The knee remains in the position that it has come to, in part 1. At a certain point, just before the knee is to straighten, you will probably find there’s a lot of resistance. You will probably find that the tendons around the knee feel very tight. I want you to avoid lowering the knee in order to straighten the leg.
AVOID TIGHTENING THE KNEE IN ORDER TO STRAIGHTEN THE LEG
Themis Andreoulaki. Dancer, Refined Pilates Teacher and Graduate with distinction from the Refined Pilates Teacher Training.
I want you to avoid tightening the knee in order to straighten the leg, at no point does the knee tighten. It’s a joint and it’s designed for movement, not support, so keep the joint relaxed. Instead look deep into, with quality attention,100% focus, gentle focus, no pushing, focus that is imbued with a lot of love and respect for your body and notice exactly where you have the resistance, or tightness and let go of it.
USE YOUR OUT BREATH TO SOFTEN RESISTANCE
Use your out breath to soften wherever that resistance is. The process will be a personal. Different people with different bodies, life experiences and psychology, will have different areas of resistance.
THE KNEE REMAINS IN THE SAME POSITION
There is only one guideline, for all of us, the knee will not move. The knee stays in the position that it’s arrived to. When we get to the point of feeling the resistance then we have to make a study of releasing it. How do I release it? How do I let go?
LENGTHENING THE SHIN BONE
One thing that may help you is to think of the shinbone. Lengthen it. Remember that when bones are alive, they have a degree of flexibility, so think, imagination has power, the shinbone long. It will help think that the toes extend beyond where you see them physically end. Imagine that space has a magnetism as powerful as that of gravity and imagine the toes are being drawn out into space.
You will probably be aware of the new areas of resistance. Your body, your own body with wisdom, will guide you.
A NEW SENSATION OF EXTENDING THE LEG
I promise that you will have a completely different experience of straightening the leg, a completely different sensation, you will feel it coming from a completely different space in the body.
And although the first times, that you do this exploration, it may seem to be slow process.
THE GIFT OF TIME
Give yourself a gift of time. Give yourself a gift of relaxation. Nothing ever good ever came out of forcing.
When you’ve experienced this way of extending the leg 2 or 3 times, then it will become an almost automatic process. A new habit. It’ll be a lot easier a lot quicker.
LEG EXTENSIONS IN A STANDING POSITIONOR AGAINST RESISTANCE
Themis Andreoulaki. Dancer, Refined Pilates Teacher and Graduate with distinction from the Refined Pilates Teacher Training.
And if you want to bring this experience to a standing position or against resistance, one of the secrets is to really, really feel your roots, to really feel gravity, through the supporting leg. It’s the leg that’s a supporting leg that is the strong leg and the more that you feel that ground and the rooting the stronger you will feel and the easier the other leg will float up.
Always be vigilant about the correct leg alignment.
In the pursuit of physical wellness and personal growth, it’s crucial to understand that the way you connect with your body can significantly impact the results you achieve. Whether you’re practicing Pilates, Yoga, receiving Reiki, or exploring Cranial Sacral treatments, the way you connect with your body can make all the difference. In this blog, we’ll explore the importance of connecting with your body in a more profound and harmonious way.
Details and Subtlety are Important
No matter what is your level when you exercise, whether you are a professional dancer or someone wishing to improve their posture, it is the details about how you connect with your body as you move that will make your practice more effective. The details are many. These details, as we hone our ability, become more and more subtle. You cannot avoid the fact that moving or exercising well requires concentration and continuous subtle connection with the body. This level of focus calms us. We may come to a Pilates or Yoga class, tired from a demanding day at work, but we will leave feeling energised, feeling “clean”, like someone washed our aura.
There are so many aspects, so many details, that are both fascinating and essential. This attention to detail is what keeps our practice alive. This is what makes it interesting.
What is of paramount importance is connection, and the quality of that connection, with your body. It effects your entire, not just practice, but life.
We choose a detail to focus on. We give it time (something else we are not very good at. We are always in a rush!). We get better and better at that detail, and then we layer it with more and more detail. This experience is wonderful. As human beings we are potentially so intelligent and have so much wisdom at our fingertips. We have access to so much knowledge. This opens us, to be curious, to receive the knowledge, helps us LIVE in our body, enjoying it, experiencing it’s pleasure and doing those beautiful movements, we always wanted to do, with grace and ease. We heal injuries and open up to our movement potential. We can do that advanced exercise we thought was impossible for us to achieve. Not by pushing, forcing and abuse, but through the body’s own innate intelligence (huge intelligence) and love. Caring for our body. Respecting our body.
In order to do this, we need to be ready to LISTEN to our own body wisdom. How lucky we are!
We need to give up being the dictator, pushing our body around.
How to Deal with Fear
We are often afraid of our body. Afraid because we may have passed through various illnesses, done operations, injured ourselves or had accidents. And who knows what is imprinted in our ancestral memory. We have been body shamed. We are afraid because we think, if we stop pushing, we will never achieve any thing.
We are afraid that we will fall into pieces. YES, we will, and in the ashes, we will find those golden nuggets that will make us into a better person, not just physically but we experience the physical body is not somehow isolated from our psychology, our way of thinking, our feelings and our spirit. Each affects the other. It is impossible to separate them out.
Being kinder to ourselves, we are happier, and in turn, we are kinder to others.
Being more connected to the beauty of our body wisdom we recognise that beauty in others. If you are a teacher this is essential.
Enjoy, enjoy the magnificent gift of your body. Float up into the “Teaser” with ease, experience the true grounding of the “Warrior Pose” and walk your path.
From Force to Ease of Movement: My Personal Journey
I, like many, grew up with the idea that achieving physical goals required sheer force and determination. I used to watch beautiful dancers from the outside and tried to copy them. This approach led to a lot of physical tension, frustration, and even injuries. I thought that “trying harder” was the way forward. However, I’ve learned that this is not the case.
As I reflect on my journey, I realise that true progress came when I began to unlearn these harmful habits. It took time, but the transformation was worth it. I was fortunate to have exceptional teachers who guided me along the way, reshaping my practice and my life. The path to connecting with your body in a healthier way is an ongoing process of growth and self-discovery.
The Wisdom of The Body Cells
Our bodies are intricate systems composed of approximately 37.2 trillion cells, each containing the vast repository of ancestral memory and knowledge. From the intelligence within these cells, our bodies were formed, from the spinal cord to every intricate detail. It’s a fascinating that the knowledge of how to create our bodies still lies within us.
The logical brain, which often acted as a dictator in our lives, should now take a step back. It’s not about eliminating logical thinking entirely, but rather allowing it to find its proper place within the magnificent system of our body.
Moving Beyond Judgment
When we embrace connecting with our body directly through the cells, we shift from judgment to being open to receiving information. We enter the realm of experiencing and sensing—a world filled with new possibilities. In the mind body approach, the left side of the brain connects with the right side of the body and vice versa, creating a crossover effect. However, when we tune into the wisdom contained within the cells of our body, there is no need for this crossover. We receive information directly from the cells of the area we are focusing on.
But to do this, we must be sufficiently relaxed. The magic of this process is that, once we open ourselves to the possibility of connecting with our cells, it happens naturally. It’s as though our cells have been patiently waiting for us to listen.
The Power of Breathing Maintaining a Connection with the Cells of the Lungs.
One effective way to explore this connection is by practicing cellular breathing. By focusing on the cells of the lungs, you’ll discover a breath that originates from a much deeper space within you. Remember to remind yourself to relax your mind during this process.
The attention you give to the area of your body you want to connect with should be wholehearted and nurturing, akin to the loving attention a mother gives to her baby. It’s possible that emotions or realisations may surface during this process. While it can be a bit scary to establish an entirely new connection with your body, the results are consistently rewarding.
My Gratitude to Bonnie Bainbridge Cohen
I am deeply grateful to Bonnie Bainbridge Cohen, whose teachings on “cellular breathing” completely transformed my approach to practice. I first encountered her wisdom at a seminar in Patras, and it has since been an integral part of my journey. Bonnie generously shares her knowledge, and you can find numerous free videos of her teachings on YouTube.
My Refined Pilates and Yoga Classes Incorporate Accessing the Body Wisdom Through the Cells
Incorporating the cellular approach into my classes has yielded remarkable results with students of all levels. It’s a reminder that our bodies hold the key to our well-being, and by nurturing this connection, we can unlock the true potential within ourselves. As we continue to learn and grow, let us remember to listen to the wisdom that resides within the cells of our body.
Jerome Andrews told we that Pilates referred to the arching of the back as the “Third Spinal Succession” and an arched position as the “Third Position” of the Spine.
Pilates believed that a flexible strong spine was healthy. We need to move the spine fully in all directions.
HE CONSTANTLY MOVED BEYOND HIS PERCEIVED LIMITATIONS.
I understood from Jerome that it was required, (especially as a dancer), that he move right to the end of a movement, and then he explored how to go safely beyond that. He constantly moved beyond his perceived limitations.
DEEP WORK TRANSFORMS A PERSON PHYSICALLY PSYCHOLOGICALLY AND SPIRITUALLY
Such deep work transforms a person physically, psychologically and spiritually.
This transformation is not done by forcing and pushing (there is enough abuse in our world) but by a keen awareness of the body, at each moment in time, focus, and detailed, dedicated application of the principals of the method, the technique. Pilates stressed concentration as a key factor. For sure you need concentration, meticulous application and a deep, non judgemental relationship with the body.
TRULY MOVE VERTEBRA BY VERTEBRA BONE BY BONE
As with all the spinal successions it is important to move, truly, not approximately, truly, vertebra by vertebra, bone by bone. If you practice this with awareness you will never injure yourself.
Each succession can be initiated at the tip of the tail, or coccyx, which comes all the way down to the level of the anus. Or it can start from the top of the spine. I think of the bones of the skull as the first vertebrae. This is how it is thought of in cranial sacral therapy. It makes sense, as the brain and the spine are one system, A system embraced and supported by the cerebral spinal fluid.
Depending on the movement the succession goes from top to bottom or bottom to top.
THE FRONT EDGE OF THE SPINE HAS A COMPLETELY DIFFERENT FEEL, DESIGN AND QUALITY
When moving into the “Third Spinal Succession” our focus is on the front edge of the spine. It is important to be aware that the front edge of the spine has a completely different feel, design and quality from the back edge of the spine. It is a different experience. The spaces in between the vertebrae open like fans.
In order to allow this huge opening in the front of the body, the back of the body needs to be soft. It partners the front of the body by narrowing, not be forcing, but rather by surrender.
THE THIRD SPINAL SUCCESSION IS ECSTATIC
An arching movement is ecstatic. Special filming techniques reveal that there are small “explosions” in the chakras at the front of the body. These “explosions” lead to a person being more open. It is not just physically beautiful.
EMOTIONAL RELEASE
I remember quite early on in my career I was teaching a beautiful, professional, contemporary dancer. We had come to the end of class and I asked her to do a relaxation on the Spine Corrector. This exercise involved arching back over the barrel. Suddenly she burst into tears. She cried and cried. Although it was the first time that I had experienced a student having such an emotional release. I knew it was possible, in theory, and here it was happening before my eyes. I knew enough to give her the space to cry. Afterwards she shared with me that although she was very flexible, and a beautiful mover, she had always felt a small area of tightness in the chest. She said that when she did the exercise she felt like an energetic “pop” and burst into tears. It was completely unexpected. After she cryed, the tightness was gone.
You might want to look at this “Down Stretch” video as an example of “Third Spinal Succession”. https://youtu.be/X2kwH1LvnyI
It is very important a person has a lot of tension in the feet.
These exercises are excellent for people who have been through chemotherapy or suffer from numb feet.
Elders may need this exercise more.
Ballet dancers often need this work because of the effect of point work on their feet.
Pregnant women may find relief with these exercises.
Stand on both feet in parallel and find the classic parallel position
Stand with your heels directly under the sit bones. (To find your sit bones (the Ischial Tuberosity), sit on the floor and rock from side to side. Feel those bones? They are what we dancers refer to as sit bones.)
Imagine two parallel lines. Use the line of your floorboards to align your feet if you have them, or use a ruler. Place the inside edge of the joint of the big toe and the inside edge of the heel against these parallel lines. Close your eyes and in a gentle, non-judgmental way tune into your body. How do your feet feel against the floor?
After tuning in to your body take the tennis ball and place it under your left foot between the first and the second toe. Gently roll the foot over the ball and as you do so feel as if you are molding the foot to the ball. Roll the foot over the ball using a medium pressure until you reach the middle of the arch of the foot. If you come to a place on the foot, which is painful, stop for a moment and imagine that area softening. Wait until the pain dissipates and then move on. Your aim is to allow the spaces between the metatarsals to open and spread.
Repeat this process between the 2nd and third toe and then between the third and fourth and so on and of course on both feet.
After you have completed the exercise once again tune in to your body and notice how the soles of the feet now feel against the floor.
TOE CIRCLES
Look out for my You Tube video.
REPETITIONS.
3-5 in each direction.
RECOMMENDATION
This is an exercise, which is good for all.
Very important if you feel a person has a lot of tension in the feet.
These exercises are excellent for people who have been through chemotherapy or suffer from numb feet.
Elders may need this more.
Ballet dancers often need this work because of the effect of point work on their feet.
Pregnant women may find relief with this.
Sit crossed legged on the floor or in any position that is comfortable for you. You can sit on a chair if you like.
Take a hold of the left foot. Hold all the toes with the left hand except for the big one. Keep them still and steady. Take a hold of the big toe with the right hand and gently lengthen the toe and make 3 – 5 circles with the big toe first in one direction and then in the other. Explore the edges of the circle.
Move on to the next toe supporting the other toes with the left hand and describing the circles with the right. Continue until you have done the exercise with each toe and then, do the exercise on the other foot.
Stand up and check how your feet feel against the floor.
ENCOURAGING THE SPACE BETWEEN THE BIG AND THE SECOND TOE
REPETITIONS
3-5 in each position.
RECOMMENDATIONS
This is an exercise, which is good for all.
Very important if you feel a person has a lot of tension in the feet.
Elders may need this more.
Ballet dancers often need this work because of the effect of point work on their feet.
Pregnant women may find relief with this.
This exercise is particularly important for people with back problems.
Sit crossed legged on the floor or in any position that is comfortable for you.
Take a hold of the left foot. Hold all the toes except for the big one
Take a hold of the left foot. Hold all the toes with the left hand except for the big one. Place the right thumb against the joint of the big toe in order to support it and with the other fingers gently lengthen the big toe and encourage the space between the big toe and the second toe. Bring the toenail in a line with the joint and not past it. Keep the toes on the same level.
STRENGTHENING THE ARCH OF THE FOOT
Look out for my You Tube video.
REPETITIONS
3-5.
RECOMMENDATION
This is an exercise, which is good for all.
Pregnant women may find relief with this.
This exercise is particularly important for people with back problems.
It is good for people with fallen arches or flat feet.
STARTING POSITION
Start by standing in the classic parallel position.
Draw the toes towards the heels, and the heels towards the toes, as if you were sucking the arches up. Hold for a bit and then very deliberately and carefully place the feet back against the floor being very aware of the alignment and the 5 points.
STRENGTHENING THE ARCH WALKS
Look out for my You Tube video.
REPETITIONS
As much as you feel you need. I used to do this morning and night like cleaning my teeth!
RECOMENDATIONS
This is an exercise, which is good for all.
Pregnant women may find relief with this.
This exercise is particularly important for people with back problems.
It is good for people with fallen arches or flat feet.
Once again draw your arches up and then simply go for a walk for as long as you want like that. When you want to stop very deliberately bring the feet back into the correct alignment with a conscious awareness of the 5 points.
The alignment of the feet is very important. The feet support the weight of the body any misalignment will cause strain somewhere. If the feet are not aligned the rest of the body will not be aligned.
Feet. Honoring the feet. Grounding. Feeling and Sensing the Earth. Feeling and sensing the power of gravity and allowing it, to fully affect us.
SUGGESTIONS.
Try a reflexology treatment before exercising.
Walk barefoot as often as you can especially in nature. Feel with your feet different surfaces such as mud, autumn leaves and beach pebbles.
Paint each toenail a different color to become more conscious of each toe.
Bring your awareness to the space between the big toe and the second toe. Paint or decorate this space with henna or lipstick.
Reiki your feet.
Stamp your feet as in African dance.
Read and practice the grounding meditation (page 147) in Faeriecraft by Alicen and Neil Geddes-Ward.
Remember people bow down to the feet of the guru.
Remember that Mary Magdalene washed Christ’s feet.
Feet are to be revered.
Experience having your feet washed and oiled by your lover or friend.
Choose a lover or friend to honor their feet.
Wear shoes that are made of natural materials, that breathe and are soft and pliable. Think of the Native American Moccasins.
Essential oils related to grounding are Myrrh, sacred as one of the gifts from the wise men to Jesus at his birth.
Guinevere frequently used patchouli essential oil for healing. Vetivert is an essential oil, which in addition, assists in balance and offers protection.
Frankincense, another of the gifts to Christ.
Rosewood and Elemi are oils that teach us to grounding in order to move into the highest and most spiritual of centers, the crown chakra.
I suggest you add a few drops of these very precious oils to base oil or cream and massage it into your feet and legs.
Athletes in ancient Greece oiled their bodies before exercising. Make sure your essential oils are pure and of good quality.
Crystals helpful to feeling the earth are garnet, ruby, red jasper, black tourmaline, and smoky quartz. They can be placed in the room where you exercise or worn.
Clean crystals before using them and then on a regular basis.
INTENTION.
To use the feet more consciously in a balanced way, sensitive to changes in alignment.
Toes placed on bar of the Reformer (Pilates Equipment) in parallel.
To feel the earth, and the support of the earth, through the feet.
To allow the feet to have a sensitivity softness and pliability which allows you to listen to the earth, gives you strength from the earth and allows you at any given moment to take flight in any direction.
To enjoy and participate fully with gravity
THE ENERGETIC AND MENTAL BODY.
The energy of the feet and legs is governed by the root, foundation or first chakra. This energetic center is associated with our relation to this earth, family and ancestors, tribe and country. It represents our life path.
The color of this chakra is a poppy red.
ALIGNMENT AWARENESS.
Start by looking at alignment of the foot and leg in the parallel position.
Standing, have your heels directly under the sit bones. (To find your sit bones (the Ischial Tuberosity), sit on the floor and rock side to side. Feel those bones? They are what we dancers refer to as sit bones.)
Imagine two parallel lines. Use the line of your floorboards if you have them. Place the big toe and the inside edge of the heel against these parallel lines.
To check that you have equal weight on both feet rock gently from side to side until you come to a point of balance. I suggest you start with a slightly larger rocking movement and then make it smaller and smaller until it is minute to sense where your weight is equally on both feet.
We now need to notice whether the weight of our body is centered on the middle of the foot and not to far back towards the heels or too far forward. At the outside of the foot you have a small bump called a Tuberosity. Check out The Anatomy Coloring Book. The ideal is to have your weight evenly distributed between the front and the back part of the foot. The front part of the foot would be the toes and the metatarsals and the back the heel. Place your index finger at the Tuberosity and open your thumb over the top of the arch. This gives you an idea of where the metatarsals end and where the center of the foot is. Stand upright and this time gently rock your weight back and forward starting with slightly larger movement and ending with tiny ones until you sense where your plumb line is.
Please be aware that we are focusing on the feet now.
The posture of the rest of the body will have repercussions but we are starting from the base up. It is impossible for the rest of the body to be in balance without the feet being properly aligned.
THE MAP OF THE FEET.
Imagine you have 5 points on the sole of the foot.
Point 1 is underneath the big toe, point two under the small toe, point 3 is at the outside edge of the heel, 4 the center of the heel and 5 the inside edge of the heel. Each of these points should have an equal amount of weight or pressure on them. Imagine that and energetic line extends straight down into the earth from each of these points. Imagine them going very deep and color them red, the color of the base chakra.
Study a reflexology chart.
EXERCISE FOR FOOT PLIABILITY.
Choose a sitting position, which is easy for you. I usually sit on the floor cross-legged. Sit on a chair if you find this position challenging.
Always handle your body with respect. Take right foot in your left hand. Remember the right side of the body is governed by the left side of the brain and relates to the masculine line, your father, your grandfather, your great grandfather. Remember your male ancestors with total respect as you do this. The right side of the body is associated with male qualities; it is the yang side strength, the peaceful warrior, positivity, protection, and hunting. Thread your fingers through each of the toes so the second finger will go down in between the space between the big toe and the second toe. The third slots in between the second and third toe and so on. You may have to press the fingers gently down in between the spaces. Remember the Reiki law “just for today do not worry”! Each time you do this your feet and toes will become more pliable whatever your age. Softly bend your metatarsals first in one direction then in the other. Remember that energy follows thought. Gently focus with love and respect into the area you are working with. If you have worked with the anatomy colorings see the bones as you do the movement.
You might want to pause as you move into the point of stretch. Notice where you may have resistance or perhaps even pain, have your tender focus there and breathe out visualizing the resistance melting away. You may wish to repeat this a few times. Allow yourself to move into a new space in the foot. There is a continuous process of surrendering. The more you move into new spaces in the body the more joy reveals it self.
The number of repetitions is not important. Deep work transforms and the memory of it stays in the body. Move into a timeless zone where anything is possible.
Usually I suggest that you notice simply the number of times you need to do this on the right foot and then do the same number on the left even if you feel one side less pliable for reasons of balance.
The fourth spinal succession has to do with lateral bending.
The Mermaid is the perfect exercise to explore this.
MERMAID.
RECOMMENDED.
This exercise is good for everyone. The starting position may sometimes bother those with knee problems but you do have more than one starting position to choose from. Hopefully one will suit the student.
PREGNANCY 🙂
Pregnant women can do this exercise throughout their pregnancy. At a certain point when the belly gets larger it is better to sit cross legged or in the second starting position.
LEVEL.
Intermediate.
REPETITIONS.
3 – 5 on each side.
NOTES.
This exercise is performed in smooth, continuous way, with flow. The breath is always just as important as the movement.
Jenny with Pilates student and dancer Ariadne Kitsou
STARTING POSITION.
Sit on the left hip with both legs bent. The knees are pointing forward and form a zig zag. Relax in the right hip and lower it to the floor. Have the spine long and proud. The pelvis is square to the front. The arms are at the sides of the body, gently rounded as if framing the body.
There is an alternative starting position which is called 4th position in contemporary dance. This is the position shown in the picture. Sit on the left hip. Both knees are bent but this time the front leg is bent at a 45% angle and the shin bone is parallel to the front of the mat. The right knee is bent inwards and goes behind the body. Once again relax in the right hip and has far as possible lower it to the mat. The pelvis is square to the front. The arms are at the sides of the body, gently rounded as if framing the body.
Your focus is in the *middle body.
The arm can come a little closer to the ear.
BREATHE IN. Being careful not to hyper extend the elbow, feeling the support of the left lung and shoulder blade, raise the left arm to the side and above the head in a wide, graceful arc. Keep the shoulder soft, slide the shoulder blade downwards without strain and bring the arm as close as possible to the ear. Make sure the hand and fingers have shape but that they are not tense. Once there is tension in the hand and fingers there will be tension in the shoulder. Feel the fingers extending out into space. Feel the sit bones rooted and the crown of the head lengthening to the sky.
The arm could come closer to the ear.
BREATHE OUT. Lengthen the spine, keep the left hip rooted to the floor and lifting up and over, bent the spine to the right. Keep the body on one plane, this is just a lateral movement which means both shoulders will be flat to the front. The head moves as a continuation of the spine. Think of the crown of the head as being the last vertebra. At the same time the right elbow comes to the mat directly under the shoulder joint. The forearm and the palm of the hand are parallel to the front of the mat.Make sure the underneath arm does not block your stretch. Slide it further out if you need to. Feel as though the fingertips and the crown of the head are being drawn out into space.The side of the body facing the mat should soften and condense in order to allow the the stretch in the side of the body facing the ceiling.
BREATHE IN. Stay in the stretch. Feel of the side of the ribs, facing the ceiling, filling with your breath.
BREATHE OUT. Deepen into the stretch by relaxing where you feel a resistance or pulling and surrendering the torso and arm to gravity. Remember to keep the opposite hip grounded. Imagine the side of the spine facing the ceiling and how the spaces in between each the vertebrae will be open like a fan.
BREATHE IN. Roll back up vertebra by vertebra, starting, truly, from the very base of the spine, the tip of the coccyx. You place one vertebra on the other as you move up. This is the fourth spinal succession. As you come up have a picture in your head of where you will return to. You will return to your axis feeling the sit bones like they have roots going deep into the earth and the crown of the head lengthening up into space.
BREATHE OUT
Open the arm to the side and bring it down beside you.
*Middle Body. Imagine your body as if it were in 3 slices. Front body, back body and between those is the middle body.
When I first did the lunges and some similar exercises on the Wunda Chair I was very impressed by how it automatically engaged me with the pelvic floor and my axis..
ALIGN THE BONES
Precisely align the bones. Geometry is sacred. Aligning the bones makes the movement effortless. The muscles and fascia follow the bones effortlessly and naturally. You will never injure yourself this way.
I have found it very effective to explore, moving, as if I were just made up of bones. It can put you better in touch with the skeletal system.
ALLOW THIS MIRACLE, THAT IS YOUR BODY, TO INFORM YOU.
Rather than acting like a dictator, open yourself up to listen to your body.
Experience sensation fully.
LINES OF ENERGY.
Imagining lines of energy helps the body understand where it should move to. Using your imagination is a powerful tool.
GIVE YOURSELF SPACE.
Personally I find that when people imagine they have a huge amount of space, their spine lengthens. Movements have more generosity and freedom.
EXPLORING IS FUN.
Being curious about how far the body will go is joyful.
BREATHE
Let the breath take you like a piece of music moves you. Practice breathing just a little ahead of the movement and then allow the breath to colour all of the movement.
There are many ways of breathing, all valid, and all serving a different purpose.
HAVE FUN FLOAT UP.
The springs are there to give you support. The equipment is designed to be your best friend. Go with it, play with the support and see what it will do for you.
EQUIPMENT SET UP.
One spring up and one down.
REPETITIONS
3-5 on each side.
Always do the same repetitions on each side. If you do three on the right do three on the left, even if you you feel the one side is stronger. It is a matter of balance.
SET YOUR INTENTION.
What is it you would like to learn about your body in this exercise today. It may be something as simple as, “Today I will not tense my shoulders” or “Today, my legs are perfectly aligned throughout. Or “Today I will feel plenty of space around me.”
Themis Andreaoulaki. Dancer and Refined Pilates Teacher Training Graduate.
STARTING POSITION.
Stand sideways to the chair. Take the bar down with the foot, let’s say this is the right foot, that is nearest to the chair. Mount the chair. Have the inside foot on the wooden part and the align the left (outside) foot along the bar towards the back corner. Place the right (inside) foot on the top of the chair at 45’ angle, the toes towards the front, furthest corner. The exact positioning of the feet will depend on the flexibility of your hips. Bring your axis, your spine (on the line of gravity) between your legs. Bring the triangle of your pelvis ( the front of the two iliac crests and the pubic bone) so that it is on one plane and facing directly front. You may need to release in your hips to achieve this.
Feel energy rising from the toes, up through the pelvic floor, up through the spine and out through the top of the head. This energy draws you upwards. You are subtly aware of the left foot on the bar. It never leaves the bar. There is a contact with the bar that lightens as you go up.l
The right foot imprints down powerfully and the leg engages strongly. The pelvis remains facing front.
Themis Andreaoulaki. Dancer and Refined PIlates Teacher Training Graduate.
BREATHE IN
Smoothly, descend with a sense that the crown of the head continues to be drawn out into space.
NOTES.
It is nice to come to a balance, with the leg extended to the side, on the top of the chair at the end of each set. Make sure you straighten the knee.
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 https://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.
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.
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.
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.
