The Alexander Technique is a method aimed at re-educating people to do everyday tasks with less muscular and mental tension. According to the ‘Complete Guide to the Alexander Technique’, this method can help you if:
- You suffer from repetitive strain injury or carpal tunnel syndrome.
- You have a backache or stiff neck and shoulders.
- You become uncomfortable when sitting at your computer for long periods of time.
- You are a singer, musician, actor, dancer or athlete and feel you are not performing at your full potential.
Sounds good!? But which of these claims are actually supported by sound evidence.
Our own systematic review from 2003 of the Alexander Technique (AT) found just 4 clinical studies. Only two of these trials were methodologically sound and clinically relevant. Their results were promising and implied that AT is effective in reducing the disability of patients suffering from Parkinson’s disease and in improving pain behaviour and disability in patients with back pain. A more recent review concluded as follows: Strong evidence exists for the effectiveness of Alexander Technique lessons for chronic back pain and moderate evidence in Parkinson’s-associated disability. Preliminary evidence suggests that Alexander Technique lessons may lead to improvements in balance skills in the elderly, in general chronic pain, posture, respiratory function and stuttering, but there is insufficient evidence to support recommendations in these areas.
This suggests that the ‘Complete Guide’ is based more on wishful thinking than on evidence. But what about the value of AT for performers – after all, it is for this purpose that Alexander developed his method?
A recent systematic review aimed to evaluate the evidence for the effectiveness of AT sessions on musicians’ performance, anxiety, respiratory function and posture. The following electronic databases were searched up to February 2014 for relevant publications: PUBMED, Google Scholar, CINAHL, EMBASE, AMED, PsycINFO and RILM. The search criteria were “Alexander Technique” AND “music*”. References were searched, and experts and societies of AT or musicians’ medicine contacted for further publications.
In total, 237 citations were assessed. 12 studies were included for further analysis, 5 of which were randomised controlled trials (RCTs), 5 controlled but not randomised (CTs), and 2 mixed methods studies. Main outcome measures in RCTs and CTs were music performance, respiratory function, performance anxiety, body use and posture. Music performance was judged by external experts and found to be improved by AT in 1 of 3 RCTs; in 1 RCT comparing neurofeedback (NF) to AT, only NF caused improvements. Respiratory function was investigated in 2 RCTs, but not improved by AT training. Performance anxiety was mostly assessed by questionnaires and decreased by AT in 2 of 2 RCTs and in 2 of 2 CTs.
From this evidence, the authors drew the following conclusion: A variety of outcome measures have been used to investigate the effectiveness of AT sessions in musicians. Evidence from RCTs and CTs suggests that AT sessions may improve performance anxiety in musicians. Effects on music performance, respiratory function and posture yet remain inconclusive. Future trials with well-established study designs are warranted to further and more reliably explore the potential of AT in the interest of musicians.
So, there you are: if you are a performing artist, AT seems to be useful for you. If you have health problems (other than perhaps back pain), I would look elsewhere for help.