All Posts by

Jenny

Showing 14 Result(s)
Refined Pilates

WUNDA CHAIR

FOOT WORK 

VARIATION WITH THE LEGS IN PARALLEL IN “HIGH RELEVÉ” 

(ON THE TOES WITH VERY HIGH HEELS)

SPRINGS.

On my Wunda Chair, which is hand made, I use the combination of one spring up and one down. I have three positions to choose from. Look for a moderate amount of resistance on your Wundq chair. A resistance that gives you the support that you need but is not so strong that you cannot take care of the finer details of the movement.

LEVEL

The Wunda Chair Foot Work is more challenging than the Foot Work on the Reformer because you need to maintain the axis of the spine without the support of the carriage. For this reason I would class it as an intermediate level of exercise. I recommend you first try the exercise under the guidance of a good and experienced teacher.

REPETITIONS.

10 times in each position.

SUITABILITY.

The exercise is suitable for most students of all ages, including those with scoliosis, kyphosis and lordosis. It is a great way to do “Leg Work” when you are pregnant. You may need to open the feet, hip width apart, in the later stages of pregnancy. And, of course, the exercises are great for after you have given birth. Many people who have hip, knee and ankle problems can successfully do these exercises if they take good care of their leg alignment. Please refer to my blog…

BREATH IN.

Breath in feeling as if you fill the whole of the back of the lungs with air, every cell. Imagine that the air is expanding all of the area from the to of the shoulders down to the last ribs. If you think about how large the lungs are it gives you a great sense of support.

Start the in breath slightly before the movement, as if the breath initiates the movement and then have the breath accompany the movement, lasting as long as the movement.

THE IMPORTANCE OF THE TOES AND THE FEET AS SITES OF SUPPORT.

Spread and lengthen the toes and place them on the bar. Emphasise the opening of the space between the first and second toe. The feet are together. Lift the heels very high, relax the back of the ankle to allow the heel to lift and make sure that you keep the heels together. Sense all the toes against the bar. Press with all of the toes but press more with the big and the second toes This is your site of support. At the same time engage the muscles of the pelvic floor press the bar down. Take it down only as far as the spine remains in a state of balance, on it’s axis. Be careful you don’t move forward, at all towards the legs. It does not matter if the bar goes all the way down or not.

As you press the bar down, in this way, you will feel the spine lengthen automatically even more. Feel as though the crown of the head moves up in the opposite direction to the movement of the legs, to the ceiling.

BREATH OUT.

When you breath out, empty the air completely for the lungs. (There is no need to push as you do this.) During the out breath the abdomen naturally moves inward, take advantage of this natural impulse and relax the abdomen into the inside edge of the spine. If you are too tense it does not happen and you loose this support and a lot of energy unnecessarily. Match the speed of the out breath with the movement. The movement is slightly slower than the pushing down.

Let the the springs bring the bar up. In the meantime focus on softening very deeply infant of the hip joints and maintain the length in the spine. Make sure the ankles remain in the same position. 

THE THORAX AND THE DIAPHRAGM ARE RELAXED THROUGHOUT.

The thorax simply floats directly above the bowl of the pelvis. A very common correction is to put the ribs in but this simply creates tension in the diaphragm which in turn blocks the effortless, deep breathing which is such an essential part of each exercise. Looking from above you would see the head floating directly above the shoulder girdle, the shoulder girdle directly above the thorax and the thorax above the pelvis. One on top of the other. It is a state of balance.

The diaphragm is free to move fully creating free, full breathing and a beautiful massage for all the organs of the body and the spine.

WITH EACH REPETITION YOU GET TALLER. THIS IS SOMETHING CLEARLY VISIBLE AND NOT IMAGINED.

STARTING POSITION.

Themis Andreaoulaki: Dancer and Refined Pilates Teacher. I am proud to say one of my graduates!

Sit on the chair facing towards the bar. The spine is on it’s axis.  Sit in the middle of the seat. The closer you sit to the front edge of the chair the more challenging the exercise. You can try this as you get more advanced. 

PLEASE CONSULT THE NOTES ON THE FOOT AND LEG ALIGNMENT in my blog http://jennycolebourne.com/good-leg-alignment-is-essential-for-everyone/

The arms can be in the following positions:

1. Straight with soft elbows on either side of the body, forming a frame for the body.

2. Cossack arms.

3. Holding a stick, magic circle or ball in front of the chest.

The last two variations can be useful, in that your teacher can have a clearer view of what happens to the spine during the exercise. Or you can check yourself in a mirror.

“COSSACK ARMS” DETAILS

I have chosen “Cossack Arms” for the photographs. Here are some details of how to maintain this position with grace and ease.

Imagine that your collarbone is twice as wide as what you see. Very subtly send the shoulder joints slightly back of the collarbones. You may feel your shoulders blades glide a little closer. The arms are parallel to the floor, imagine they are supported by water and this should help you not to gather tension in the shoulders. The middle fingers hold on to the skin just above the opposite elbow.

Make sure that you feel the breast bone is wide. There is a sense of subtle opening between the breast bone and the ribs. At no point does the breast bone drop or close.

FINDING YOUR AXIS AND A LONG SPINE

Make sure you are sitting directly on your pelvic floor. If you find this hard you may wish to put a firm cushion under your sit bones. 

Imagine the pelvis from underneath, the pubic bone, the sit bones and the tip of the coccyx. Sit directly on top of this space. 

Imagine a line extending from they center of the pelvic floor down into the earth. This line also travels up and leaves out of the crown of the head. This is your axis. It is an imagined line of energy. The spine maintains it’s natural curves which touch this line at different points. The spine feels light and long almost as if it were hanging from the crown of the head.

SECOND POSITION OF THE SPINE

According to Jerome Andrews, Pilates referred to the straight spine as the second position of the spine. See my blog on the Second Position of the Spine.

Focus into the center of the spine.

If you think of the body as having three “slices”, front, middle and back.  Be in touch with the middle body.

THE PELVIC FLOOR AND THE INTERNAL ABDOMINAL MUSCLES.

Support your elongated spine by energising the pelvic floor. This is not a tightening but rather an almost archetypal energy which moves up through the body and which engages and connects with the internal abdominal muscles through a fascial connection. The abdomen is pulled into the inside edge of the spine. Each out breath helps us increase this sensation.

BREATH IN.

Breath in feeling as if you fill the whole of the back of the lungs with air, every cell. Imagine that the air is expanding all of the area from the to of the shoulders down to the last ribs. If you think about how large the lungs are it gives you a great sense of support.

Start the in breath slightly before the movement, as if the breath initiates the movement and then have the breath accompany the movement, lasting as long as the movement.

THE IMPORTANCE OF THE TOES AND THE FEET AS SITES OF SUPPORT.

Spread and lengthen the toes and place them on the bar. Emphasise the opening of the space between the first and second toe. The feet are together. Lift the heels very high, relax the back of the ankle to allow the heel to lift and make sure that you keep the heels together. Sense all the toes against the bar. Press with all of the toes but press more with the big and the second toes This is your site of support. At the same time engage the muscles of the pelvic floor press the bar down. Take it down only as far as the spine remains in a state of balance, on it’s axis. Be careful you don’t move forward, at all towards the legs. It does not matter if the bar goes all the way down or not.

As you press the bar down, in this way, you will feel the spine lengthen automatically even more. Feel as though the crown of the head moves up in the opposite direction to the movement of the legs, to the ceiling.

BREATH OUT.

When you breath out, empty the air completely for the lungs. (There is no need to push as you do this.) During the out breath the abdomen naturally moves inward, take advantage of this natural impulse and relax the abdomen into the inside edge of the spine. If you are too tense it does not happen and you loose this support and a lot of energy unnecessarily. Match the speed of the out breath with the movement. The movement is slightly slower than the pushing down.

Let the the springs bring the bar up. In the meantime focus on softening very deeply infant of the hip joints and maintain the length in the spine. Make sure the ankles remain in the same position. 

THE THORAX AND THE DIAPHRAGM ARE RELAXED THROUGHOUT.

The thorax simply floats directly above the bowl of the pelvis. A very common correction is to put the ribs in but this simply creates tension in the diaphragm which in turn blocks the effortless, deep breathing which is such an essential part of each exercise. Looking from above you would see the head floating directly above the shoulder girdle, the shoulder girdle directly above the thorax and the thorax above the pelvis. One on top of the other. It is a state of balance.

The diaphragm is free to move fully creating free, full breathing and a beautiful massage for all the organs of the body and the spine.

WITH EACH REPETITION YOU GET TALLER. THIS IS SOMETHING CLEARLY VISIBLE AND NOT IMAGINED.

VARIATIONS.

  1. Toes, heels and knees together with the ankles in a soft relieve 9 the heels slightly lifted.

2. The feet apart in parallel with the heels in a line with the sit bones. (In this version it is easier to maintain the spinal axis.) Small balls or cushions can be placed between the ankles or between both the ankles and the knees. These aids should be used with care. Make sure they do not, in any way, interfere with the alignment of the legs but help bring an awareness of  leg alignment, the inner edge of the leg and the connection with the pelvic floor. The purpose is not to squeeze them, just enough pressure should be used to not loose them.

meditation, Refined Pilates, Yoga

“THE BREATH OF LIFE”

A SERIES OF BLOGS ON BREATHING

A DIAPHRAGM RELEASE EXERCISE

The breathing diaphragm has the the largest concentration of fascia in the body. When you think that it is in the middle of the body, it is easy to see how any kind of tension or stress in the diaphragm, has a knock on effect on the rest of the body.

Fascia is now being seen as the largest organ in the body. At it’s best it has a movement that is free and a steady, fairly slow, rhythm. It does react and contract with physical or psychological injury and sometimes it stays that way causing physical pain or discomfort. 

Tension patterns in the fascia can sometimes be chronic and have been there for a very long time, since the time of birth, for example. 

Tension patterns in the fascia can cause chronic and sometimes quite strong pain. Tension patterns in the breathing diaphragm affect our breathing, so ultimately how much oxygen we take into each cell in the body.

The diaphragm moves up and down about 11 centermeters creating a natural massage and stimulus for all the organs of the body, causing a positive response in the digestive system. If the diaphragm is restricted we miss out on this “treat” that nature intended. What an amazing, complicated, moving, flowing system our body is!

Here is a very effective exercise, that was taught to me by my beloved mentor, the late Lena Trifonopoulou.

The exercise is helpful for a fuller Refined Pilates or Yoga practice and for any other movement practice that you enjoy and for life.

It is particularly important for those with back pain, scoliosis, tension in the shoulders, kyphosis and digestive problems.

Lie on your back with the legs a little apart and the arms beside you with the palms of the hands facing to the ceiling.

Make sure that you are warm. Cover yourself with a blanket if necessary.

Place a blanket under your knees if you know that your lower back tends to get painful in this position.

Take as long as you need to go into your calm, peaceful place and relax.

This is fascia release exercise. It should be done gently. The “holds” go very deep.

It is important to continually surrender the weight of the upper back to gravity, the legs hang down and the intestines are relaxed.

Bring your finger tips to the tip of the end of the breast bone. You are going to use this bone like a handle. Observe the breath for a moment and you will notice that on the in breath the breast bone naturally travels up towards the crown of the head and on the out breath it naturally descends. For the next three breaths, follow with your fingers (gently, there is no need to be harsh because these techniques go very deep) the upward moment of the in breath and the breast bone, and then block the downward movement of the breast bone.

Move your second, third and fourth fingers out to the side and access the underneath of the last rib. Once again observe the breath and you will notice that on the in breath the thorax naturally travels up towards the crown of the head and on the out breath it naturally descends. As before during the next three breaths, follow with your fingers the upward moment of the thorax with the in breath and then prevent the downward movement of the thorax. Be gentle. You may find with each in breath there is a small increase in the upward movement. Follow this closely.

When you touch yourself do so with love and respect.

Move your second, third and fourth fingers further out to the side of the thorax, accessing the underneath of the last rib. Once again observe the breath, follow the upward movement of the in breath and block the downward movement. Repeat for three breaths.

Move your hands around to the back of you. It is a little harder to feel but access the last rib at the back of the body (you will be partially lying on your hands) with your thumbs and repeat the process for three breaths.

The whole time that you are doing this keep the space between the two sides of the thorax completely relaxed. Give a chance to the fascia of the diaphragm to release.

To finish lace your finger right down to the roots and place your hands on the back of the occiput ( this wonderful bone at the back of the skull). Feel a gentle pull between the elbows and soften the shoulders. Have the elbows open. 

Take a breath in and breath out, skimming along the floor make a side bend to the right. Breath out and come back to your beginning position.

Repeat this to the left.

Repeat the side bending three times. Bring the arms back beside your body in the original starting position, relax and observe how you feel.

Illium Center of Light, Refined Pilates, Yoga

SECOND SPINAL POSITION AND SUCCESSION FOR REFINED PILATES AND YOGA

Joseph Pilates referred to 4 different positions of the spine. 

Second position of the spine is when the spine is “straight”. Second spinal succession is when the spine moves from another position to straight in sequence.

THE NATURAL CURVES OF THE SPINE PROTECT US FROM INJURY

The vertebral column retains it’s natural curves, when we are in second position of the spine, as these curves work like shock absorbers.

Joseph Pilates knew that many people often place a lot of strain on the lower back especially the area of the 5th lumbar and sacrum. He would therefore ask people to subtly lengthen the tail to the coccyx. This results in an equally subtle engagement of the pelvic floor and in sequence the deep abdominal muscles. It is a very subtle adjustment. Doing it too much would result in a slight tucking of the tail bone. Over time that would lead to the lumber curve being reduced, which in turn would cause imbalance and injury.

RELEASING YOUR TAIL

See the video, “Bouncing on a Pole”. https://youtu.be/yaw_1VdT4N8 An exercise  which teaches not just the importance of the suppleness of the feet but, the bouncing motion gently encourages the release of the hip joints and an allowing of the coccyx or tail bone to hang and lengthen. It is sometimes useful to imagine that we actually do have a tail.

When we are in the second position of the spine or when we are moving into it our focus is on the centre of the spine, or the spinal cord.

POWERFULLY IMAGINING AN EXTENDED AXIS

Imagining the axis is a very powerful addition to focusing into the center of the spine. It serves as a guide for the spine. Imagine a line of light that starts directly above the crown of the head ( the part of the head which is soft when we are babies). This line of light is like a plumb line, if we are upright,  which travels down through the body exits through the pelvic floor and goes deep into the earth between our feet.

I have found it very effective for people to imagine their axis as being longer than their physical body. I have noticed that spines get longer, when people visualise the axis in this way. This freeing and creating space in the spine is important for us all, in particular for people with conditions like scoliosis.

POSITIVE PSYCHOLOGICAL EFFECTS.

A longer spine makes people feel taller and more self confident. It has a positive psychological effect.

This axis can be imagined in any position, standing, sitting, on all fours, on a diagonal like the position we take when we do Front Support.

THE TRIANGLE OF THE PELVIS

When we are in the Second Position of the spine the pelvis is in a neutral position. It is neither tilted forward or back. How can we check this? When we lie on our back, we can place our hands over the lower part of the belly. Our fingertips are on our pubic bone and part of our arms end up resting on the front of our iliac crests. We can imagine these 3 points are like a triangle. The three points of the triangle are all on the same level parallel to the floor. The same principles apply in the upright position, the three bones of the triangle of the pelvis are on one plane. 

A HAPPY SPINE IS ONE THAT IS FREE TO MOVE

In finding the second position of the spine it is essential to remember that the spine and the segments of the spine need to be free, free is move effortlessly. We often mistakenly gather tension at the base of the spine and at the top. Check yourself out. Do you feel as if there is a hand wrapped around the bottom of the spine squeezing it? If so let it go. The same goes for the cervical spine which is like a tail at the other end. Remember the top vertebra is just behind the nose. Explore releasing it. In the cranial sacral work, the bones of the head are often viewed as the last vertebrae. I have found this to be a useful view in achieving a continuation of the energy beyond the top of the head without tension.

CONNECTING WITH YOUR ROOTS AND YOUR SENSE OF LIGHTNESS

When moving into the second position, spinal succession, it is possible to start at either the top or bottom according to the type of movement. I have found that moving from the tail up gives a better sense of grounding and moving from the cervical spine down, a lightness. Think about the movement you are doing and choose, consciously, according to what you may wish to achieve and the movement.

USEFUL VIDEOS

There are two videos on You Tube which are about Footwork on the Reformer. https://youtu.be/Vnfw4wkG35k The exercises are done in the Second position of the spine and we I do focus a great deal on creating space in the spine even though the exercises are with the resistance of the springs. https://youtu.be/zvWamobo9FI You may find them interesting.

Enjoy your practice!

Copyright: Jenny Colebourne.

Refined Pilates

LEG OPENINGS ARE IMPORTANT FOR IMPROVING SCOLIOSIS KYPHOSIS AND BACK ACHE

Important Information for both Pilates and Yoga Instructors and Practitioners.

TAKE CARE OF YOUR LEG ALIGNMENT

There are many exercises and asanas which involve opening the legs with large and small equipment and without equipment. It is vitally important that good leg alignment is continuously maintained. You will never injure yourself if you are patient and respect this. You can find details in my blog on this site http://jennycolebourne.com/good-leg-alignment-is-essential-for-everyone/

TREAT YOUR BODY WITH LOVING KINDNESS

It is a golden rule that you should NEVER push, force or strain when you are exercising. Respect and love your body with kindness. The truth is if you co operate with your body and gently relax and surrender into a stretch your body will open like a flower. Moving or stretching, with harshness, will only lead to more body resistance and injury. Do you like to be pushed around? Probably not. Your body is the same.

THE BREATHING DIAPHRAGM HAS THE HIGHEST CONCENTRATION OF FASCIA

When we think of diaphragms of the body, the first one we think of, is the breathing diaphragm. The breathing diaphragm is obviously, vitally, important. It plays a crucial role as to how much oxygen reaches the millions of cells of our body. It has the highest concentration of fascia in the body. Fascia can store psychological and physical trauma which can lead to postural dysfunction, strain and pain.

THE BODY’S DIAPHRAGMS

The breathing diaphragm is just one of a series of diaphragms in our body. The one diaphragm is balanced on top of the other. The one affects the other. 

The pelvic diaphragm is positively opened when we do leg openings and than in turn had helps the breathing diaphragm to release. You will notice that your own breath, and the breathing of your students, becomes deeper as you do leg openings. In turn, the thoracic inlet softens. Necks release. The positive wave of release continues up through the crown of the head, resulting in a longer spine and a happier human.

A PERSONAL EXPERIENCE

I remember many years ago, long before we had the knowledge of fascia that we do today, I was suffering from quite severe and debilitating back pain. In those days I had a shiatsu therapist at Illium Center. I asked her to give me a treatment. I remember I had intense pain as she applied pressure to points around my should blade. It was very painful. All of a sudden it was as if the the top of my head blew off or popped open. AND there it was, MAGIC, my back pain was gone!

LEG OPENINGS HAVE A POSITIVE EFFECT ON SCOLIOSIS, KYPHOSIS AND BACK ACHE.

SOME EXAMPLES OF LEG OPENS IN THE PILATES TECHNIQUE AND YOGA.

(This is not meant to be an exhaustive list but just some examples.)

PILATES

Mat Work.

Spine Stretch

Saw

Open Leg Rocker.

Reformer

Second position using the full opening in the leg work series.

(See my video on You Tube.) https://youtu.be/zvWamobo9FI

Leg Openings with Assistance. (I will be releasing a new video on this shortly and teaching a special class about it.)

Leg springs. (These can also be done on the Cadillac.)

Standing Splits

Wunda Chair

Spine Stretch

Front and Side Lunges.

Baby Barrel and Spine Corrector.

Circles

Splits 

Helicopter

(This series can be done during mat work with a small soft ball under the sacrum.)

YOGA

Deep Forward Bends standing and seated.

Hanuman.

Enjoy exercising consciously. Enjoy your observations and the deep changes in your body.

Illium Center of Light

GOOD LEG ALIGNMENT IS ESSENTIAL FOR EVERYONE

Leg alignment is one of the most important things that you can learn in terms of injury prevention and in helping those who already have knee and back injuries.

Good leg alignment is essential for everyone. It is super important for dancers, athletes, those with knee problems and back problems.

 PRACTICING THE EXERCISE ALONE 

You can do this exercise by yourself with good results. It is nice to practice with a teacher or a friend. Follow the instructions as if you are both student and teacher. You will need to use your imagination (which is a powerful tool) and observe your body carefully. You will not be able to reach to touch all the places mentioned. Define your kneecap with one hand and place the other hand on your sit bone to help yourself have a sense of the architectural lines.

PRACTICING AS A TEACHER/HELPER

When teaching this, presence and a good sense of touch is essential you also need to really take as much time as it needs. This time is never wasted as the body remembers what is good for it. The next time you come back to it will be better. As you develop as a teacher or student you will get better and better at teaching this.

STARTING POSITION. 

The student sits on a mat with her back supported on a cushion placed against a wall. Her knees are bent, the heels in a straight line with the sit bones. 

☆ Sit directly in front of your student with your legs comfortably open. (You may need to move back as the exercise progresses.) Explain to the client that you will be working on aligning the bones. The flesh, the muscles and the fascia need to be as relaxed as possible in order for them to follow the new alignment of the bones. They should feel like a bone person. Tell them to imagine three straight lines of energy.

THREE LINES OF ENERGY

  1. THE FIRST LINE CONNECTS THE SIT BONE TO THE HEEL I imagine a string that connects the sit bone to the heel.
  1. THE SECOND STRAIGHT LINE IS DRAWN BETWEEN THE CENTER OF THE KNEECAP AND THE SPACE BETWEEN THE BIG TOE AND THE SECOND TOE. Be very careful that you define the actual kneecap (patella) and find the center of it. You need to let the leg slide down on some people to find it. Do not look at the general shape of the knee. Work only with the bones. If there is miss-alignment some muscles may be overdeveloped. 
  1. THE THIRD LINE IS AN IMAGINED PLUMB LINE THAT BEGINS ABOVE THE KNEE, RUNS THROUGH THE CENTER OF THE KNEE TO THE GROUND (TO GRAVITY).  Imagine there it like a string with a weight at the end. The client will slowly straighten the leg keeping this image in mind.

The teacher/helper holds (and therefore defines) the kneecap between the thumb and the second finger of one hand and keeps the heel in alignment with the other. Be careful that your touch is firm but not harsh.

Ask the student to begin sliding her foot along the mat moving towards straightening the leg. Both of you make sure that the architectural lines are adhered to.

The client leaves the weight of the heel well into the floor (without pushing). This helps her to keep the hip joint soft and relaxed. The toes are relaxed.

FOCUS AND BREATH

Problems with miss alignment usually occur about half way down. The second there starts to be a miss alignment stop. Ask your client to close her eyes and to focus gently and non-judgmentally into her own body and notice where she might have tension, holding or even pain. Once she identifies this area ask her to keep her focus there. Remind her that energy follows thought. Just by focusing 100% on an area of her body in a loving non-judgmental way she has already started a process of change, of healing. Tell her to take a deep breath in and as she breaths out to soften in that specific area. Take your time. The process may take two or three breaths or there may be more than one area of tension. ONLY when you have both completed this process start continuing the exercise. It may be that you must stop more than once before the leg is finally straight.

Another moment in time, which is very important in this process, is just before the knee finally straightens. Many people grip the knee as they do this. In order to prevent this happening ask your client to imagine the floor coming up to the knee rather than thinking of the knee straightening. This often helps to avoid old patterns.

DEFINING THE SHIN BONE

Now that the leg is straight, define the shinbone both for yourself and your client by, starting at the top of the shinbone and gently walking your fingers down the length of it. Noticing where the top of the shin bone is in relation to the Patella will give you an idea as to whether the connecting ligament is misaligned and therefore under strain.

Ask the client to lengthen the shinbone. You can do this by initially defining a small distance between two of your fingers on the upper surface of the bone. Make sure that you are touching gently but the client can feel your fingers. 

One finger will always be at the head of the shinbone the other further down. It is possible to feel if the client is lengthening the bone or not. Increase the distance until you are accessing the whole length of the shinbone. Continue the process of lengthening by placing the fingers at the point between the end of the first and second toe and getting the client to lengthen towards your finger. Keep microscopically moving your fingers away all the time encouraging the client to lengthen.

LIFTING THE LEG WITHOUT GRIPPING

When you are satisfied that the lengthening is enough for this moment in time ask the client to continue the lengthening process. Define a spot on the thigh bone one third down from the highest point ask the client to send that point straight down to the mat. The lines of energy should be exact and specific.

Continue the process of lengthening (place your finger once again at the point between the big toe and second toe) until the leg lifts. The minute you might feel that the client shortens the leg in an effort to lift make her stop and start again changing the habit of shortening and griping the muscles to lift.

TURNING OUT THE ALIGNED LEG

Once you have achieved this either with the leg in the air or on the mat continue the process of lengthening and get the client to rotate ONLY IN THE HIP JOINT. 

EXPLORATION

I love  the Anatomy Coloring Book. Colour the page or pages of the bones of the leg and put it up somewhere that you can see it often.

Practice the leg alignment exercise alone or with help make a note in your journal how these exercises help you personally.

OBSERVE HOW THE PLACEMENT OF THE FEET AFFECTS LEG ALIGNMENT AND HOW LEG ALIGNMENT AFFECTS THE BACK.

Continue to observe how people use their feet but now also the alignment of the whole leg especially the relationship of the foot and the knee.

Notice if people with back problems or knee problems have good leg alignment or not. 

Make notes on what improves in your own exercise with better leg alignment.

My deepest thanks and gratitude to the late Don Farnworth , a wonderful ballet teacher and Reiki master who passed on this very essential work to me.

Copyright Jenny Colebourne.

Illium Center of Light

Jerome Andrews’ Pilates. THE FIRST SPINAL SUCCESSION.

PILATES USED FOUR POSITIONS OF THE SPINE

Jerome Andrews’ explained that Joseph Pilates referred to four positions of the spine.
The first position of the spine was a rounded back, or what is sometimes referred to as the “C” curve.
The easiest way to explore the first position of the spine is on all fours. it is important that the thigh bone and the arm bones are perpendicular to the floor. Imagine that you have roots extending from the knees going deep into the earth. The knees are in a straight line with the hip joints. The arms are straight. It is important that we avoid hyper extending or tensing the elbows. The palm of the hand is fully in touch with the floor and the fingers are are spread wide. The middle finger points directly forward. Make sure the whole length of the finger is in touch with the floor, especially the roots of the fingers. Making sure that we distribute the weight of the body through the whole hand out into the fingertips helps us to avoid pressure or tension in the wrists. Imagine that you have roots extending from the palms deep into the earth and that he wrist is directly in a line with the shoulder joints.

CONCENTRATION AND ACCURACY IS IMPORTANT

The palms of the hands and the knees are sites of support. Accuracy is important. If we have our knee, for example, just 1 cm more back of the hip joint, we will not have the as much support and as a result our attempts to articulate the spine will be less effective. We allow gravity to affect our sites of support because the more we feel our roots the more easy the exercise will be and the more subtle our movements can be.

The spine is in second position (straight and parallel to the floor) to start.

The student focuses on moving from the bones of the body, the skeleton, and leaves the muscles and fascia relaxed so that they follow the direction of the bones.

First spinal succession can start either at the top or the bottom of the spine depending on what is more appropriate for the movement.

The focus is extremely specific. The student concentrates on accessing the back edge of the spine, when moving into the first spinal succession . The spinal processes form the back edge of the spine and have a completely different quality to the front part of the spine. Let us say that the student is starting the movement from the tip of the coccyx. The student focuses on the back edge of each vertebra, moving one vertebra at a time into the rounded position. It is important to truly follow the spine one vertebra at a time, paying attention to each one until you reach the very last vertebra in the neck which is just behind the nose.

 It is important not to skip over a vertebra that might be a little more difficult to move individually. Those vertebrae are often the more important ones that we need to mobilise! When we are exploring and being curious about this process we can spend more time with a “stubborn” vertebra, soften and relax around it, and with our out breath achieve a movement.

MOVE THE SPINOUS PROCESSES ONE BY ONE.

You can think about the spinous processes like they are the quills of a porcupine that pop out of the skin one by one. An image that worked for me was to think about how a mother cat picks up her kittens. It is as if you delicately lift up the vertebra and it pops out of the skin.

It is important not to grip around any area of the spine. In order to mobilise the coccyx and the sacrum (the tail) the back of the pelvis needs to be soft and it is very important to avoid tension in the hip joints.

When we move into the neck area the shoulders need to be completely relaxed.

To achieve full articulation make sure the front of the body is totally relaxed. Soften the last rib and allow the breast bone to move gently inwards.

There is no need to think of engaging the pelvic floor or pulling the abdomen in. If we can articulate the spine our pelvic floor muscle will engage just enough and we will access the deep abdominals. This happens in a much more essential way, if we truly move from the bones of the spine, and allow the muscles and fascia to follow.

USE YOUR BREATH.

Use as many breaths as you need. Take as much time as you need to explore and be curious about this process. The body remembers deep work and will reward you. Just use your out breath to relax any holding patterns or pain.

Being able to move the spine bone by bone with such sensitivity is healing. It will relieve pain and sites of tension. As we learn to apply the spinal succession to all forms of movement and even advanced exercises we will never injure ourselves.

It is a process which is good for everyone.

Copyright: Jenny Colebourne

Illium Center of Light

COURSES

HEALING PILATES INTENSIVE COURSE FOR YOGA AND PILATES TEACHERS AND ADVANCED STUDENTS

Every Friday for 8 weeks 18.30-20.30 starting March 5th  on Zoom

Price: 320€
Or 40€ a week 
A commitment to attending the full he course is required.

Teachers have asked me if I could put together an intensive course about Healing Pilates. I will be focusing on how our approach to our body can make all the difference and exercises that can be integrated into a class whether it is Pilates or Yoga to prepare and transform even the most difficult of bodies.

NECK AND SHOULDERS WORKSHOP

Our neck and shoulders relate to our expression center. It is important that we can sing our song clearly and confidently. To begin to do this we need to release tension, pain and stress patterns on a physical level. I will be teaching self-help techniques from Refined Pilates, Yoga, Reiki, Sound Healing and Cranial Sacral Therapy.

On Saturday 20th of February 
At 15.00-17.00 (EET) on Zoom 
Price: 25€

Illium Center of Light

12 ΛΟΓΟΙ ΓΙΑΤΙ ΟΙ ΔΑΣΚΑΛΟΙ ΠΙΛΑΤΕΣ ΠΡΕΠΕΙ ΝΑ ΠΑΡΑΚΟΛΟΥΘΗΣΟΥΝ ΤΟ ΕΚΠΑΙΔΕΥΤΙΚΟ ΠΡΟΓΡΑΜΜΑ «SOUNDING THE HEART HATHA YOGA».

Η ΕΠΙΣΤΗΜΗ ΤΗΣ ΑΝΑΠΝΟΗΣ

Υπάρχει μια ολόκληρη επιστήμη της αναπνοής στην Hatha Yoga. Ονομάζεται Pranayama. Η Pranayama αποτελείται από πολλές διαφορετικές αναπνευστικές ασκήσεις, οι οποίες ενισχύουν τη μυϊκή και περιτονιακή μας υποστήριξη για όλες τις φάσεις της αναπνοής και απελευθερώνουν τη διαφραγματική κίνηση. Η κίνηση του διαφράγματος είναι μεγάλη, όταν η αναπνοή είναι σωστή, και δημιουργεί ένα φυσικό, θεραπευτικό μασάζ για όλα τα όργανα του σώματος και της σπονδυλικής στήλης. Το θωρακικό διάφραγμα έχει τη μεγαλύτερη περιτονία στο σώμα. Είναι σημαντικό να είναι χωρίς ένταση. Ένα θωρακικό διάφραγμα που αναπνέει σωστά έχει θετική επίδραση σε όλα τα διαφράγματα του σώματος, όπως π.χ. το πυελικό διάφραγμα.

Η σωστή  και βαθιά αναπνοή έχει θετικά αποτελέσματα στο σώμα μέχρι το κυτταρικό επίπεδο.

Γνωρίζουμε ότι ο Joseph Pilates έδωσε έμφαση στην αναπνοή.

Οι καθηγητές του Πιλάτες διδάσκουν συνήθως μια μορφή αναπνοής στις μέρες μας: “εισπνεύστε από τη μύτη και εκπνεύστε από το στόμα.”

Έμαθα από τον δάσκαλό μου, τον Jerome Andrews (ο οποίος ήταν 10 χρόνια με τον Pilates), ότι έχει  χρησιμοποιηθεί μια πολύ μεγαλύτερη ποικιλία μοτίβων αναπνοής, όπως το κράτημα της αναπνοής μετά την εκπνοή, η αναπνοή με συνοδευτικό ήχο και μια μακρυά αργή εκπνοή.

Κάθε τύπος αναπνοής έχει τον δικό του συγκεκριμένο σκοπό.

Προσωπικά, έχω απολαύσει και  επωφεληθεί από όλους αυτούς τους τύπους αναπνοής.

 Έχω εφαρμόσει την αναπνοή Ujjai, από τη γιόγκα, στις ασκήσεις Pilates και το βρήκα πολύ αποτελεσματικό, ειδικά για μαθητές με προκλήσεις.

Ο Πιλάτες έχει μιλήσει για «ροή». Η γιόγκα μπορεί να εξασκηθεί σύμφωνα με το ρυθμό της αναπνοής.

ΑΚΡΙΒΕΙΑ ΚΑΙ ΙΕΡΗ ΓΕΩΜΕΤΡΙΑ

Μία από τις αρχές της τεχνικής Pilates είναι η ακρίβεια.

Η Hatha Yoga ασκείται σύμφωνα με τις αρχές της ιερής γεωμετρίας.

Ο τρόπος με τον οποίο τοποθετούμε τα πόδια και τα χέρια μας είναι πολύ συγκεκριμένος στη γιόγκα. Είναι επίσης σημαντικός και στην τεχνική Pilates.

Η καλή τοποθέτηση του σκελετού  είναι εξίσου σημαντική στη Γιόγκα όπως και στο Pilates.

ΣΥΓΚΕΝΤΡΩΣΗ

Στα αρχικά στάδια της Hatha Yoga τα μάτια είναι κλειστά έως ότου ο μαθητής αναπτύξει μια βαθιά και ειλικρινή σχέση με το εσωτερικό σώμα. Αυτή η σχέση συνεχίζει να μεγαλώνει και ο μαθητής φτάνει στο σημείο να είναι σε επαφή με το σώμα του και ταυτόχρονα να έχει τα μάτια του ανοιχτά και να μην αποσπάται η προσοχή του από το περιβάλλον. Στη συνέχεια, το βλέμμα του εστιάζεται πολύ συγκεκριμένα σε ένα σημείο, το οποίο ποικίλλει ανάλογα με την asana.

Η βαθιά χαλάρωση, Sarvasana (πόζα πτώματος), ασκείται έτσι ώστε να μπορούμε να ηρεμήσουμε σε σημείο που είμαστε ικανοί να ακονίσουμε τη συγκέντρωσή μας. Η Γιόγκα μάς διδάσκει πώς να επικεντρωνόμαστε σε ένα σημείο, είτε αυτό είναι, (για παράδειγμα) ένα μέρος του σώματος, ένα συγκεκριμένο σύνολο λέξεων (όπως ένα μάντρα) ή μια φλόγα κεριών. Μας διδάσκουν να εστιάζουμε και, όταν συνειδητοποιούμε ότι έχουμε χάσει τη συγκέντρωσή μας, μας διδάσκουν να επαναφέρουμε την εστίασή μας στο σημείο εστίασης χωρίς να σπαταλάμε ενέργεια ή να κριτικάρουμε ή επιπλήττουμε τον εαυτό μας. Αντιθέτως, αυτό θεωρείται ως φυσικό μέρος της διαδικασίας μας.

Ως αρχάριοι στη γιόγκα αναπνέουμε ελεύθερα και κρατάμε τις ασάνες για όσο διάστημα είναι άνετο για εμάς και καθώς προχωρoύμε μετράμε τις αναπνοές μας για να φέρουμε περισσότερη ισορροπία στην πρακτική μας, σε όλα τα επίπεδα, και για να αυξήσουμε την ικανότητά μας να συγκεντρωνόμαστε.

ΒΑΘΙΑ ΧΑΛΑΡΩΣΗ

Η Deep Relaxαtion, Savasana, Corpse pose ασκείται για τουλάχιστον 20 λεπτά. Αυτό δεν είναι κάτι που διδάσκεται στο Pilates.

Η πρόθεση είναι να απαλλαγούμε από ένταση σε όλα τα επίπεδα, είτε είναι σωματική, ψυχολογική ή συναισθηματική. Κυριολεκτικά αδειάζουμε τον εαυτο μας, κάτι σαν ένας μικρός θάνατος (εξ ου και το όνομα “Corpse Pose). Μόνο όταν είμαστε άδειοι μπορούμε να φέρουμε φρέσκια, θετική ενέργεια στον εαυτό μας (συχνά μέσω της αναπνοής)

Αυτό βοηθά τους ανθρώπους να αντιμετωπίσουν την κατάθλιψη, το άγχος και την ανησυχία και τους φέρνουν πίσω σε επαφή με την ουσία τους. Αυτό είναι προφανώς ευεργετικό για όλη τη ζωή τους. Έχει θετική επίδραση στην ικανότητά τους να ασκούν Pilates ή Yoga.

ΠΑΡΟΥΣΙΑ

Ως δάσκαλοι γιόγκα αναπτύσσουμε συνειδητά την παρουσία μας ως εκπαιδευτικών. Μας διδάσκουν ότι δεν υπάρχουν δύο ρόλοι, ο δάσκαλος και ο μαθητής, αλλά ότι είμαστε ένας.

Ένας δάσκαλος γιόγκα αναπτύσσει την ενέργειά του έτσι ώστε να διδάσκει χωρίς λόγια. Η δική μου δασκάλα γιόγκα δεν είχε παρά απλά  να κοιτάξει το μαθητή της και αυτός ένιωθε ότι το κέντρο της καρδιάς τους είχε ανοίξει.

ΤΟ ΑΓΓΙΓΜΑ ΠΟΥ ΜΕΤΑΜΟΡΦΩΝΕΙ

Οι καθηγητές Pilates χρησιμοποιούν το άγγιγμα αλλά οι δάσκαλοι γιόγκα, ακολουθώντας το μάθημά μου, μαθαίνουν πώς να εμποτίζουν τα αγγίγματά τους με ποιότητες που βοηθούν τους μαθητές τους να τους εμπιστεύονται και ως εκ τούτου να ανταποκρίνονται πληρέστερα σε αυτούς.

Οι μαθητές μου μαθαίνουν πώς να αισθάνονται το σώμα των άλλων, τι  χρειάζεται το σώμα αυτό, την εσωτερική του κίνηση, καθώς και το ενεργειακό σώμα.

Ως καθηγητές γιόγκα διδασκόμαστε ότι η εσωτερική στάση μας επηρεάζει την ποιότητα του αγγίιγματος και το πώς θα ανταποκριθούν οι άνθρωποι σε αυτό το άγγιγμα.

Μας διδάσκουν να συντονίζουμε την αναπνοή μας με τον μαθητή που αγγίζουμε. Αυτό φέρνει τις αντίστοιχες αύρες μας σε αρμονία.

Ο καθένας μπορεί να αναπτύξει αυτές τις ικανότητες.

ΘΕΤΙΚΕΣ ΚΑΙ ΔΙΑΥΓΕΙΣ ΟΔΗΓΙΕΣ ΑΠΟ ΤΟΝ ΔΑΣΚΑΛΟ ΜΕ ΦΩΝΗ ΠΟΥ ΕΧΕΙ ΔΟΝΗΣΕΙΣ. 

Όλοι οι δάσκαλοί μου έχουν διδαχτεί να βρίσκουν πάντα θετικούς και διαυγείς τρόπους διδασκαλίας.

Η επιλογή των λέξεων είναι πολύ σημαντική. Πολλοί άνθρωποι έχουν υποφέρει στο σπίτι, στο σχολείο ή στο εργασιακό τους περιβάλλον. Είναι σημαντικό να διατυπώνετε τα πράγματα με θετικό τρόπο.

Έχει διαπιστωθεί ότι ο ήχος και η μουσική, με τη δόνηση, μπορούν να μεταμορφώσουν και να θεραπεύσουν ένα άτομο.

Ένας δάσκαλος γιόγκα μαθαίνει να χρησιμοποιεί τη δόνηση της φωνής του σαν όργανο. Υπάρχουν συγκεκριμένες ασκήσεις για την ανάπτυξη αυτής της ικανότητας.

ΣΥΝΕΙΔΗΤΗ ΑΚΡΟΑΣΗ

Όλοι, ως δάσκαλοι, ακούμε. Ένας δάσκαλος γιόγκα αφήνει συνειδητά αρκετό χώρο στον άλλον για να εκφραστεί και, αποφεύγοντας μια άμεση ανταπόκριση, λειτουργεί σαν ηχείο και αφήνει χώρο για να αποκαλυφθούν βαθύτερα επίπεδα συνειδητότητας.

Μαθαίνουμε πώς να ακούμε συνειδητά και να μην βιαζόμαστε να απαντήσουμε ή να έχουμε την «απάντηση», αλλά μάλλον να αποκαλυφθεί η απάντηση.

ΤΕΝΤΩΜΑΤΑ

Τόσο το Pilates όσο και η Yoga ενθαρρύνουν την ισορροπία μεταξύ μυϊκού τόνου και ευλυγισίας.

Οι τεχνικές χαλάρωσης και αναπνοής της Hatha Yoga είναι ιδιαίτερα χρήσιμες για άτομα που πάσχουν από δυσκαμψία ή πόνο.

ΠΕΙΘΑΡΧΙΑ

Οι μαθητές γιόγκα διδάσκονται να είναι πάντα νωρίς στην τάξη. Είναι απαραίτητο όχι μόνο για το πώς το σώμα προετοιμάζεται σταδιακά για διαφορετικές ασάνες όπως στο Pilates, αλλά και επειδή δημιουργείται μια χαλαρή εστιασμένη ατμόσφαιρα από την αρχή του μαθήματος η οποία χτίζεται στη διάρκεια του μαθήματος μέχρι το τέλος. Επιτυγχάνεται μια πολύ συγκεκριμένη ενέργεια. Κάποιος που αργεί διακόπτει αυτήν τη διαδικασία. Επομένως, η καθυστέρηση δεν γίνεται αποδεκτή στη γιόγκα.

Μόλις εισέλθουν στο χώρο γιόγκα οι μαθητές δεν μιλούν μεταξύ τους. Δεν υπάρχει συνομιλία μεταξύ μαθητών ή μεταξύ μαθητών και δασκάλου. Καμία ερώτηση. Απλώς η δόνηση του ήχου της φωνής του δασκάλου και σαφείς και διαυγείς οδηγίες. Αυτό συντελεί επίσης στη δημιουργία μιας συγκεκριμένης, ιδιαίτερης ατμόσφαιρας.

Στο τέλος του μαθήματος μένει χρόνος για να μοιραστεί κανείς εμπειρίες ή για ερωτήσεις.

Ο ΙΕΡΟΣ ΧΩΡΟΣ

Ο χώρος στον οποίο ασκούμε γιόγκα διαποτίζεται από την ενέργεια της πρακτικής. Είναι ένας ιερός χώρος. Ανάβουμε ένα κερί πριν από την εξάσκησή μας. Το φως του κεριού μάς θυμίζει το φως προς το οποίο κινούμαστε.

Δημιουργούμε ένα βωμό, ο οποίος μπορεί να έχει εμπνευσμένες εικόνες. φωτογραφίες σπουδαίων δασκάλων, κρύσταλλα και λουλούδια, και αιθέρια έλαια που μπορεί να καίονται. Όλα αυτά μάς  θυμίζουν πού θέλουμε να οδηγηθούμε με την πρακτική μας.

Όσο πιο συνειδητά δημιουργούμε τον χώρο μας, είτε πρόκειται για Pilates είτε για Γιόγκα, τόσο πιο γρήγορα μετακινούμαστε στην κατάλληλη κατάσταση του νου για την πρακτική μας.

Illium Center of Light

12 Reasons Why Pilates Teachers Should Do My Sounding The Sounding The Heart Hatha Yoga Teacher Training Course

Here are 12 areas in which I believe yoga has a lot to offer.

THE SCIENCE OF BREATHING

There is a whole science of breathing in Hatha Yoga. It is called Pranayama. Pranayama consists of many different breathing exercises, which strengthen our muscular and fascial support for all phases of breathing and liberates the diaphragmatic movement. The movement of the diaphragm is large, when it is healthy, and creates a natural, therapeutic massage for all the organs of the body and the spine. The breathing diaphragm has the largest concentration fascia in the body. It is important that it be free of tension. A healthy breathing diaphragm has a positive effect on all the diaphragms of the body such as the pelvic diaphragm. 

Healthy, powerful breathing has positive effects on the body right down to the cellular level.

We know that Joseph Pilates placed an emphasis on breathing. 

Pilates’ teachers usually teach one form of breathing nowadays, “breathe in through the nose and out through the mouth.”

I learned from my teacher, Jerome Andrews (who was 10 years with Pilates) that a much bigger variety of breath patterns were used, such as holding the breath after the out breath, sighing breath and a long slow out breath.

Each type of breath has it’s own specific purpose.

I personally have enjoyed and benefited from all these types of breathing.

 I have applied the Ujjai breath, from yoga, to Pilates exercises and found it to be very effective especially for students with challenges. 

Pilates talked about flow. Yoga can be practiced according to the rhythm of the breath. 

PRECISION AND SACRED GEOMETRY

One of the principles of the Pilates technique is precision. 

Hatha Yoga is practiced adhering the principles of sacred geometry. 

The way we place our feet and hands are very specific in yoga. It is also important in the Pilates technique.

Good placement of the skeletal body is as important in Yoga as in Pilates.

CONCENTRATION

In the beginning stages of Hatha Yoga the eyes are closed until the student develops a deep and honest relationship with the inner body. This relationship continues to grow and the student advances to being able to be in touch with the body and at the same time have the eyes open and not be distracted by his or her surroundings. The gaze is then focused very specifically on one point, which varies according to the asana.

The deep relaxation, Sarvasana, (corpse pose) is practiced so that we can calm ourselves to a point of being able to hone our concentration. Yoga teaches us how to focus on one point, whether it is, (for example) a part of the body, a specific set of words, like a mantra or a candle flame. We are taught to focus and when we realize we have lost our concentration we are taught to simply bring our focus back to the point of focus without wasting energy criticizing or berating ourselves. Rather this is seen as a natural part of our process.

As beginners in yoga we breathe freely and hold the asanas for as long as is comfortable for us and as we progress we count our breaths to bring more balance to our practice, on all levels, and to increase our ability to concentrate. 

DEEP RELAXATION

Deep Relaxtion, Savasana, Corpse pose is practiced for a minumum of 20 minutes. This is not something that is taught in Pilates.

The intention is to let go of tension on all levels whether it is physical, psychological or emotional. We literally empty ourselves, rather like a small death (hence the name “Corpse Pose). It is only when we are empty that we can bring fresh, positive energy in to ourselves (often via the breath).

This helps people deal with depression, anxiety, and worry and brings them back in touch their essence. This is obviously beneficial for all of their life. It has a positive effect on their ability to practice Pilates or Yoga. 

PRESENCE

As yoga teachers we consciously develop our presence as teachers. We are taught that there are not two roles, the teacher and the student but rather we are one.

A yoga teacher develops his or her energy so that he or she teaches without words. My own yoga teacher had only to look at her student and he felt his heart center open.

THE TRANSFORMATIONAL POWER OF TOUCH

Pilates teachers use touch but yoga teachers, following my course learn how to imbue their touch with qualities that help their students to trust them and therefore respond more fully to them.

My student teachers learn how to sense the others’ body, what it needs, its internal movement and the energy body.

As yoga teachers we are taught that out internal stance affects the quality of touch and how far people will respond to that touch.

We are taught to coordinate our breathing with the student we are touching. This brings our respective auras into harmony.

Everyone can develop these abilities.

POSITIVE LUCID INSTRUCTIONS AND THE VIBRATION OF THE VOICE OF THE TEACHER

All my teachers are taught to always find positive and lucid ways of instructing.

The choice of words is very important. A lot of people have suffered some kind of abuse at home, at school or in their work environment. It is essential to phrase things in a positive way.

It has been found that sound and music, according to the vibration, can transform and heal a person.

A yoga teacher learns to use the vibration of their voice like an instrument. There are specific exercises to develop this skill.

CONSCIOUS LISTENING

We all, as teachers, listen. A yoga teacher consciously leaves enough space for the other to express herself, acting like a sounding board and refraining from an immediate response leaves room for deeper levels of consciousness to be revealed. 

We learn how to consciously listen and to not rush to respond or to have the “answer” but rather that the answer be revealed.

STRETCHING

Both Pilates and Yoga encourage a balance between muscular tone and limberness.

The relaxation and breathing techniques of Hatha Yoga are particularly helpful for people suffering from stiffness and or pain.

DISCIPLINE

Yoga students are taught to always be early for class. It is essential not just for how the body is gradually prepared for different asanas as in Pilates but also because a relaxed focused atmosphere is created from the beginning of class and that builds all through the class until the end. A very specific energy is achieved. A latecomer interrupts that process. Lateness is therefore not accepted in yoga. 

Once entering the yoga space students do not talk between one another. There is no conversation between students or between students and the teacher. No questions. Just the vibration of the sound of the teacher’s voice and clear lucid instructions. This is also to build a specific, special atmosphere. 

Time is left at the end for sharing or questions.

THE SACRED SPACE

The space we practice yoga in becomes imbued with the energy of the practice. It is a sacred space. We light a candle before our practice. The light of the candle reminds us of the light that we are moving towards.

We create an altar, which may have inspirational images; photos of great teachers, crystals, flowers and essential oils may be burnt. All these things remind us of where we wish to go with our practice.

The more consciously we create our space whether it is for Pilates or Yoga the more we quickly move into the appropriate state of mind for our practice.


Illium Center of Light, Pilates, workshop, Zoom

HEALTHY, BEAUTIFUL FEET -ZOOM WORKSHOP

Όταν ήμουν μικρή περπατούσα με τα πόδια γυρισμένα προς τα μέσα και ήμουν δύσκαμπτη. Λάτρευα, όμως, το μπαλέτο και ήθελα να γίνω μπαλαρίνα. Οι προκλήσεις που αντιμετώπισα λόγω του «δύσκολου» σώματός μου με οδήγησαν στο να μάθω τεχνικές, όπως το Pilates, που με βοηθούν να βοηθήσω με τη σειρά μου άλλους.

Το 1973 μπήκα στο London School of Contemporary Dance (τίποτα δεν είναι ακατόρθωτο!) Η δασκάλα μπαλέτου, Cynthia Babat, ήταν ο πρώτος άνθρωπος που με δίδαξε ότι η καλή στάση του σώματος ξεκινάει από μια γερή βάση, από τα πέλματα.

«Υγιή, όμορφα πέλματα» – Workshop μέσω Zoom

Σάββατο 10 Οκτωβρίου, 15.00 – 17.00, 25€

Δηλώστε συμμετοχή στο: jenny@jennycolebourne.com
______________________________
I was born with body challenges.

When I was a little girl I walked with my legs turned in and was very stiff, but I loved ballet and wanted to be a ballet dancer. These body challenges let me to a lifetime of learning techniques, such as Pilates, that help me help others.

In 1973 I entered the London School of Contemporary Dance (you can achieve anything!) A ballet teacher, Cynthia Babat, was the first person to teach me that good posture starts at the feet. 

“Healthy, beautiful feet” – Workshop on Zoom

Saturday 10 October 15.00 – 17.00, 25€

Book your place: jenny@jennycolebourne.com

Translate »