by Lesley Powell

Ohhh the scapula comin around the ribcage.
Ohhh the scapula comin around the ribcage.
Ohhh the scapula comin around the ribcage.

Hee Haw

Freeing the Shoulders to Connect to the Core , an article in Pilates Pro, I go over how the bones of the shoulder girdle move. I always in my lesson plans with clients, am teaching them about their bodies.

“Embodied Anatomy improves function” Eric Franklin

One of the first things that I teach is how the scapula glides. When the scapula moves properly, you will solve many problems why the shoulders are up and tense. You will also improve the connection to the anterior serratus.

The movement

1. Begin to raise your left elbow to the ceiling, feel the shoulder blade gliding wider on the ribcage. Gradually rotate the humerus bone outward so the entire left arm bent is now facing the wall in front of you. Reach the left elbow to the ceiling to help abduct the scapula more.
2. Glide the scapula in more upper rotation and gently increase the outer rotation of the humerus bone to bring the left elbow over your head. The arm stays in the same plane as the scapula and gradually rotates more outward. For most, this will bring your elbow in front of your ears. (To get the elbow in line with the torso, one has to improve the mobility and the mechanics of the scapula).
3. As if you were running the film backwards, return the arm back to your hip paying attention to the gradual rotation of the arm and the scapula. When the arm returns to the hip, the arm is slightly inwardly rotated.
4. Repeat 4 more times
5. Reverse to the other side and other arm

Now try a full arm circle. Can you initiate the movement from the shoulder blade? If you have a partner, let the partner place their hand on the shoulder blade to assist in its gliding. Do not worry about depressing down right now. See if you can get the tip of your scapula to make a small circle around your ribcage. As the scapula follows the curves of the ribcage, many of the problems of the shoulders can be solved.

Next week: Anterior serratus training.

by Kimberly Fielding

When I think back three years ago… I can’t believe all the things I couldn’t do.
My joints were congested and so was my mind. I had no space in my body for movement and freedon, thus no space in my mind for positive thoughts and emotional well-being. My movement practice at Movements Afoot has given me space…has decongested me. I move with freedom. Confidence has filled my new space in my mind. Of course there are always times of emotional set backs, but I know staying with my Pilates practice will ground me, and keep me loving my body at any size.

I love the new Jenny Craig add. Queen Latifah, the current spokes person, emphasizes herself as being a size healthy. That losing up to 5-10% of your body weight and increasing your movement activities decreases your chance of Type 2 diabetes and other life threatening illnesses.

Even prior to my 80-100 pound weight gain I always had a negative tape playing in my head. I knew I had to finally stop the negative dialogue in my mind if only for a little while to start positive changes in my life.

I realized that moving from the inside out was giving me the chance to get to know myself. I never knew what that meant. I never knew that you could really be nice to yourself and really be your own friend…but you can.
• It is so liberating to quiet that negative voice
• to focus on my tailbone
• to actually narrow across my hip bones,
• to feel my back widen from my breath
• to feel my strong hand scapula connection as I open the reformer carriage in control front
• to finally be able to press myself up from the reformer for control back
• to execute long back stretch and twist
• to lift my leg up high while feeling my femur bone roll in the socket and keeping my hips level
• to be able to do a hand stand and a walkover again.

That is the way I have been getting to know myself. My true self. The self that I wake up with and go to sleep with, the self that is with me all the time. A self that is a size healthy and always getting healthier as healthy as I can be.

by Doris Pasteleur and Lesley Powell
Edited by Dr. Martha Eddy

Movement is the shifting of the body’s weight on different surfaces. Different parts of the body may shift on the ground or surface. However the weight shift is the propulsion of the center of the body, the pelvis through space to cause locomotion or a change of levels and locomotion.

Building blocks: A good weight shift is the coordination of the body to (1) ground into the floor (surface) and (2) to move the body in a specific direction in space. Before we can move up, we must have the foundation of down, grounding. Grounding is a basic foundation. Without a foundation, there can be no building. Weight shift involves the coordination of dynamic alignment seen in the sequential leverage of our bones from toe to head, organized by the muscles, and accompanied by the fluids and organs moving in synchrony.

Propulsion: When a person releases his or her own natural body weight into the floor, it helps the brain estimate the amount work needed to coordinate the necessary push off to shift the body into space. Even when pulling a heavy load successfully involves having a person push her or his feet into the ground first. An improper weight shift puts undue pressure on the spine and superficial muscles of the limbs.

Pelvic Shifts: Irmgard Bartenieff divided the concept of weight shift into two building blocks of movement, pelvic shift forward and pelvic shift lateral. Of course this fundamental action includes multiple aspects, for instance the pelvic shift forward includes a pelvic shift back. A healthy gait has elements of both the forward and lateral pelvic shifts.

Weight shifts enable level changes from lying down to sitting to standing. They are the building block for locomotion - traveling across space. There is a constant changing relationship of weight shifts from one body part to another, a dynamic dance.

“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.

By Dr. Martha Eddy and Lesley Powell

Lesley: When I was working at Dr. Bachrach’s Center of Sports Medicine, one of the client with a back injury came to work with me. He asked how long would it take to get back to playing tennis. I didn’t answer, I just started doing the Bartenieff Fundamentals with him, particularly the knee drop, diagonals and arm circles. This client had very little rotational ability in his body. When a person is unable to move well in one plane, they will often overuse the other planes. It was clear how he misused “his body in space” had led to his back injury. His rotation improved immensely as well as total body mobility.

The rotary factor is an important in all of our movement. To rotate is to be human. First look at the human body. There is not one bone without some kind of curve and/or spiral. The pull of the muscles on the bones must follow along the lines of the bones. Rotation is underlying in all of our movement. The movements of the bones are usually rolling, gliding and rotating. Rotation has enabled us our mobility and strength. It is rotation that enables us to make level changes and move through space. The simple action of getting out of bed requires internal and external rotation of the thighbones and the pelvis rotating on the femur heads. Observe a baby lying on the floor and its transitions from the floor to sit, crawl and eventually stand up. You will see gradated rotation of the thighbones and the pelvis to accomplish these tasks.

Martha: I am glad that you talked about babies Lesley. We all begin as babies and babies usually begin their movement workout on the floor. On the floor we can spread out, relax, and see the world. Judith Kestenberg - child psychiatrist and movement expert noted that children gain movement repetoire first on the floor and during this time they gain spinal flexibility and perceptual flexibility.

As we go grow older, the LMA systems believe, that this flexibility transfers to the ability to explore options. In our BodyMind Fitness approach we encourage clients who have lost their capacity to twist and spiral physically to find the horizontal plane again AND to re-engage in exploring options within their environment and attitudes. Our approach to rotation has nuances as well. We use phyiscal therapist Irmgard Bartenieff’s brilliant concept of gradated rotation to activate muscle chains in a sequential fashion. This awareness gives equal power to all of the joints along the pathway (from vertabra to vertebra or from finger tip to elbow). By equalizing forces we balance muscles and realign joints. Then we ask clients to note what feels different and how this new way of movement may bring out a new attitude or choice, or not. Options are always options. To quote Bartenieff - “there are always multiple possibilities.” In our fast paced forward moving world the pressures of life sometimes block out our sense of options.

At CKE our motto is “relax, feel, move, take action.” In our BodyMind Fitness work we often also take the somatic approach to finding rotation by getting down on the floor. On the floor we take time to breathe, widen, release, spread out - letting go of the intensity of gravity. Then we activate core and distal muscles with awareness of our movement through space. Instead of just crunches we provide movement options in many different directions. Rotation is just part of the picture but one that is often missing. Our3D Fitness series puts all the pieces of the puzzle together. Join us on April 12 or send a friend at Movements Afoot
Go to online scheduling and workshops to sign up!!

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.