
Classes: Monday lunchtimes & Tuesday evenings in London N8
Workshops: at the Haelan Centre and YMCA London N8; City Lit London WC2 and South Street Arts Centre Reading.
Individual lessons: London N8
Practice:
My practice at the Haelan Centre in North London (classes, workshops and individual sessions) is busy and I have a daytime class at the local YMCA Fitness Centre, where I also run some workshops for runners. I teach termly workshops at the City Lit in Central London and every quarter at South Street Arts Centre in Reading for student and professional performers and teachers. My current practice is very diverse: I have been working with runners and fitness instructors (I run myself and am currently exploring barefoot techniques); with performers, singers and movement directors (I was an actor for over 20 years); with people in many walks of life who wish to improve or to find a better way to deal with the challenges of RSI, ME, migraine, fibromyalgia, arthritis, cerebral palsy and strains or pain of all sorts. Some wish to deepen their own awareness practices or explore the somatic aspects of emotional issues. I also work in theatre and drama school contexts — and I very much welcome opportunities for new experiences too.
Biography:
I first found out about the Feldenkrais Method when I was 17 on a drama training in Paris. The movement teacher had known Moshe Feldenkrais himself and her teaching was extremely closely related. I had been a fairly sporty kid but I will never forget the experience. It was like being plugged in: I could really feel what I was doing for what seemed like the first time. And I discovered the pleasure in moving doing the simplest things — and just for its own sake. I stayed in touch with the method on and off after that and it never left me. It just seemed to inform everything I did. Then some twenty years of University, performing, theatre-making, movement directing and one child later (plus a side-interest in psychotherapy) I found myself wanting to do the full Feldenkrais training. I originally thought of it as a tool for the movement work I was doing with other actors in the theatre, but I rapidly found it opened up a much wider and very interesting world to explore and engage in too.