Part II: Body Language – The Unspoken Word. What do I do with my hands?

This blog entry may be a bit dry for those not interested in ensemble conducting. Feel free to hit the snooze button again.

Body language and the use of the hands.
The questions: Does the fingers mean anything while conducting, do they serve any purpose? And, how does the conductor manage their hands when not actively being used?

Two good questions rarely discussed. Firstly, when using the hands, are the fingers open and spread apart? Are they closed and cupped? Or, perhaps the hands are somewhere between the two. The thought here is all about the psychologically transmitted and perceived communications. In essence, closed fingers resemble tight controls, organized, and a bit stifling. Open or spread fingers is just the opposite. It usually signifies loose controls, unorganized thoughts, and too many directions to follow. So, where does that leave the conductor, somewhere in the middle? What communication is intended? Find something comfortable perhaps with fingers together with a one or two spread. Think about the music and the response desired, then decide on what your hand and fingers should show. Next time you go to the ballet, look at the dancers fingers. What message does it convey. Next time you see a mime, notice how the fingers communicate volumes. The same applies with conductors and conducting.

Secondly, what to do with the hands when not actively used? Do they drop to the side, held neurotically to the body, or what? Actually, the best action is…no action. Forget about the hands, they will take care of themselves. The more a young conductor focuses on a static hand, the more it becomes a problem and the quicker it gets in the way of the music. This may seem like a weak answer, but let the hand drop when the music permits...naturally, if at all.

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