On my hand made (before commercial machines) Wunda Chair, the best setting is to have one spring up and one down.
Look for medium support on your Wunda Chair.
STARTING POSITION
Face the the seat of the chair.
Place the palms of the hands on the back corners of the seat. The fingers are facing outwards. Keep all your fingers together. There is a little bit more weight on the little finger and the outside edge of the arm.
The elbows are very slightly bent. It is important to avoid hyper extending the elbows. You should feel the connection between the arms and the upper back.
Spread your toes, particularly between the big toe and the second toe, and place the toes of one foot on the bar and press it down. Mount the bar with the other foot, spreading these toes as described. Have the feet and legs closed, straight and in parallel. Be careful not to hyperextend the legs. The legs should feel like 2 columns of energy. An alternative is the “V’ position, with the legs moderately turned out. I am choosing this position because it is easier to be sure of the leg alignment. See my blog GOOD LEG ALIGNMENT IS ESSENTIAL FOR EVERYONE
It is a position which makes it easier to release the lower spine.
Shift your body weight and bring the shoulders directly over your wrists.
Make sure the shoulders are relaxed and down away from the ears.
The weight of the head is surrendered completely to gravity and is in a position where you can look at the legs through the exercise “spot” the leg alignment.
Themis Andreoulaki. Dancer and Refined Pilates Teacher Training Graduate. The highest point of “The Pike”
BREATH OUT.
Feel the toes, especially the big and second toes if you are working in parallel. Sense an energy passing up through the inside of the legs and engages the pelvic floor This energy passes through the back of the spine, spinous process by spinous process, starting at the coccyx and arriving at the atlas, and out the top of the head in a long arch, as you move.
The weight of your body transfers more and more onto the arms and you feel the support of the shoulder blades.
Allow the springs to lighten and help you, allow yourself to be carried up. Without losing the First Position of the spine, think of sending your sit bones high to the ceiling.
BREATH IN
Feel as if you fill the back of the lungs with air. Breathing in this way will deepen the position of your spine.
Reverse the spinal succession, following the back of the spine from the atlas to the coccyx.
Lower the bar with moderate speed.
Themis Andreoulaki. Dancer and Refined Pilates Teacher Training graduate. The starting position of “The Pike”.
REPETITIONS
3-5
Breakdown of repetitions.
How does my body feel, today, right now, as I do the exercise. Notice using the knowledge that I have, what can I do better?
I apply my knowledge and refine what I am doing.
According to my teacher, Jerome Andrews, number 3 is perfect!
I hone my concentration and see if I can do the exercise better than my previous best.
All the above applies. What can I do even better.
NOTES
I have chosen an out breath to go up. As we breath out the diaphragm travels up internally leaving more space for the engagement of the pelvic floor and the hollowing of the abdomen as our spine deepens it’s position.
Breathing in on the way down gives a sense of suspension.
It can, of course be done the other way round, just as effectively, and slightly adjusting the focus.
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.
I am Jenny Colebourne, I was born in London, England within the sound of Bow Bells which makes me a true cockney, a true Londoner. I seem to have inherited, from my father’s side a great sensitivity towards sound and music and a deep love of dance. I was also born with great sensitivity, an ability to dream and a spiritual connection. I don’t know where this came from but I am grateful for it.
I was not born with an easy body, in fact, when I was small, I walked with my toes turned inwards and I was very stiff. For as long as I can remember I wanted to dance. I grew up loving dance, theatre, poetry and art. I spent my teenage years going to the theatre and exhibitions.
LONDON SCHOOL OF CONTEMPORARY DANCE
At the age of 20 I finally attended the full time program at the London School of Contemporary Dance. I was very privileged to have been taught by some very special people who continue to have an effect on my life. People such as Robert Cohen, artistic director of the London Contemporary Dance Theatre. Robert Cohen first introduced me to meditation among many other things. Jane Dudley, previously a lead dancer with the Martha Graham Dance Company. Flora Cushman, William Louther, to name but a few. Incredible artists. It was at the London School of Contemporary Dance that I was first introduced to the Pilates technique by Alan Herdman and was soon a teaching assistant in the basement studio.
I very much wanted to continue my dance studies in New York. Alan Herdman gave me a job teaching Pilates on a luxury Greek cruise ship called “Daphne”. My grandmother, who believed in fate, was very moved by this. She had lost her eldest child when she was just 12 years old. Her name was Daphne. Teaching on the ship was a great way to save money and travel! I had always wanted to travel and to get to know other cultures and languages.
THE ISLAND OF SANTORINI
One day I woke up, at dawn, in Santorini. At that time there was no harbour, the ship had anchored in the middle of what is the crater of the volcano which forms the island of Santorini. I felt that I had arrived somewhere totally unique, stunningly beautiful and somewhere that was completely different. I loved the intense light. The light of Greece is unique. I felt the power and energy of the rocks. I felt I was home. I fell in love. Later on as I experienced other aspects of this wonderful country, I felt that Greece was at a gateway between east and west and I loved it. I still do.
NEW YORK
I did travel to New York. Looking back it is amazing how “fate”, “the great spirit” guides you. I was not more than a few days in New York when I was given a free ticket to a yoga class. I had been reading about yoga since I was 15 and had looked around for yoga classes but had never been convinced that this was what I was looking for. I attended Rudrani Farbman’s meditative, lucid class which was a combination of hatha yoga and siddha yoga meditation at the World Yoga Center, and ended up doing a teaching course.
MARTHA GRAHAM SCHOOL
I attended contemporary dance classes at the Martha Graham School. I remember one lesson. We had just finished the floor work and we had started the standing work. I didn’t see her enter. The hairs on the back of my neck stood up as she entered the studio from a door behind me. Martha Graham came to the front of the class and began to tell us a story. Great people often convey important ideas through stories. I will never forget the energy of this tiny woman, her arthritic hands hidden under Japanese – like sleeves. She has had and continues to have a profound influence on my life.
In New York I found an extraordinary ballet teacher, Cynthia Babat. Some of the things I learnt from her I still use today. When the time came for me to leave New York I did not know why I was leaving.
Returning to London I taught Pilates in the studio at the London School of Contemporary Dance, contemporary dance in the dance department at the Middlesex Polytechnic which is now Middlesex University, as well as teaching dance and yoga for the London Education Authority.
GREECE BECOMES MY HOME
I missed New York and I missed Greece for completely different reasons. I decided to go on a holiday, two weeks in Greece and two weeks in New York to see where I wanted to work and live. By the time I had finished my two weeks in Greece I had found a partner and a place to establish a studio.
In 1980 I came to live in Greece permanently. The partnership dissolved within a year and I moved to the house where my Illium, Center of Light is still located. Initially it was called Body Control Center but over the years I came to dislike the word “control”.
In the beginning I offered classes in Pilates (I called it Body Control because nobody had heard of a man called Joseph Pilates.) People did not know who he was neither in Greece nor in England). I also taught Yoga.
Very soon after coming to Greece I met osteopath Lena Trifonopoulou. Lena was to become my life long mentor and dear friend even though my Greek was very basic and she spoke French rather than English. Many of the therapeutic exercises she taught me then, I still use today.
Lena was to bring many a challenge to the studio. She sent people, of all ages, with all kinds of problems, with scoliosis with varying degrees of severity, back problems, neck problems, a prolapsed uterus. You name it she sent it.
She sometimes gave me extra advice on how to deal with special cases and we created additional exercises together. I learnt a lot from my cooperation with her and I continue to find her a source of positive inspiration. In working with the lady with the prolapsed uterus I became aware of the importance of the pelvic floor (something that was never mentioned in those days) and began to work with it.
REIKI AND THE POWER OF TOUCH
I was introduced to Reiki and was amazed by the results I got from it. My friend who I choose to practice on was suffering from chronic mononucleosis, severe period pains and panic attacks. She could not work she was so debilitated. I can’t remember how many sessions we did. It was certainly less than the 21 I needed to complete to do my second level Reiki.
I was amazed at how much I could understand about where she felt pain, what her feelings were and the great thing was, because she was a friend, we could talk about it and she could confirm my findings.
I was stunned when she started working in an extremely demanding position as editor of a magazine. Although we did not do any more Reiki sessions she did not have another panic attack for a whole year. All traces of the virus also seemed to have left her body.
Nothing could stop me after this experience. I went on to finish my second degree and the my Reiki mastership. I studied with two Reiki masters and was initiated twice as a master teacher. Reiki was added to my repertoire and the importance of touch was very apparent.
CRANIAL SACRAL THERAPY
I had a bit of a recurrence of a back problem and went to Lena for a treatment. I was aware that the treatment was different from what she usually did with me but I had complete trust in her work and therefore did not question it. Two days later I was teaching yoga and had very strong experiences of the heart center and the wisdom center. I phoned Lena. “What was it you did to me the other day? I had these experiences………” Lena replied “Cranial Sacral therapy”.
I said immediately: “I WANT TO LEARN IT”.
She told me there was no one teaching in Greece. I pleaded to sit near her and learn. She told me I wouldn’t be able to see anything. Two years later she called me and told me an American, William Allen, was coming to teach Cranial Sacral therapy. Was I interested? I was there like a shot. Later in my life I marvelled at how lucky I was. William, an ex dentist, had very detailed anatomical knowledge and a great sensitivity towards the work, which I have not found elsewhere. Once again the powers that be sent me a very special teacher. Later William and I were to find out that we shared the same yoga teacher Rudrani Farbman, a yoga teacher who looked at you and your heart center opened.
YOGA
While in New York in my early 20s, as I mentioned earlier, I arrived at Rudrani Farbman’s meditative, lucid class which was a combination of hatha yoga and siddha yoga meditation at the World Yoga Center. At the end of the class Rudrani announced a yoga teacher training course. I immediately asked if I could join and was lucky enough to be accepted. I teach hatha yoga at my Athens studio. For the past 12 years my personal regular practice has been Ashtanga Yoga.
THE BALLET MASTER
Life was to send me Don Farnworth. Ballet teacher, author of “Turn Out has no Feeling”. I didn’t have to go anywhere. These wonderful people came to Greece. Don fell in love with this country and actually bought an apartment here. I had always had a difficult body for dance and turn out had been difficult for me. As a child I walked with my legs turned in. Don taught me “leg alignment”. Don healed my legs. Don was a healer with massive, very sensitive hands. Leg alignment as Don taught it is one of the most important things I have learnt in my life. I have, thanks to Don, helped people to avoid injuring their knees or hips and knee operations.
JEROME ANDREWS
Jerome Andrews was about 86 years old when I met him. He was living in France but visited Greece in the summer. Jerome was a dancer and choreographer. He had taught alongside Joseph Pilates for 10 years. Jerome had studied martial arts and 10 years of yoga. he was a wonderful mixture of discipline and hedonism. He had come to an age where he felt the urgent need to pass on his knowledge, particularly to studio owners. Jerome sought us out. His teaching was the finest and most detailed I have ever come across. It was another world. I owe him a huge debt.
THE POWER OF SOUND
All my life I had wondered why music affected me so deeply. I did not have any particular singing talent or any real talent for playing an instrument. In a way it was natural for a dancer/ mover to be easily wedded to sound, still it irritated me that I could not sing! I met Joe Tornabene, a saxophonist and improviser. Joe had a jaw problem and needed cranial sacral treatments. We agreed to exchange cranial for voice work. This began a 10-year apprenticeship where we explored therapeutic sound and movement together. Joe had studied therapeutic sound and had continued to do research by himself. This culminated in him giving a year-long course in “Sound Balancing” at Illium which was so rich with material I am still working with it today.
TEACHING TEACHERS
I have found that I really love to bring young people and their talents out. I started teaching teachers of the Pilates method in 1987. In the beginning this was simply because I needed help in my studio. I was always very demanding but I can say I am very proud of my teachers. They stand out anywhere in the world. Janet Amato was on my first teacher training course, as was Mitsi Pippa. Both have gone on to have not just international careers but to do very deep work.
I teach yoga teacher training as well as Reiki mastership long term apprenticeships. Some people have done all three with me realizing what a powerful combination that can be.
SEMINARS ABROAD
I started teaching teacher training seminars in London organized by Ellie Ioannidou, one of the graduates, from my Refined Pilates teacher Training course, who was Gordon Thomson’s studio manager for more than 20 years and is director and founder of Pilates Body Europe.
ISLAND RETREATS
Lately I have been lucky enough to teach intensive seminars on the island of Patmos and Tinos.
MY CD
I have often been told that my voice is very relaxing. I think that being able to relax on a very deep level can bring a person to a state where healing is possible. I believe in the power of positive thinking. I consider being able to breathe fully and completely key to exercising more effectively and accessing different, positive states of mind. I created a CD called “Deep Relaxation and Learning to Breath Fully and Deeply”. This CD is available in English digitally from all major outlets.
DVD
I am shortly releasing a DVD about the positive effects of dynamic yoga for people receiving chemotherapy.
MY PHILOSOPHY
I am what you see. I live in the country, in Greece, because I love nature and believe in its positive effects.
I teach Pilates, Yoga and Reiki and I stay as close to their shared philosophy as I can.
I live as honestly and as true to myself as I can.
I trust life as far as I can and try to believe in the greater wisdom behind everything. This can be quite challenging at times.
I believe in showing and sharing kindness and love. That we are all one. All in this together.
I enjoy and respect the differences between races and cultures.
I am a feminist in the sense that I believe that feminine qualities to be as essential as masculine ones. That only when women and men live in a state of deep respect and love for one another will we have world peace.
I give my very best, on all levels to people around me whether it be professionally or personally.
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.
