this training was Catherine and David’s interest in me finding the
teaching style that was right for me. Having been influenced by several
different styles of the work, I came to the training confused about what I had
to offer and how. Much focus was given to not only learning the necessary
skills and information, but also exploring how I could translate those into my
own authentic teaching style. They are skilled at supporting the trainee in
gaining mastery and confidence in their own unique strengths and abilities,
which is very freeing and empowering. Also, their ethics are impeccable.
I appreciated that when the pandemic
came, the training was so easily adapted to going online, since Catherine and
David had already been exploring online teaching of the Alexander Technique
before it was commonly accepted as possible. They are trendsetters, while also
being rooted firmly in the history and development of the work.
Alexander Technique teacher
My experience with the Seattle Performance School run by Catherine Kettrick and David Mills exceeded all of my expectations in many ways.
First of all, it was organized extremely well, with the principle intentions of acquainting the students with the writings of FM Alexander. His books are not easy to understand and digest, but we were led through his major books line by line in a weekly two-hour discussion format, which allowed us to associate Alexander’s teachings with our own realm of experience.
Also well organized were the pedagogical principles that we learned about teaching the Alexander Technique as well as teaching strategy in general.
All of the subsequent activities were cumulative and purposeful in helping me prepare to be qualified to teach the Alexander Technique to individuals and classes, and for that I am eternally grateful.
Professor of Music and Theatre
The University of Louisiana at Monroe
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