The mind-body connection is both simple and straightforward and incredibly complex. It makes sense that our thoughts and our physical body would be intertwined (we do carry our brain around in our body all the time!), but the ways they affect each other are many and it can be overwhelming to consider how we might address this to improve our day to day life, performance, and ability to play and communicate through our instruments.
I love exploring the mind-body connection through yoga. I’ve learned so much about anatomy through my yoga practice and teacher training, and I have gained a lot of understanding about the way our fascia, muscles, and bones work. (I’m still learning, of course - this is not a small topic!)
No one part of the body operates alone.
As an example, recently I was finding that one side of my jaw/tongue felt stiff and immobile when I was practicing. My initial thought was that I must have been clenching my teeth throughout the day or while sleeping. As I observed myself, though, that proved not to be the case.
Further observation led me to notice that when I turned my head I could feel strain/tension in the muscles around my collar bone that connect the shoulder and (surprise!) the jaw on the side of the tongue where I was experiencing limited mobility. By following up with some simple exercises for the point of origin in my shoulder and neck, I was able to relieve the tension inside my mouth.
It’s not just our physical body that benefits from this kind of knowledge and attention. In the situation I described above, understanding that the limitations I had been experiencing in articulation and mobility around the jaw were coming from something clearly temporary and fixable gave me a peace of mind in practice and the ability to plan well to alleviate those issues.
This is a small example of how growing our understanding of the way the body works can help us solve problems in our practice and understand barriers that come up in playing and practice.
I always try to be on the lookout for ways to deepen my understanding of how the physical and mental aspects of playing are connected.
Recently, I’ve been discussing the role of the sinuses and soft palate in tone production with a lot of my students. I once had a teacher explain this to me by saying that you should raise the space just above the center of your eyebrows inside your head. (Did you try it? It’s possible! Kind of weird, right?)
You can create a similar feeling by breathing in quickly through the nose, or by mimicking the beginning of a yawn (are you yawning now from trying that?).
Doing this helps us create resonance by using open space real estate already available in our head - the sinuses!
As I was working through this concept with a student, I was thinking about how that space above the center of the eyebrows is also the location of the third eye or anja chakra.
In yoga, the third eye chakra is our seat of knowing or intuition. It acts as our center of wisdom and consciousness. This chakra allows for clear thought and self-reflection, and when it’s balanced trades “me vs. them” for a more interconnected approach to thought.
When this chakra is blocked or out of alignment we might notice tension around the brow or headaches, sinus issues, or trouble concentrating and sleeping. Emotionally, we might feel a lot of self-doubt and worry, or find ourselves overthinking a lot if the third eye is out of balance. A blocked anja chakra can impede our ability to be confident.
Have you already noticed some connections between the third eye chakra and what we do as musicians? At our best, we want to be able to connect with our audience and our fellow musicians - we strive to stay open to others in performance. Not to mention that I think we’re always in need of clear self reflection and the ability to trust our intuition and abilities without overthinking.
I don’t think it’s a far stretch to consider how the third eye chakra and the same space in our physical body might be connected in the creation of resonance and our sound, not to mention our phrasing and clear communication through music.
So, how can we bring this concept into a more concrete application? How can we balance this chakra that it will benefit our musicianship? Some of these ideas may be things you already do in your practice and performance. If that’s the case, focusing on them in a new way might help to bring about new benefits or a greater understanding.
Visualization is a great way to focus the mind.
Try visualizing yourself in detail, playing at your best and connecting with your audience and fellow musicians. Or, visualize tension leaving the area at the center of the forehead, like a light flowing through allowing you to open up resonance and the third eye.
Moving your body is a great way to balance any of the chakras.
To bring the third eye back into balance, try child’s pose. Rest your head on a block, blanket, or the mat/floor and gently rock the head from side to side. Any gentle neck stretches will also help with opening up this part of the physical body.
Meditation is a powerful way to balance the mind and the third eye.
Try a guided mindfulness meditation. Or, simply sit quietly and with stillness, allowing yourself to be present to your thoughts and feelings.
At first it can feel like a far stretch to combine the chakras with an aspect of musical performance like tonal resonance. As we grow our understanding that the body and mind are always intertwined, we close the gap between thinking of them as two separate entities and open up new resources for ourself as musicians.
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Hi, I'm Morgann! Flutist, teacher, aspiring yogini, and life long learner figuring out how to create my way through life one crazy idea at a time.