PAIN TREATMENT: RELAXATION AND IMAGERY

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PAIN TREATMENT: RELAXATION AND IMAGERY

One of the most simple and yet obvious contributors to musicians failing to perform at their peak or optimum levels is the way in which they approach tension or stress in their lives Since a certain degree of stress is necessary for most to perform at their peak, methods must be devised to enhance the creative and productive aspects °f performance and to diminish or minimise the negative destructive aspects of unwanted stress.

It is simply not good enough to tell a performer to relax. Many of us have simply no concept of what it is to relax or be relaxed. There are few wn0 are fortunate enough to feel totally relaxed despite the long hours of practice necessary to become a better than competent performer.

The tension projected by the teacher will often find its end expression in the rigid posture and performance of the student. It is thus vitally important that both student and teacher be aware of what they can do to contribute to a relaxed atmosphere conducive to the best efforts of each one.

The self-imaSe 01 tne musician is vitally important, as all of us carry within us an image of how we see ourselves, and an image (often incorrect) of how others perceive us. If a musician cannot visualise him or her self as competent or confident he or she will always be battling that negative self-image.

As a corollary, given a certain amount of natural ability, the confident musician who has a degree of control over anxiety will perform at optimum levels. If they then perform with the body in a relaxed state there will be less tendency for injury to occur.

In addition, simple thought-blocking exercises where the performer is told to block all negative or unwanted thoughts by imagining they are wearing a magic helmet which only allows positive or creative thoughts to pass through have also been effective.

In the book, Mirrors of The Mind^ the many uses of self-hypnosis, relaxation and imagery are explored. Many of the simpler approaches to be described in the book will have major application to musicians and their teachers.

These processes, as outlined above, may also be brought to bear on the musician who develops pain or altered sensory awareness. The fear of injury in itself is a powerful factor in the production of the vicious cycle of pain — fear — muscle tension — pain — fear etc.

The ability of the musician to dissociate him or herself from the discomfort or to actively engage in the process of muscular and emotional relaxation is of advantage in preventing the end-stage pain and stress problems that present to therapists.

Simple hands-on measures such as basic massage techniques may be of great value when the relationship of student musician and teacher is a secure one, and where there is no implied sexual threat.

Such simple techniques should always be carried out with the explicit permission of the student involved. This is particularly important where relaxation and imagery exercises are carried out together with the gentle massage or reassuring touch.

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