“What about ankles? My friend has old ankle injuries and has had little luck fixing them via surgery. I know alignment and muscle use can make a huge difference. Would it help him? Where should he start? “

Yes alignment and muscle balance can make a difference. Sometimes when there is an injury, you need to look above or below the problem. For instance, knocked-knees (valgus) usually puts the weight on the inside of the ankle. The ankle, knee and hips have to organize around this disfunction.

I have a Pilates client who has a pin in her ankle from a terrible fall. Because of the pin, she no longer has much range of motion in the ankle. I still train her feet, legs and work on alignment. Her gaining strength has made a big difference in her posture. When the foundation is weak, the entire body compensates.

A lot of bunion surgery is unsuccessful. What was not addressed is the movement patterns that caused the bunions. I highly recommend training like Pilates, yoga especially the standing poses to help build strength in the legs and torso to help with standing and walking. A good teacher can work with the limitations of an injury and help a client gain the necessary support for better function. Of course, certain injuries, such as my client with the ankle pin, will never return back to normal function. By improving overall tone, alignment and flexibility, my client has made incredible changes in function.

Some great reading about foot strengthening are:

The Wharton Stretch Book by Jim & Phil Wharton
See the section on the foot

“One of the dirty secrets of the fitness world is that for all the talk about the importance of stretching, many athletes and other fit people don’t bother with it. It’s hard to gauge the benefits, and it seems as if the time could be better spent running, lifting weights, or perfecting sports skills. This sentiment is expressed by Dr. Bob Arnot in the foreword to “The Whartons’ Stretch Book,” and he says that the Whartons changed his mind. He went to them with a stiffened hip that he thought needed surgery, but after a regimen using the active-isolated stretching technique, his flexibility in that hip had increased 40 percent.

Active-isolated stretching is very different from what your high-school gym teacher made you do. Rather than holding a stretch for a half-minute, you hold it for just two seconds. This prevents the muscle from activating an instinctual braking device to keep itself from overstretching. Traditional stretching forces that braking to occur, and the Whartons think that’s not only counterproductive, but dangerous. If you force too deep a stretch while the muscle is doing all it can to keep itself from being stretched, something’s got to give. And a torn muscle will repair itself with scar tissue, ultimately making that muscle less flexible.”

Conditioning for Dance by Eric Franklin

This book has a great section on the foot. Even though it is written for dancers, there is great information how the foot works and how to train it.

by Lesley Powell

I have been teaching a class, PilatesDancing, for the past year. It has been amazing how many changes are happening in my students. I combined Pilates, Laban/Bartenieff and the Franklin Method to create this class.

The structure of the class consists:

1. Foot training includes releasing tension, strengthening the foot and the mechanics of the foot in movement. We bring the new foot connections back to standing. As the foot become better connected and grounded, alignment and core tone changes.
2. Pilates mat and floor barre includes strengthening the core three dimensionally in a dynamic movement routines on the floor. This includes challenges of balance and level changes which demand more core than doing exercises on your back.
3. A standing warm up, we use a block to challenge balance and understand the importance of the standing/working leg. I also bring into principles from my training from the Franklin method and Amy Matthews, a BodyMind Centering practioner, about rhythms of bones in the leg to enhance standing and function.



4. We end with an adagio. The purpose of the adagio is to practice the themes of the class that day.

By Lesley Powell

“One of my students that I teach private reformer with has brought up the following comments a few times…

1) She is not used to thinking of soft abdominals during Pilates practice and she is having a hard time understanding how her abs are working if the are softer rather than tight and gripping…and

2) She has been sore (good sore) after a few my sessions with her, but not all–and she has this hang up that she needs to be sore the next day, like if she’s not sore she didn’t work as hard…any thoughts on how i should respond??”" BBU Teacher In Training

There are many ways to use muscles.

Make a fist with your hand. Feel how you create a lot of tension in your muscles. But…now try to move your fingers!

Now extend your fingers and wiggle your fingers! You are using a different quality of tone that allows movement.

Dynamic movement requires a constant dance of muscles around the joints to stabilize. If we get too rigid in the muscle tone, we lose movement. The deep stabilizers of the body work in coordination with other muscles groups. The coordination of muscles is phenomenal, but it is never going to feel like a bicep curl. Look at weight lifters flexing their muscles. They have to create a static position to bulk the muscle up. These positions have no relationship to how we move.

To get to the deeper muscles of the core, will never have the same quality of tone as flexing and hardening the rectus abdominus. Remember the way to develop the six-pack is crunches. The transverse abdominus will have more of a feeling of a corset. Pilates is training the abdominals in relationship to movement and posture.

Some client’s pathway is that they must learn to release into strength. Tightening superficial muscles is not the answer to improving core support and posture. Also Pilates does not work on the same overload principles as traditional exercise. Traditional exercise works on doing many reps at one time to fatigue a muscle. Pilates has you do smaller reps with different variations of using the body. By the end of a Pilates session, one might have done the similar reps of a body part as traditional exercise.

Sometimes we must challenge the client into realizing their poor connections. Put them in plank pose for a longer period time. SAFELY put them in an exercise a little above their level. Then bring back the importance of the beginning work to create this kind of strength.

I have a possble client with a severe lumbar lordosis. Is there specific movements to try on her to correct/help/improve? Any certain ones to really avoid? I have a few ideas but I would love your input.

BBU Student

by Lesley Powell

When a client comes in with certain misalignments, I first observe throughout the lesson how the client organizes movements, what is tight and what is weak. Each client arrives in a certain posture for different reasons: some are structural, habitual, an injury, history of fitness and cultural.

I always go to the basics first, core support, observing what is mobilizing and stabilizing. Their patterns of posture will reflect in all the exercises even simple ones like cat & camel, bridging, basic abdominal training and back extensors training. Part of making change in a client is making them aware of their habits.

How do they lie on their backs? Is the tension of their backs hyperextending their ribs? If I have them stretch the back muscles, does that help? Sometimes just saying “let your back go” can make a change. We all have patterns how we all hold tension. Learning to relax is key. Breath is a great way to help relieve tension.

I always look how they use their legs. When the legs are weak, the back has to carry the load. When they are doing bridging, footwork, etc., what is initiating first; the legs or the back? For instance, observe how they do a neutral bridge. Are they arching their backs to get the pelvis up? Get them to initiate through the legs. Make the movement small until they understand to push from the legs.

Sometimes they are so used to lifting their legs from their backs, they feel pain. Work in small ranges of motion until they can move painfree. Lying prone and lifting their legs, they always feel pain. Take the exercise to a different position and see if they can initiate from the correct place. For example, bridging, Pilates footwork and leg straps or modified side leg kicks. How is their form? Can they differentiate the leg from a stabilized pelvis?

Remember to have patience. A posture is created from years of habits. Keep observing, problem solving and making sure the movement principles are within each exercise.  If a client is always in pain, make sure that they see a medical professional to rule out serious problems like disk herniations.

by Lesley Powell

The other day someone called asking what kind of Pilates is at Movements Afoot. There seems to camps now, Classical and sometimes refered as West Coast Pilates. As a teacher of Pilates teachers, I always felt that every student needed to know the classical form, historically. When you understand the original form, it is the springboard to how to structure a session.

In the classical form, the rollover is usually the third exercise. The rollover is a fantastic exercise, but not so great for certain clients with back problems. I now in my 50’s, need a lot more time and other exercises to warm-up my back well. I usually need about 15-30 minutes before I can do a roll up or over properly. I use the mermaid alot to help open my back.

Joseph Pilates’ earliest clients were ballet dancers and deconditioned women in high heels. Both populations had more problems with hypermobility and hyperextension. With our culture changing, too many people are in flexion all day with computer, driving cars and sitting in front of a tv. Being in flexion all day, there is weakness and tightness in the back.

In the back of my head is the structure of the classical form. With each client, I restructure the session in accordance to their needs. My goal might be the Upstretch on the reformer for the beginning client. What do I need to do to create the foundations of strength and mobility for this exercise?

If you are just beginning as a Pilates teacher, I do encourage you to practice the classical form. Come to understand what works for you and not. If not, why and what do you have to do to perform an exercise well? In the Balanced Body University manuals, there are examples of different kinds of workout. Go and practice these formats! What do you like or not about these structures? As you get clearer in your thoughts about how a structure feels on your body, this will take your teaching to a new level.

by Lesley Powell

“Abdominals come in many Flavors” Doris Pasteleur Hall

“I do have a question - on the KNEE STRETCH & KNEELING ABDOMINAL SERIES - why would you choose the rounded back vs the flat back — would it be for body type, body issues, difficult/easier, different focus? Could you explain.” Kris

For a healthy body, training the abdominals with the spine in many positions of neutral, flexion, extension, lateral flexion and rotation is very important. The core muscles coordinate differently for each position. Training core muscles for dynamic movement is essential. This kind of training supports the physicality for good posture and necessary for our movement loves. This will also teach clients how to use their spines without unhealthy compression. A healthy spine should be able to move through all planes: flexion-extension, lateral flexion and rotation.

Knee stretch is the preparation for Advanced Knee Stretch, plank pose, downward dog, Long stretch and Up stretch. It teaches the client the coordination of the all the limbs with the core.

Advanced Knee Stretch

Certain health conditions require modifications. With osteoporosis of the spine and disk problems, knee stretch in flexion is contraindicated. With Stenosis and spondylolisthesis (go to BBU’s Movement principles - info about neutral spine), knee stretch in flexion is a great exercise. As with Stenosis and spondylolisthesis, you might have the client perform a neutral spine with a imprinted spine or supported neutral.

by Lesley Powell, faculty of Balanced Body University.

After teaching Pilates Teacher programs for many years, the hardest thing for the new teacher to find is putting time aside for their practice. Even though one has made a committment to take the necessary courses to become a teacher, most have trouble reorganizing their lives for this.

Pilates is a complicated system. First there is the philosophical, anatomical and repertory concepts to be learned. Then there is learning how to use the machines, how many springs, how to place the client, the footbar, the ropes, etc.

Understanding Level I/Reformer I is an essential building block for understanding and performing more advanced exercises. Even as a Pilates teacher of 18 years, plunging back into Level I materials reconnects me to my body and the richness of this material.

As all performers, one has to keep the practice fresh. Otherwise one becomes rigid and wooden. A teacher needs to keep alive their learning. Wooden/robot teaching is deadly to the teacher as well as the student.

Each time I practice, my brain finds new ways/images to perform an exercise. To move without consciousness, real change and connection cannot happen. As I enrich how I feel as I move, I have something more to give to my students.

Knowledge comes in layers.

1. What is the name of the exercise, equipment setup & setup of client on the reformer?
2. What Balanced Body U’s movements principles will deepen/warmup one’s experience of a exercise?
3. What is the theme of the workout? Does it flow? Does it prepare the client with a good warmup and executing more difficult exercises?

Where is your practice this week?

1. How many hours did you put aside for practice/observation?
2. Did you make a date with your fellow colleagues to go over the material?

Let me know how it goes!!

by Dr. Martha Eddy & Lesley Powell

Traditionally in fitness “core” use to refer just to the abdominals. When someone has back problems, the traditional approach has been to train the “abs” and then the back separately. In our BodyMind Fitness training, one has to train the spine 3 dimensionally for posture and daily movements. First a person has to get in touch with how the spine moves in different directions - moving front-back, sideways and rotating.

3-D Spine with Dr. Martha Eddy & Lesley Powell at Movements Afoot
Dates: Sat   4/12/2008
Time:  4:00 PM - 6:00 PM
Somatic Saturday with Dr. Martha Eddy & Lesley Powell
April 12 4-6 PM $60

In our upcoming workshop at Movements Afoot, the 3-D Spine the 3-dimensionality refers to the anatomy of the spine as well as to these various movements of the spine. Part of the lack of effectiveness in overcoming back problems is that people do not understand how the spine moves. So in our workshops, we get you to experience how the spine works. We look at the shape of each vertebra and the Sliding action of the facets in movement. The 3-D core refers to the volume of the torso and the internal contents. This awareness gives you a different understanding of your body. We learn some of the organ anatomy and how to breathe into the torso to feel supported.

IN our upcoming workshop at the BodyMind Expo called Laban Space Harmony: Bringing 3-D to your Session we will incorporate concepts from the 3D Spine, 3D Walking, and 3D Swing. Perhaps you will join us in New York or in CA!

by Lesley Powell, Director of Movements Afoot

The beauty of all the Pilates equipment invites different physical experiences. Most of the exercises can be done on both pieces of equipment. The reformer with its moving bed can challenge balance, mobility and strength. The tower has many possiblilities of spring tensions. With the placement of the springs at many heights on the tower, can invite different fuller movements than the reformer.

Because the ropes are close to the rails, there are limitations of certain movements. My favorite exercise is side springs on the tower.

Here you can work on your adductors, hamstrings, mobility and core strength. You can do side leg exercises on the reformer, but it is more complicated. One has to be in the right position so the ropes clear your body.

Because the tower bar and springs are a higher height, there are wonderful full body exercises to be done.

The ropes on the reformer can offered more range of motion such as short spine. The springs on the tower have more resistance. The springs have the most resistance when moving legs away from your center. They lose resistance with the leg coming closer to you. Especially with clients with tight hamstrings, there is an advantage of the springs. Here you can work on strengthening and core support. When a client is too tight in the hamstrings, bringing their legs up beyond their capacity affects their core form.

by Lesley Powell, Director of Movements Afoot

Testimonials

This month I taught Balanced Body University’s Pilates Mat I-II. It was so wonderful to teach just the right amount of material for a weekend course and have the time for everyone to intellectually and physicality experience new materials. Sometimes courses are so jammed pack with information without enough time to experience the material on a physical level.

Students were really able to make changes in their own practice and practice new teaching techniques on their colleagues. They learned to problem solve teaching with the Pilates material on different bodies. When issues came up such as the spine was too tight to do a rollup, I was able to give information how to open the back and how the BBU’s movement principles can facilitate change.

We also talked about teaching. Teaching is a passion and a skill. To be a successful teacher, one has to understand how clients’ learn, how to cue well and lead different teaching situations from privates to group classes.

Dr. Martha Eddy once led a class on the nervous system and learning. We were to learn a simple hand phrase.

1. We copied her phrase
2. counted it
3. gave names/images to each movement
4. sounds to each movement
5. use tactile cues such as using the floor, wall or our bodies

Then we talked to each other which method helped us learn the phrase. Everyone had different answers! I am such a visual learner and assumed others were the same. This class really taught me to try to understand my client’s preferences for learning.

The students had to teach a 45 minute class to each other and then I was to evaluate them. How I wished someone helped me in my earlier years of teaching. How one talks, phrases their voices and organizes the class are essential ingredients to a successful class.

In the structure of Balanced Body University’s Mat courses, there is detailed information about teaching. How wonderful to go over these materials, talk about our own teaching experiences, dealing with different types of clients and how to improve teaching skills.