Shoulder Girdle: A Delicate Balance
As the understanding of bio-mechanics progresses our actions and cues must follow. I find it pretty strange that while we as Pilates teachers are learning more and more everyday about the human body, a lot of the cues of stabilization seem to remain in the Dark Age of old-fashioned thought. It is no longer acceptable to teach the actions of stabilization from sheer intuition or from the actions of dance (primarily ballet in the Pilates world) we’ve got to understand how a joint works, what dynamic stabilization of that joint entails, what muscles do what, when and how and then cue those realities.
In my last blog post “Doing Wrong To Get To Right?”, I made a minor mention about the proper way to cue stabilization in the shoulder girdle. Several teachers from around the world have asked me to help and explain which inspired today’s blog post. Please remember that today’s article is not all that there is to say about this, but is intended to pique your interest in studying and learning more. Of course, I go into far more detail my bio-mechanical workshops. This is a good start:
Phrases like “roll your shoulders lightly up and back” or “open your collarbones and breathe between your shoulder blades” are ways to cue the scapulae that adhere to the reality of how your scapulae function most effectively in most circumstances rather than what I had originally learned and I gather that many of you have learned and teach of “anchor your shoulder blades down”, “pull your wings down” or “reach your shoulders away from your ears”. Taking care that the actions we do and teach our clients are really the most positive actions for the greatest functionality of a joint is a big part of what we do as Pilates teachers. Beyond the individual movements of exercises, we “cue” the actions to stabilize joints claiming that these proper actions can be taken into all areas of life beyond the Pilates studio. So…we’d best make sure that we are correct.
Truly well-meaning instructors taught you to teach compression rather than dynamic stability. Compression is absolutely one form of stabilization and strength, but it limits mobility and can de remarkable destructive to joints and all that run through and around them. Though he was far more lengthened than other exercise people of his day, Mr. Pilates taught more compression than dynamic stability in joints, too. He really did want to straighten the spine, create an abdomen people could stand on and make you squeeze your seat until you had dimples in the sides as well as anchor your shoulder blades down. These were the modern actions of stability in Mr. Pilates’ time. Perhaps great if you’re an old-time boxer who is going to be pummeled to the end of his breath. And this very much was the aesthetic of ballet dancers of the time…tucked pelvis for a straight spine (which jams the femoral head into the acetabulum/front of the socket), tight compressed abdomen of lacing the front base of the ribs to the hip points and/or closing the ribs, squeezed buttocks to hide the sides of your thighs to make your look less feminine and more like Balanchine’s waif ideal and then press your shoulder blades away from your ears to make your neck appear longer and more the ballet ideal.
So…here we are with The Shoulder Girdle. Your shoulder girdle is comprised of bones, ligaments, muscles, nerves and blood vessels. The bones that are the girdle are the clavicles (collarbones) and scapulae (shoulder blades). Off the scapulae coming around the lateral side of the girdle is the acromiom process which connects to the clavicle as the acromioclavicular joint. The clavicle connects to the sternum at a small joint called the sternoclavicular joint. Now, the scapulae rest on the thorax/ribcage and form a “functional joint” (meaning that the connection acts sort of like a joint, but it’s not bone to bone) the scapulothoracic joint.
Bones of the Shoulder Girdle
What’s the primary function of the shoulder girdle? To help support and move the humerus to help support and move whatever is in the hand. That’s it and remarkable important, I think you’d agree! The scapulae are moving supportive platforms that connect the arm to the ribcage/torso. Is lateral fossa is called the genius fossa. It’s the socket of the shoulder joint or the glenohumeral joint. The ball is the humoral head/top of the upper arm bone. The clavicle acts as a strut keeping the humerus (upper arm bone) away from the torso (thank you, clavicle). Which basically means that the shoulder girdle is all about the hand…supporting whatever action we ask the hand to do whether it be to push, pull, hold, throw, carry…you see? The range of motion of the shoulder is tremendous! The complexity and openness allows you to move your arm nearly anywhere you want it to go…and if one can’t do it, the other one usually can!
Now, I’m not saying that your arm alone in that ball and socket joint has such a great range of motion. That’s where the entire complex of your shoulder girdle comes into play with something called scapulohumeral rhythm. You see, if your humerus moves, your scapulae are always prepared to move, too. In fact, should you send your brain the signal that you’re going to lift your
arm above shoulder height, your humerus starts to move, primarily by way of the deltoids, but to avoid your humoral head from crashing into the acromial arch at 90 degrees from the torso (which is essential to keeping your ball in socket), your rotator cuff muscles on your scapulae (including some or all of supraspinatus, infraspinatus, teres minor and subscapularis) rotates the numeral head to get up another 30 degrees. Then to go higher than 120 degrees without smacking into the acromial arch, again, the scapulae rotates and lifts up (by means of trapezius and serratus anterior). Yes! When you lift your arm up, your scapulae must lift up too! I know…this is contrary to what you’ve learned. You’ve learned that you must anchor your shoulder blades down when you lift your arm up. But if you try to do that you are actually hindering the very important combination of actions that protect your shoulder joint from damaging compression of humeral head against acromial archway. That compression would of course pit bone against bone, but what else is there? What goes through that archway?
The superior/upper) portion of the shoulder girdle is an important “thruway” of sorts. Blood vessels and nerves that feed nutrients and information to the arms and hands pass through the shoulder girdle at one point or another. When shoulder blades are pressed down, that side part called the acromiom presses down, too, crushing the blood vessels and nerves into the thorax/ribcage. When that happens, of course,there is decreased blood flow and neurological impulses. Pain and dysfunction a become prevalent.
In addition, a lot of people who already have pain in their shoulder joints have compression because muscles create protective patterns of contraction. We’ve got to use our knowledge of how the body works to allow for greater blood flow and neurological impulse flow so the joint can heal and function properly.
Compression and/or anchoring = Bad. So what is good? The main body of your scapular need to float on the posterior surface/back of the ribcage, the acromiom float on the superior surface/top of the ribcage allowing dynamic stability of the glenohumeral/shoulder joint to have greatest support and mobility while allowing healthy space in the functional joint of the scapulothoracic joint and. The glenohumeral joint.
What about the clavicles? What do they do? They react to movements of the scapulae. They need to be allowed to equally float and respond as needed as a ballast of sorts and that strut for the humerus…keep that humerus away from the ribcage.
Now, this all means that nothing stays still in this complicated girdle. Correct. Constant reassessment to maintain support and space. A constant regeneration of actions:
-Roll your shoulder blades lightly up and back. Breathe between your shoulder blades.
-Lightly open your collarbones and breathe between your shoulder blades.
Let shoulder blades float like a buoy on the water rather than anchor to the ocean floor. They ride the ribcage like a surfer on a wave. Then the actual ball and socket is most effective and free. Strong and flexible.
It will feel weird to you at first. And you do practice on yourself a lot before you try cueing your clients. Practice by just laying on your back; knees up an feet flat on the mat. Reach your arms straight up to the ceiling, parallel to each other, shoulder width apart. Draw your arm bones and shoulder blades off the mat, reaching higher to the ceiling (scapular protraction). Now, take a moment to make a strong, but supple abdominal connection all the way into your upper abdominals that connect into your lower ribs and breathe into your back ribs. With your ribcage supply stable, lightly draw your shoulder blades against the mat (retraction to neutral) and allow your humeral head to settle into the glenoid fossa (ball sit into socket). Your shoulder blades will be light on the mat, but strong in your back. Take care not to poke or force your shoulder blades back. You’ll know that you are forcing when you see that your arms are opening wider out to the side and when you feel that your ribcage and mid-thoracic spine are no longer stable. We’re looking for light on the mat, strong on your back with a stable ribcage, spine and pelvis (stable torso)…dynamic stability. The shoulder girdle must move independently of the thorax.
Then you work to apply this action of stability with challenges like modified versions of breathing, eventually arm springs, chest expansion, etc., etc. apply it to the wall, too.
This is where you start…a beginning.
What muscles do the work here? There is a delicate balance of muscles to keep the shoulder blade on the back and arm in the shoulder. Shoulder Blade on the Back: The middle Trapezius and Rhomboids work in equal opposition to the Serratus Anterior to maintain this dynamic stability. Of course, Levator Scapulae, Upper Trapezius, Lower Trapezius need to balance each other, too…but it’s the active balance of neither protraction nor retraction that happens primarily between mid-trapezius and rhomboids against serratus anterior. Arm in the Shoulder: The Rotator Cuff muscles keep the humeral head into the glenoid fossa (ball into socket). Those muscles: Supraspinatus, Infraspinatus, Teres Minor (those three are on the posterior/back of the Shoulder Blade) and Subscapularis (on the anterior/front of the Shoulder Blade). They quite literally suck the ball into the socket against the labrum (cushion-like ligament-like structure that lines the rim of the glenoid fossa). They also rotate the humerus…as their collective name states.
Posterior Rotator Cuff Muscles
Now, do you ever “pull your shoulder blades down”? When arms are overhead or even just above shoulder-level, pushing upwards, one might lightly draw the shoulder blades down in equal opposition to the action and force upwards. Equally and opposite and, again only when force of arms are upwards and only if necessary. It’s not usually necessary especially when you’ve been working the dynamic stability as I’ve shared with you here. When would you consider this in our common exercises?
Reformer: Long Stretch Series. Equal and opposite effort, only. Snake/Twist. Again…equal and opposite. Other exercises like those where the upper arm bone goes above the level of the shoulder girdle and there is pressure pushing/reaching against something.
Cadillac: Push Through (when reaching the bar either up to the top of the cadillac or towards the feet), Teaser Push Through (also when extending the arms either to the top of the Cadillac when up in the Teaser or to the back wall when laying down on the mat). You’ll find other exercise…but it is equal and opposite work against what is being pushed/reached and only when the upper arm bone is above the level of the shoulders.
So…an overview:
The Shoulder Girdle is made up of the scapulae (with the acromium coming around the side) and clavicles. They balance on the ribcage with a little true joint at the sternum and the functional joint of the scapulae on the ribcage.
The Shoulder Joint is really the ball and socket. It has a tremendous amount of rotation and motion because it is such a shallow ball and socket and because of scapulohumeral rhythm…the movement of the scapulae to move the humerus more!
Shoulder blades and collarbones (scapulae and clavicles) are meant to balance or bob on the thorax (torso) rather than anchor. Anchoring creates compression and lack of movement as well as tremendous dysfunction. Our aim in Pilates is to have greater function with dynamic stability rather than compression.
Cue your clients to roll their shoulders lightly up and back and to breathe between their shoulder blades. Lightly open your collar bones and breath between your shoulder blades.
Avoid anchoring shoulder blades or pulling wings down. Depression of the scapulae is just that…depressing. At least the lack of strength, ultimate ailments and tremendous misunderstanding will ultimately be depressing all around.
Now, this is just a beginning. There is much more to discuss about the shoulder girdle and it’s functions and what does what: ligaments, nerves, progression of exercises and so very much more! Please, oh, please study more and ask me many questions (put comments here in the blog so others can benefit from your questions…there are no silly questions. I am certain of that.). I present a shoulder girdle workshop all around the world…join me or I’ll come to you…once you understand and experience the true actions of your body, it’s so much easier to teach and do!
2012 Workshops are in the midst of being set and scheduled, but it looks like we can count on these to begin with:
See full details below for:
Jan. 29 – Mamaroneck, NY
Feb. 3&4 – Los Angeles, CA
Feb. 26 – Rhinebeck, NY
March 17, 18, 19, 20 – London, ENGLAND
March 24&25 – Geneva, SWITZERLAND
July 14&15 – San Francisco, CA
September – Sao Paolo, BRAZIL
September 15 – Boston, MA
(and more to follow!)
January 29, 2012 at Fiore Pilates – Mamaroneck, NY (Westchester…just north of NYC)
Archival Mat and Standing Exercises - 11:30a-2:30p – $120
3PMA CECs
There are many more versions of Mr. Pilates’ exercises than we see today. Variations, modification, combinations of multiple exercises in one! Fascinating, challenging and all the rest! These versions should not just live in the memories of those of us who had access to them years ago. They ought to be living, breathing exercises for those who need the modification or challenge! Experience this material, then teach it so we never lose track of these great exercises!
Mysterious Aches and Pains - 2:45p-4:45p – $80
2PMA CECs
Even your normal, healthy clients still have weird aches and pains. Some that come and go and some that are chronic. In this vibrant workshop, we’ll discover the roots of and tips for managing those odd issues like clicking hips, crunchy knees, hyper-extended elbows and knees, pain in wrists, S.I. joint trouble, sciatica, frozen shoulder, migraine headaches, vertigo and so many more! Bring with you your questions about normal physical issues that are seeming mysteries. It’s time you got the answers you seek! Let’s answer them all!
For registration and more information, contact Fiore Pilates at info@FiorePilatesOnLine.com or call 914-381-3201
February 3 & 4 – SoCal/Los Angeles, CA
Friday, February 3
Private and Semi-Private Sessions in Los Angeles
E-mail me at info@TheVerticalWorkshop to schedule. If you have friends you specifically want to do a semi with…let’s set that up!
$110/Private, $65/duet, $50/trio and beyond
Saturday, February 4
Workshops in Long Beach at Axis Pilates and Gyrotonic (Karen Washburn’s studio!)
Beyond The Everyday: Archival Exercises on the Apparatus – 10a-1p – $120
3PMA CECs
Joseph Pilates created somewhere between 500-600 exercises. You know some of the repertoire…it’s time to learn more. In this workshop, you will learn rarely seen and immediately useful exercises on multiple apparatus (Mat, Reformer, Cadillac, Wunda Chair, Standing Arm Springs) all created by Joseph Pilates. You’ll leave feeling confident in the purpose and technique of teach exercise, have time to do exercises, practice teaching and ask questions. You’ll walk away with your own special archive of exercises for your strong intermediate clients…and yourself!
Mysterious Aches and Pains – 2p-4p – $80
2PMA CECs
Even your normal, healthy clients still have weird aches and pains. Some that come and go and some that are chronic. In this vibrant workshop, we’ll discover the roots of and tips for managing those odd issues like clicking hips, crunchy knees, hyper-extended elbows and knees, pain in wrists, S.I. joint trouble, sciatica, frozen shoulder, migraine headaches, vertigo and so many more! Bring with you your questions about normal physical issues that are seeming mysteries. It’s time you got the answers you seek! Let’s answer them all!
To register for the workshops or session, contact me (Shari) at info@TheVerticalWorkshop.com
February 26 – Rhinebeck, NY
Bio-Mechanics: How Our Bodies Really Work and How to Cue That Reality - 6hrs
6PMA CECs
While your physical intuition is an important asset in teaching Pilates, intuition is not enough. To sincerely take care of your clients, you must know the truth of how the body works. Cue the reality, not the myths or mistakes. Being a confident teacher depends on it…demands it. We’ll work to understand the bio-mechanics surrounding the pelvis, spine, shoulder girdle and how to apply this information to your teaching. Knowing and understanding is the only way.
Contact Elaine Ewing at elaine@RhinebeckPilates.com or go to www.RhinebeckPilates.com for more information
March 17-20 at Pi Studios – London, ENGLAND
March 17th Saturday
9am to 9.45 am – Mat Workout
10am to 1pm – Great Groups and Sensational Semis
1pm to 2pm- LUNCH
2pm to 5pm – The Shoulder Girdle
March 18th Sunday
9am to 10am – Joseph Pilates. Retrospective and Perspective.
10am to 12pm – Teaching Tower Classes.
12pm to 1pm – LUNCH
1pm to 5pm – Flow and Rhythm and Opposition making the session a workout at any level.
Monday 19th semi private or private workout day
10am 11am 12pm 1pm
Tuesday 20th semi private or private workout day
10am 11am 12pm 1pm
SP & PRIVATES PRICING
Semi private £40
Private £90
Please let us know and we will book you in accordingly.
WORKSHOP PRICING
Mat Workout £15
Great Groups and Sensational Semis £150
The Shoulder Girdle £150
Joseph Pilates. Retrospective and Perspective. £50
Teaching Tower Classes £100
Flow and Rhythm and Opposition making the session a workout at any level £200
FULL DAY DISCOUNTS – IF BOUGHT BEFORE FEB 19TH 2012
Saturday 17th only: £280
Sunday 18th only: £325
All Workshops and Mat Class £550.
WORKSHOPS
Great Groups and Sensational Semi’s – 3 hours
3PMA CECs
Group classes and Semi-Privates are a reality in modern day Pilates, but were you ever really trained on how to make them successful? Shari will teach you the guidelines, tools and techniques to easily teach flowing, fun and fantastic Groups and Semi-Privates Sessions on all Apparatus. Learn to mix up what you are teaching to add variety, and also how to work with multiple levels of clients at one time so they can grow individually. Be ready to learn and practice these skills in this dynamic workshop.
The Shoulder Girdle - 3 hours
3PMA CECs
The Shoulder Girdle is a complex system. When I first started teaching, all I knew was “pull your wings down” and “crack a walnut”. The more I study biomechanics, the more I know there is very little down and no cracking. It’s a delicate balance of bone, muscles, ligaments and tendons… and constant reassessing. Dynamic stability is what we are looking for. Let’s spend time studying where we’re going with the shoulder girdle and how to get there in Pilates. We’ll take time with the anatomy and biomechanics, Pilates exercises, common aliments and all of your questions. Take a moment to review what you already know before the workshop… then we can grow from there.
Joseph Pilates. Retrospective and Perspective – 1 hour
This is one of the most important workshops of the weekend.
1PMA CEC
If you call yourself a Pilates teacher then it is essential you know and can talk about Mr. Pilates. The more you know about Pilates the man where he came from, and what he was looking to achieve, the more inspired you will be, and can inspire your clients!
Teaching the Tower Classes – 2 hours
2PMA CECs
“Use what you’ve learned in Sat.’s Great Groups and Serious Semis” to deepen the hands-on skills and creative projects for Sundays Teaching Tower Class”. In your Tower classes, there are people of all levels, many who have never seen or been on the Tower in your class and some who are pretty advanced, as well. How do you create a class that takes care of them all? Let’s take the time to learn how to create a really safe, strong and challenging classes on the Tower. The are special guidelines and progressions you can follow and great ways to make a fantastic class for everyone… including you as a teacher! Shake up your classes, learn new and exciting variations and progressions to challenge both physically and mentally clients of all levels.
Flow, Rhythm and Oppostion – Making the session a workout at any level – 4 hours
4PMA CECs
This is the ‘giant’ in workshop learning. Flow is much more than moving quickly through a list of exercises. Let’s figure out what flow is and how to create it within each move, reception and exercise. Flow has a lot to do with how you think of the workout and how you use your voice to set rhythms, give accents and emphasize certain points of each exercise. It will change your teaching for the better. Opposition; the key to stability. Every exercise must continually lengthen and deepen…..nothing is held tightly or compressed, learn how to cue opposition into the Pilates work out and into your clients bodies.
LOCATION
Pi Studio Battersea, 6 Cotwold Mews, Battersea Square, SW11 3HB
Please contact Marsha for booking and payment on: – Telephone: 020 7585 1114 Email: mail@pistudiobattersea.co.uk
March 24 & 25 in Geneva, SWITZERLAND
Saturday, March 24
Advanced Mat Class 10a-10:50a
Wonderful Wunda Chair – 3 hrs
3PMA CECs
The Wunda Chair is often misunderstood and feared. With the new influx of wunda chair classes, truly understanding the chair, its history, exercises and uses is even more important than ever. It’s one of the most versatile and exciting pieces of apparatus in the studio. In this workshop, you’ll learn how to use it as part of or as a complete session always keeping movement flowing with purpose.
Creative Spine Corrector – 3hrs
3PMA CECs
In this workshop, you’ll learn how to transform your Spine Corrector into one of the most useful piece of apparatus in your studio! You will learn how to do and teach an entire flowing workout/session on the Spine Corrector as well as how to use just a handful of exercises to enhance a full workout. With over 40 exercises, there’s a lot to work on and discover. You will also learn how to organize the exercises, how to position the clients on the apparatus and where to be to spot and cue the exercises as the teacher. It’s surprising how special and important you’ll find Spine Corrector.
Sunday, March 25
Bio-Mechanics: How Our Bodies Really Work and How to Cue That Reality – 3hrs
3PMA CECs
While your physical intuition is an important asset in teaching Pilates, intuition is not enough. To sincerely take care of your clients, you must know the truth of how the body works. Cue the reality, not the myths or mistakes. Being a confident teacher depends on it…demands it. We’ll work to understand the bio-mechanics surrounding the pelvis, spine, shoulder girdle and how to apply this information to your teaching. Knowing and understanding is the only way.
Beyond The Everyday: Archival Exercises on the Apparatus – 3hrs
3PMA CECs
Joseph Pilates created somewhere between 500-600 exercises. You know some of the repertoire…it’s time to learn more. In this workshop, you will learn rarely seen and immediately useful exercises on multiple apparatus (Mat, Reformer, Cadillac, Wunda Chair, Standing Arm Springs) all created by Joseph Pilates. You’ll leave feeling confident in the purpose and technique of teach exercise, have time to do exercises, practice teaching and ask questions. You’ll walk away with your own special archive of exercises for your strong intermediate clients…and yourself!
Contact Melania McLaughlin at Linea Pilates at melania.mclaughlin@gmail.com for more information and registration www.lineapilates.net
July 13-15 in San Francisco, CA – Pilates on Tour –
Saturday, July 14 -
Morning Mat Class – 1hr
Beyond The Everyday: Archival Apparatus on the Apparatus – 3hrs
3PMA CECs
Joseph Pilates created somewhere between 500-600 exercises. You know some of the repertoire…it’s time to learn more. In this workshop, you will learn rarely seen and immediately useful exercises on multiple apparatus (Mat, Reformer, Cadillac, Wunda Chair, Standing Arm Springs) all created by Joseph Pilates. You’ll leave feeling confident in the purpose and technique of teach exercise, have time to do exercises, practice teaching and ask questions. You’ll walk away with your own special archive of exercises for your strong intermediate clients…and yourself!
Sunday, July 15 -
Morning Mat Class – 1 hr
Archival Mat and Standing Exercises - 3hrs
3PMA CECs
There are many more versions of Mr. Pilates’ exercises than we see today. Variations, modification, combinations of multiple exercises in one! Fascinating, challenging and all the rest! These versions should not just live in the memories of those of us who had access to them years ago. They ought to be living, breathing exercises for those who need the modification or challenge! Experience this material, then teach it so we never lose track of these great exercises!
Click HERE for more information
September in Sao Paolo, BRAZIL – Much information to come.
September 14-16 in Boston, MA – Pilates on Tour -
Saturday, September 15
Morning Mat Class – 1hr
Beyond The Everyday: Archival Exercises on the Apparatus – 3hrs -
3PMA CECs
Joseph Pilates created somewhere between 500-600 exercises. You know some of the repertoire…it’s time to learn more. In this workshop, you will learn rarely seen and immediately useful exercises on multiple apparatus (Mat, Reformer, Cadillac, Wunda Chair, Standing Arm Springs) all created by Joseph Pilates. You’ll leave feeling confident in the purpose and technique of teach exercise, have time to do exercises, practice teaching and ask questions. You’ll walk away with your own special archive of exercises for your strong intermediate clients…and yourself!
Archival Mat and Standing Exercises – 3hrs
3PMA CECs
There are many more versions of Mr. Pilates’ exercises than we see today. Variations, modification, combinations of multiple exercises in one! Fascinating, challenging and all the rest! These versions should not just live in the memories of those of us who had access to them years ago. They ought to be living, breathing exercises for those who need the modification or challenge! Experience this material, then teach it so we never lose track of these great exercises!
Click HERE for more information
And there will be many more workshops where we can work together…I’ll keep you informed as they all become solidified! If you’d like to be included on my newsletter to get monthly information, subscribe to this blog and/or e-mail me at info@TheVerticalWorkshop.com
Workshops in Your Studio:
If you are interested in my teaching workshops and/or semi-private sessions for your teachers at your studio, please contact me at info@TheVerticalWorkshop.com I’ll be thrilled to put together a program with you for your needs!
While my vocabulary is classical Pilates, the principles behind my teaching and workshops apply to every style of Pilates.
We have countless topics to play with within technique workshops of classical Pilates and teaching skills workshop that apply to all!
*******
Sessions:
If you’re in NYC and want a Pilates session e-mail me at info@TheVerticalWorkshop.com
And I’m Westchester, NY on Thursdays.
Workshops:
If you’d like a workshop and/or semi-privates at your studio, e-mail me at info@TheVerticalWorkshop.com I travel all over the world and would be thrilled to come to you!
Consultation:
If you’d like to set up a meeting on the phone or in person to ask questions about teaching or building/maintaining your business, e-mail me at info@TheVerticalWorkshop.com
Enjoy!- Shari
Doing Wrong To Get To Right?
Many teachers ask me if it’s OK to teach a “wrong” action for a while just to get the “picture” or shape of an exercise and then correct the action later on. I always say “No. It’s OK to teach incorrect actions just to get the shape of an exercise”. Here’s why:
I totally understand that we want our clients to feel accomplished. We want our clients to move forward, advance, get better…advance. But what is our judgement of advancement? What is true accomplishment?
We’ve got to teach correct actions correctly the first time. I learned that statement many years ago when I was training to be a teacher trainer with Bob Liekens. I’ll say it again: Teach Correct Actions Correctly The First Time. It makes sense on a just the most straightforward level, but even more so when you study and understand how people learn.
Whatever we learn the first time…is what is imprinted in us neurologically. Literally. Neurological connections and pathways are set by what you learn the first time. Unlearning is impossible. Relearning is challenging, but possible. It’s such a challenge that many don’t or can’t do it. And this isn’t just with Pilates…it’s with everything. Everything.
Wouldn’t it be better to learn the correct thing the first time. The best thing the first time? That doesn’t mean that your client is going to be able to do it “perfectly” (ever), but at least the imprint will be one that is positive.
Try unlearning squeezing your seat (or glutes or butt) or narrowing your sit bones. It’s an incorrect action action (I apologize to those who do this and don’t mean to disparage or alienate you…we can discuss this in another blog and in person in workshops. I am certain I can share with you why this is a troubled action). The challenge of disengaging your glutes is formiddable. Wouldn’t it be great if you had never been taught to do this in the first place?
The two particular instances where teachers have asked if it’s OK to do “wrong” to eventually get to “right” have been this:
1 – In doing a thigh stretch of sorts, perhaps the third part of the Front Splits on the reformer when one knee is down on the carriage mat with foot against the shoulder block and the other knee is up with foot on the footbar. Some esteemed colleagues asked if it’s OK to push the hips/pelvis forward to get the stretch by squeezing the glutes. I said “Nope. Because then the stretch is missed. It needs to come from lifting the abdominals and lumbar spine to rotate the pelvis more into a neutral position relative to the kneeling leg, thusly engaging the hamstring of that leg, too. If you take the cheap way of the quick fix by squeezing the glutes, the actions that will result in a healthy open stretch won’t occur.” They said that they would get to the abdominals, spine and hamstrings eventually, but that they just want to give this exercise, now. I said something like “then cue the correct actions the first time and even though the image won’t be ideal, the action of the stretch will be more ideal. It will take a long time to unlearn the quickie version that you’ve taught.”
Does that make sense to you? You see…if this person can’t do the correct actions even in the slightest bit, then hold off from that particular exercise and find another way to stretch the quads and hip flexors until the client can actually achieve the exercise on a basic level with correct actions. No quick-fixes or fast-lanes.
2 – Another question from another dear colleague was about shoulder blades. This teacher was learning from me how shoulder blades are meant to roll up and back on the rib cage rather than anchor them down away from the ears. (Yes, if you cue pull or anchor your shoulders down…we have a future conversation to look forward to… It is a bio-mechanically incorrect action for most of Pilates and life. Again, not meant to disparage, I look forward to sharing the actions of the shoulder girdle.) He said that it’s just easier to teach the anchor, for arm springs, say. He asked something like “can’t I just teach ‘anchor’ for a while and then adjust the shoulders later?” Of course, I said something to extent of “No. You need to teach the correct action correctly the very first time. You’ll do your client a disservice if you just go for easy. It will take a very long time to unlearn the easy and wrong action in the effort to get the difficult and correct action.”
I really understand the desire to go for easy. I do! However, stabilizing a joint is nothing akin to easy. Alas. It takes time, opposition, delicate balance and patience. Patience and persistence. We’ve got to be strong of will, Teachers. We must be patient beyond normal patience of others.
Now, is it ever OK to do an incorrect action in the effort to teach a correct one? Well..in one instance, yes. HOORAY! While you are teaching a correct action, you can sometimes have your client do a bit of comparison to show or feel for themselves “right” and “wrong”. I often do this in Pull Straps I. I have them slide their arms/shoulders off their back and on their back to feel what it feels like the have the scapulae be on the side of the body (incorrect) and on the back of the body (correct). Or when I teach the Twist Prep on the Wunda Chair. It’s tricky to keep the length in the side-bodies. Clients want to just spring up to the ceiling letting the spring and pedal do the job. I very often use that as a tool and say “let the spring spring you up…get very, very high”. They do this and I say “Excellent! That is exactly the way we don’t want to do this exercise!” (usually we all giggle here) ”Now, try this…resist the desire to spring up and maintain the length in your sides as rise against the pull of the spring”. So, sometimes doing things incorrectly for effect and as a teaching tool can be great! But…it has to be just that: teaching tool to immediately get to the correct actions.
Now, I must clarify…just because you teach an exercise to a client does not mean that your client has to be able to achieve it in its ideal form or even do it well. It takes time to do an exercise well. It takes practice. Still, we have to work hard to pick the proper exercises for our clients that will either be the tool or challenge that they need and then teach what to do and what not to do appropriately so that they can make progress over time. Is it OK if the client in my first example of that thigh stretch can’t achieve a neutral pelvis relative to the supporting leg? Of course! But that client is trying and trying from the correct muscles with the correct actions. Is it OK if the client in the second example cannot find her shoulders on her back during arm springs 100% of the time. Absolutely! The action of trying is what counts. The correct actions. Ultimately both of these clients will fully be able to achieve them because of their continuing efforts in the right direction.
All in all, of course, it means that we need to work extra hard. We have to make sure our clients are ready for the exercises that we are asking them to do and teach them extremely well. Hold back from wanting to make “pretty pictures” or make things easy for our clients. Our clients need appropriate challenges and opportunities to grow and develop. Opportunities for achievement and true success.
Thank you, as always, for reading this blog. I hope that you will take a moment to consider it all and then drop me a line. Please comment below and let me know how it’s going for you. Also, ask me questions, request future blog posts and more! Here’s information on upcoming workshops and sessions with me all over the world for 2012:
2012 Workshops are in the midst of being set and scheduled, but it looks like we can count on these to begin with:
January 29, 2012 at Fiore Pilates – Mamaroneck, NY (Westchester…just north of NYC)
Archival Mat and Standing Exercises - 11:30a-2:30p – $120
3PMA CECs
Mysterious Aches and Pains - 2:45p-4:45p – $80
2PMA CECs
For registration and more information, contact Fiore Pilates at info@FiorePilatesOnLine.com or call 914-381-3201
March 17-20 at Pi Studios – London, ENGLAND
More information to follow on workshops with PMA CECs (Saturday and Sunday) and sessions (Monday and Tuesday). If you’d like to be notified when information is available and registration is open, please e-mail me at info@TheVerticalWorkshop.com and/or reach out to Pi Studios at mail@pistudiobattersea.co.uk
March 24 & 25 in Geneva, SWITZERLAND
More information to follow on workshops with PMA CECs and sessions. If you’d like to be notified when information is available and registration is open, please e-mail me at info@TheVerticalWorkshop.com and I will gladly get you all that you need.
July 13-15 in San Francisco, CA – Pilates on Tour – Much information to come.
September in Sao Paolo, BRAZIL – Much information to come.
September 14-16 in Boston, MA – Pilates on Tour - Much information to come.
And there will be many more workshops where we can work together…I’ll keep you informed as they all become solidified! If you’d like to be included on my newsletter to get monthly information, subscribe to this blog and/or e-mail me at info@TheVerticalWorkshop.com
Workshops in Your Studio:
If you are interested in my teaching workshops and/or semi-private sessions for your teachers at your studio, please contact me at info@TheVerticalWorkshop.com I’ll be thrilled to put together a program with you for your needs!
While my vocabulary is classical Pilates, the principles behind my teaching and workshops apply to every style of Pilates.
We have countless topics to play with within technique workshops of classical Pilates and teaching skills workshop that apply to all!
*******
Sessions:
If you’re in NYC and want a Pilates session e-mail me at info@TheVerticalWorkshop.com
And I’m Westchester, NY on Thursdays.
Workshops:
If you’d like a workshop and/or semi-privates at your studio, e-mail me at info@TheVerticalWorkshop.com I travel all over the world and would be thrilled to come to you!
Consultation:
If you’d like to set up a meeting on the phone or in person to ask questions about teaching or building/maintaining your business, e-mail me at info@TheVerticalWorkshop.com
Enjoy!- Shari
Lift Your Abdominals and Lower Back Bones Like Your Life Depends On It…Because It Does!
Finishing the cue of lift your abdominals to lift your lower back bones...
If you spend any time around me, you know that I’m wont to say “Lift your abdominals in and up to lift your lower spine…like your life depends on it…because it does!” Sound dramatic? Yes. Sometimes we have to be dramatic to catch your attention. But, guess what? It’s true! Ah, all of the time, we have to tell the truth. The Truth.
You can do all of the exercise in the world and take great care of yourself in many odd and different manners, but if you do not take care of your spine, then you will hurt, fall ill and suffer. Now, one or more of these things may happen anyway. Life is complicated and unpredictable, but you give yourself an incredible shot for the best health possible if you have a healthy spine. That’s The Truth.
You teach Pilates. You do Pilates. You think that you’re all about the spine. Mr. Pilates said that you’re only as young as your spine is flexible. And he was right. Did he know what we know now? Could he have known?
Your spine houses your spinal cord. Your spinal cord. What if you consider your spinal cord as one of the 4 most important organs of the body: Brain, Heart, Lungs, Spinal Cord. (Not as though the rest of your body isn’t important…it all is!) Never considered your spinal cord that important? Rarely consider it at all? Well, all of the nerves of your body go from your brain and brain stem into the spinal cord. And what houses the spinal cord? Your spine!
Your spine is the armor for your spinal cord. Giving it a canal to run through, solid protection and channels for the appropriate nerves to leave to feed information to your organs and muscles. You need unhindered passageways for those nerves to pass through or they will either not send their signals or only send some of their signals. You’ll have some sort of dysfunction or pain in muscles and/or organs. How often have you considered this? The muscle pain, perhaps. You pinch a nerve…you think of that pain. But what about the function of your organs?
Spinal Nerves relate to body parts and organs - Thank you universal-review.ca for this image.
It’s truly great to take your spine and spinal cord for granted! It would be great if we didn’t have to think about it at all. However, if you do think about…life can get better and better!
We’ve got to work to keep space and flexibility through the spinal column. Each vertebra must be well-spaced from the one above and below and in good alignment. We’re lucky, we have vertebral discs. They are shock absorbing spacers between each segment of the spine. As spacers, they help maintain the openings (foramen) that allow the nerves to flow out of the spinal cord and column to the rest of the body. They are incredibly resilient, but over time from the constant compression and friction of bone upon disc upon bone over time these discs become less cushiony and can become compressed and brittle. Some of this is unstoppable because it’s the natural progression of our body’s aging process; however, we can do our best to resist the increased deterioration on our discs.
How?
Lift your abdominals to lift your low backbones.
Yes.
In Pilates, you’ve been teaching “Pull your abdominals in and up” or “Scoop your abs in and up” or “Scoop your Powerhouse in and up” or “Pull your navel to spine and up” or some such thing. You might have been missing the “up” part. You might be concentrating on other things and have forgotten abdominals. Even if you’re cueing the abdominals a bit or a lot…it’s not enough if you’re not cueing the lower spine. Just working the abdominals to be strong and flexing and extending the spine in all different directions, articulating as much as possible is good…but it’s not good enough. We’ve got to cue length and space between the vertebrae. And it starts from the bottom (L5-S1) upwards.
Length and space between each vertebra comes from both abdominal and spinal erector (deep erectors: multifidi) action…trying to create more length and space all around the spine. Not just the back (the spinous process) but the front and the sides of the vertebral bodies.
Doesn’t it make sense that if there is space between the vertebrae, there will be the ability for more movement? In all directions: spinal flexion, extension, lateral flexion/side-bending and rotation/twisting.
Now, not only does your spine house your spinal cord and allow for the network of nerves to command your body, but it also helps hold up our torso and serve as a structure of support for our limbs. With a healthy and flexible spine, we can have better support…of course…and better use and strength of our arms and legs.
If we consider our bodies a bit like pyramids with the ability for a broad base of support at the bottom and our tiny heads on top, then we can look deeper to the pelvis and spine and see that the pelvis is a relatively broad base of support, the sacrum being a considerable base of the rest of the moveable spine; lumbar vertebrae are wide and thick, thoracic a bit more narrow and thinner and then cervical vertebrae even smaller and thinner. Of course there are many aspects to these dimensions, but just considering the bases and basis of support…it would make sense that in order to create more space in our supportive structure to be able to include flexibility and mobility, we need to lift from the bottom of the base: Lift L5 off of S1 to begin. Then from there once L5 can lift and be mobile, the L4, L3, L2, etc. can lift and mobilize. I call it “the trickle up effect”…because the space must start at the bottom and then work its way upward. It is relatively easy to lift the cervical vertebrae…there’s not much weight on them compared to the lumbar. Some would say to work from the easiest to hardest…but we’ve got to look at the most vital for full-body movement and support and that starts at the base. Lift L5 off of S1…all of the time…in every position…in every action. L5 must never approach S1. Lift from the base of the pyramid.
Let’s take a few exercises and find/create more space in the lumbar spine. Remember…this stuff takes time! Your clients will not necessarily be able to create more space and movement at first. Allow it to take time. Be patient and persistent. With that also know that the range of motion of the spine may seem like less at first…but will ultimately be a truer, greater range of motion. Here we go:
1 – Half-Roll Down – We do this mat exercise with beginner clients as a pre-amble to The Roll Up. We’re looking to make an abdominal connection and stretch open the lumbar spine. Right. OK, so what if we do this:
Set Up: With your knees bent up and feet flat on the mat, lightly hold onto the back of your knees and round your spine.
Action: Round your spine backwards. Round your spine back upwards.
You do this for a couple of repetitions, start cueing the abdominals in and up…and then…you say this (in your own words and personality…or these):
“OK, now, instead of being a lower-case, little “c” shape with your spine, be a capital “C”…lift your abdominals in and up to lift your lower back bones. Now, keep that capital “C” when you round back…and when you round up.”
You’ve just taught strength + space! You’ve just taught your client that space is more ideal than compression! And you did it on Day One! Now, did it happen perfectly? No…of course not. Was it tricky? Was it wobbly? Yes and yes. Great! This is the struggle for support and space!
Now, you relate this experience to every other exercise that is, well, related to the Half-Roll Down. Use the same image of lower-case “c” and capital “C” over and over again!
2 – Straight/Flat on the Short Box -
Set Up: Sit up tall with your shoulders over your hips and your arms stretched up to the ceiling.
Action: Hinge your spine backwards to a high diagonal. Return upright; shoulders over hips.
Of course, you do this a couple of times, cue the abdominals in and up and then you say this (in your own words and personality…or use these):
“OK, now, pictures your lower back bones as five (5) tuna fish cans. Can you imagine 5 tuna fish cans stacked on a kitchen counter? They nestle right into each other. What if that bottom tuna can could float off of the counter top? Then the next can would lift off of that one and upwards and on until the 5 tuna cans were hovering off of the counter and each other in their column. That’s what I’d like you to do with your lower spine. So, keep going…and from the lift of your abdominals and lower back, lift your tuna cans to hinge backwards and lift your tuna cans to return upright.”
You don’t spend a lot of time giving this image. You’ve got to see it so clearly that you can spit it out in a way that your client can see it 100% and right away. If tuna fish cans doesn’t work for your client, then pick something else: Oreo cookies, french macaroons, a stack of gold coins…you’ll figure something out. It has to be round…so that your client lifts all sides of the spine. Not just the back. We must open all sides of all parts of the spine in whatever shape we’ve put it in: natural curves, spinal flexion, spinal extension, lateral flexion, rotation. Right.
Well, now you can use that tuna can image in every single exercise!
3 – Swan Prep-
Set Up: (Now, there are many, many variations of a Swan preparation…this is just one very simplistic version) Lie on your stomach with your palms under your forehead, your legs out long behind you.
Action: Reach your hip points and pubic bone into the mat, lift your abdominals in and up, lift your torso head and hands up. Lengthen back to the mat.
You do this a couple of times…then…
Now, imagine your spine is a set of train cars leaving the station of your pelvis; your sacrum and tailbone and running to your head. Lift your abdominals in and up to lift your torso and run that train forward to your head…put lots of space between each train car at your lower back…more space between those cars! Lengthen your spine forward along the mat…keep those trains running!
Now, your client will be running those trains! Use that image over and over again!
I’m not kidding…use those images over and over again…ad nauseum. Your clients will not get bored or wish for you to say something new…because they will be connecting to this image and these actions and feel something special happen: Positive Change! They will get longer and stronger!
Take a look at every exercise you do when you work yourself out with Pilates 3-5 times a week (you do that, right?). Are you really creating space in all sides of your lumbar spine? And are you actually moving your lumbar spine when it is meant to move? Are you reaching L5 away from S1…always? (L5 should never, ever, ever approach S1 [EVER] in life.)
Are you collapsing and compressing when you round your spine? Why do we think that we need to be really small and round? Isn’t “rounded” enough? Round with space.
Same thing with extension.
And what about side-bending? When you do an exercise like Side Sit Ups or Mermaid…are you actually moving your lumbar spine or are you hinging at T12-L1? That’s a big problem. You’ve got to create space in the lumbar spine…starting with L5 getting off of S1 and up (lift your tuna cans) and then shift them laterally…let everything else follow. At first…you will find that you don’t go very far. That’s fine…great, even, because you’re really being true to what needs to move and how. Resist the temptation to add the extra crunch of the thoracic spine/ribcage. Work to lengthen and mobilize the lumbar spine laterally. The more space you have, the more movement you’ll have…in the future. It doesn’t have to be today. The ideal photos you’ve seen…why do you think you ever have to be that, let alone today. Make certain you and your clients are doing the correct actions correctly.
Twisting? You get it already: The more space you have in your lumbar spine and support from your abdominals and back extensors..the greater range of motion you’ll have in your twist. You’ll never increase your twist if your bones are bearing down on each other. You’ll only compress and sheer. Ooh…that does not sound good. And what does a good twist mean, anyway? A beautifully lifted twist is not going to pay your rent, but that space, support and mobility will show you how healthy you are and give you longevity.
Round is rounded…not collapsed or compressed.
Arched is a long bow…not gripped.
Lateral Side-bending is lengthened…not hinged.
Twisting is uplifting…not sheering.
All of this sounds great!
It all comes down to remember what we’re doing and why in Pilates. We’re looking to use our method of Pilates, whatever style you teach, to help our clients achieve their fitness goals which almost always include feeling better, getting out of pain, being more flexible, being stronger, having better posture, looking leaner…movement is great…but conscious movement is even better! Consider the lumbar spine…create space!
How much further can we go with this…incredibly far. Start with this concept and these actions and make creating space within and mobility of the lumbar spine your singular goal…for now. Lift your abdominals in and up to lift your lower spine.
Enjoy!
As always…if you have any questions, comments, concerns…please leave me a comment in the section below! I love to hear from you and keep a good conversation going. Also, if you’d like to ask me to write about something specific, drop me a line at info@TheVerticalWorkshop.com If you have a private question to ask me about your clients, also info@TheVerticalWorkshop.com .
Thank you for taking the time to read this! You can subscribe to the blog if you want to be notified when the next article is posted…just click the toggle on the side!
WORKSHOPS – SESSIONS – CONSULTATION
November 13
Madison, CT – Pilates Barn
Pilates for Seniors - 11am-1:30pm – $100
2.5PMA CECs
Working with an aging population is great, but we must understand their special needs. What are the common conditions of the agin client? How do you drive a workout at his/her level? What are some modifications or new exercises to do? What are some great tools to use. You’ll leave this workshop feeling more confident that you know what to do and what not to do with your senior clients.
Teaching Tower Class: How to Create and Actively Teach
2p-4:30p – $100
2.5 PMA CECs
Apparatus classes are a big part of our growing Pilates world. You teach them, but you were never trained for them. In your tower classes, there are people of all levels, many who have never seen or been on the tower and then there are some who are pretty advanced, as well. How do you create a class that takes care of them all? Let’s take the time to learn how to create really safe, strong and challenging classes on the tower. There are special guidelines and progressions you can follow and great ways to make a fantastic class for everyone…including you as the teacher!
To register, contact Lori at Lori@PilatesBarn.com or 203.214.3213
Sunday, December 4
Albany, NY – Albany Pilates Center
Magic Circle Miracles – 10a-1p – $120
3PMA CECs
The Magic Circle has become a common tool in Pilates…so small, but so effective! It is Miraculous in it’s ability to transform a clients body and mind! You’ve used it a lot, but truly understanding it will make it your most precious tool in getting your clients to connect with their core/powerhouse, full body and mind. In this workshop you will learn the circle’s history, understand where, why and when to use the Magic Circle, learn solid technique of Magic Circle exercises and learn creative uses, too. It’s miraculous that a little ring can do so much!
Archival Exercises: Beyond the Everyday - 2p-5p – $120
3PMA CECs
Joseph Pilates created somewhere between 500-600 exercises. You know some of the repertoire…it’s time to learn more. In this workshop, you will learn you rarely seen and immediately useful exercises on multiple apparatus (Mat, Reformer, Cadillac, Wunda Chair, Standing Arm Springs) all created by Joseph Pilates. You’ll leave feeling confident in the purpose and technique of teach exercise, have time to do exercises, practice teaching and ask questions. You’ll walk away with your own special archive of exercises for your strong intermediate clients…and yourself!
Call Albany Pilates Center www.albanypilatescenter.com to register: 518-435-1156
December 9-11
Boston, MA – Atelier Pilates (Somerville, MA)
3PMA CECs
3PMA CECs
3PMA CECs
3PMA CECs
Archival Mat and Standing Exercises
Workshops in Your Studio:
If you are interested in my teaching workshops and/or semi-private sessions for your teachers at your studio, please contact me at info@TheVerticalWorkshop.com I’ll be thrilled to put together a program with you for your needs!
While my vocabulary is classical Pilates, the principles behind my teaching and workshops apply to every style of Pilates.
We have countless topics to play with within technique workshops of classical Pilates and teaching skills workshop that apply to all!
*******
Sessions:
If you’re in NYC and want a Pilates session e-mail me at info@TheVerticalWorkshop.com
And I’m Westchester, NY on Thursdays.
Workshops:
If you’d like a workshop and/or semi-privates at your studio, e-mail me at info@TheVerticalWorkshop.com I travel all over the world and would be thrilled to come to you!
Consultation:
If you’d like to set up a meeting on the phone or in person to ask questions about teaching or building/maintaining your business, e-mail me at info@TheVerticalWorkshop.com
Enjoy!- Shari
Curl Your Chin To Your Chest? No Thank You!
Do you cue: ”Curl Your Chin To Your Chest” or “Chin To Chest”?
An e-mail conversation with a colleague in Australia and several conversations with teachers these past couple of weeks have brought me to write about the neck.
It seems there’s a considerable amount of confusion about necks. Many people either think necks are too delicate and don’t move or work to use them or they don’t consider the neck at all and it’s possible limitations. Both are dangerous: one either doesn’t use this great part of the spine and one abuses it.
The neck is comprised of 7 wonderfully interesting vertebrae that serve to support the skull, protect the spinal cord just as it leaves the skull (where it is full of the entire body’s nerves…as opposed to the lumbar spine which only has lower body nerves) and provide the attachment points for many of the muscles and ligaments that are vehicle for movement of the skull so the eyes can a wide field of vision without even moving the torso. Then there are muscles for your shoulder girdle, too. Not to mention blood vessels that run through the neck, your trachea and esophagus. Indeed. There is a lot going on in your neck.
It’s pretty spectacular!
The neck has the ability for remarkable forward flexion, extension, rotation and lateral flexion (side bending). Again…spectacular.
The first and second vertebrae (C1 and C2) are uniquely designed to support the heavy skull with it’s brain, fluids, eyeballs, tissues and blood vessels and still allow for incredible movement. There’s a lot the neck supports. C3-C7 are more normal-like vertebrae, but if you look, you see that the spinous process start to get quite pronounced as we get closer to C7. Why? To stop cervical extension before it would be dangerous. If the heavy head were to tip back too far, those spinous process will stop it from over-stretching the anterior soft tissue and hurting the trachea and spinal cord.
Cervical Spine
So, those bony protrusions limit how far the head can tilt backwards. Excellent!
But what about how far the head tilts forward? Do we need to be concerned? The answer: Yes and No. It depends on the position of the rest of the body.
When your client is lying down on a mat or carriage doing an exercise like The Hundred, then we must be concerned about how harshly the neck is in flexion in relationship to how strongly the thoracic spine is in flexion. If your client is really able to bring her head and chest up, flexing in the mid-thoracic, truly engaging in the upper abdominals (you’ll see a crease in the abdomen at the base of the ribs and her upper body will be lifted up to the base of her shoulder blades, her blades remaining on her back)…then she can keep good forward flexion of the neck, keeping her chin off of her chest. This will strengthen the anterior muscles of the neck, chest and thorax.
However…if your client is weak in her upper abdominals and tight in her mid-thoracic back (like most beginner and early intermediate clients) then we have to watch out that our client isn’t just jamming her chin into her chest to get into the position of the exercise. If you see your client straining at the neck and unable to stretch her mid-thoracic with her abdominal strength…then your client will develop neck strain from the exercises.
So, you must work to teach your client to “curl your head and chest up; look toward your abdominals”. Rather than “chin to chest”. If you say “chin to chest”…that’s exactly what she’ll do. Why not. So, I beg of you not to say that. Not even as the start of a more full sentence. You’re simply asking your client to strain.
Put on hand on your client’s upper back and one hand on her upper abdominals and help her into the position…so she can hold it. Cue her again and again here so she doesn’t start to “uncurl” and strain her neck. Before she starts to strain, have her rest her head while she continues the exercise with her outstretched leg(s) higher toward the ceiling if they are not already (this applies to The Hundred and any of The Abdominal Series of Five). We mustn’t let our clients strain their neck muscles because while they are strong…they are also vulnerable to strain. So, please no “chin to chest” when they are lying down.
Another series of exercises where you have to watch out for neck strain is in more intermediate or advanced exercises where the hips come over the head. Whether it be Reformer Short Spine, Overhead, Long Spine; Mat Roll Over, Jackknife, Rolling exercises; Cadillac/Trapeze Table Tower, Rolling Stomach Massage, Shoulder Roll Down, etc…Whenever hips are over head, we must make sure our clients posterior neck is not flattened out and supporting the weight of the body. This is essential! The shoulder blades, upper back and back of skull are strong enough, but the cervical vertebrae and musculature are not. Please, oh, please, start teaching your clients and doing for yourself: ”roll your shoulders back to lift your hips…look up and behind you…maintain the curve of the back of your neck”. The Roman Arches within our body are really important! The ones in your feet, hands, lumbar spine and cervical spine are the obvious ones…they are phenomenal support structures. Please do not flatten them out when using them for support. The neck is at true risk during these overhead exercises. Remember, when you change a curve on one side, the opposite side is altered, too. If with force (the weight of your body being pulled down with gravity) the posterior cervical spine is over stretched, then the anterior side is compressed. Really compressed. And the muscles strain. Really strain.
Your client (and you) will not be able to get up as high in the jackknife, overhead, etc. You simply won’t. And…Hallelujah! You will get higher in time…but not that “plumb line” which is too much for the cervical spine. Use shoulders back to support the cervical spine and make sure your client (and you) look up, not toward the hips. Make sure the chin is not lodged into the chest…but rather far away. ”Maintain the curve of the back of your neck.” Very important! Don’t you agree?
Now, when is it OK to have your chin into your chest? Well, it’s really important to get a good stretch at the back of the neck and upper back when the neck is not “loaded” with the weight of the torso…meaning when you’re upright: Spine Stretch Forward, The Saw and other seated or standing exercises where the head goes down. Now, you still don’t jam the chin into the chest with forced muscularity, but if the chin touches the chest naturally from this movement, then that is absolutely fine…because there is not force or strain. Very passively, the neck bones can make a 50˚angle of forward flexion…that’s a lot! Healthy necks with passive flexion will likely have a chin touching a chest…just not forcing, pressing, gouging. You’re allowing gravity to aide in the stretch. Does that make sense?
Still, you never ever have to say “chin to chest”. It’s a cue that asks a person to compress. In an exercise like Spine Stretch Forward on the mat, you can simply say “look into your abdominals; aim the top of your head between your inner thighs”. Then you’re not asking for muscular compression…you’re just asking for forward flexion of the neck.
What about an exercise like the Round on the Short Box? THere, you try to keep the cervical spine in the same curve as the rest of the spine when rounding…because people tend to jam their chins into their chests and strain. Same thing in Stomach Massage on the reformer. So you must be wise and take into consideration: Is my client going to strain? Is this a good passive stretch? What is happening here? How is the neck faring in this exercise?
A recap:
1 – Cueing – You have better choices in neck cueing. None of them include “Chin to Chest”.
2 – Supine Exercises like The Hundred, Abdominal Series of Five, Coordination, we cue “Curl your head and chest up, look towards your abdominals”; make sure the upper abdominals are engaged and mid-thoracic is stretching, rather than the neck straining with the chin into the chest. There must, must be mid-thoracic flexion…otherwise modify.
3 – Exercises that have an over-head component, you must work to maintain your clients’ cervical neck curve. Cue “reach your shoulders back, look to the ceiling, maintain the curve at the back of your neck”. That means your client has to be confident in her shoulder girdle stabilization. (Remember that shoulder blades go back not down…that would be back into the the mat in these cases.)
4 – Exercises that have an upright torso (seated, kneeling, standing), allow for a full, relaxed but supported cervical flexion. Not muscular compression or jamming. Just full stretch.
5 – Be a critical thinker…consider the neck and it’s normal range of function, what strains, what stretches…what is healthy.
Please ask me questions about this. It’s a big question across the world…what to do with necks. I hope this makes it all make a bit more sense.
What do you think? Please comment in the section below. E-mail me, too! Read below for information about how to connect with me for sessions, workshops and more!
Thank you for taking the time to read this! You can subscribe to the blog if you want to be notified when the next article is posted…just click the toggle on the side!
WORKSHOPS – SESSIONS – CONSULTATION
CHICAGO – Body Endeavors/Chicago Pilates Collective
Sessions: Privates and Semi- Private Sessions
$65/person/duet
$55/person/3 or more people
Contact Liv Berger at Body Endeavors to set up a session and get directions at LBERGER31@CS.COM
or call 312.202.0028
3PMA CECs
There are many more versions of Mr. Pilates’ exercises than we see today. Variations, modification, combinations of multiple exercises in one! Fascinating, challenging and all the rest! These versions should not just live in the memories of those of us who had access to them years ago. They ought to be living, breathing exercises for those who need the modification or challenge! Experience this material, then teach it so we never lose track of these great exercises!
November 5
NYC – Re:AB
Enhance Your Teaching Skills – 2:30-6pm
3PMA CECs
The more you teach, the more you need. Great Pilates doesn’t come from more and more exercises. Mr. Pilates created a set number of exercises in the classical Pilates Method. We work within those exercises. Great Pilates is about digging deeper and deeper in to the physical understanding of the Pilates Method. In this workshop, Shari will teach you to see more of what you need to cue in your teaching. We cue precision and stabilization in layers. Develop your eye and your understanding. If you do this, you will always be able to challenge your students as well as yourself for a lifetime of Pilates!
To register, contact Emilie at Re:AB at 212.420.9111 or by e-mail at center@reabnyc.com
November 13
Madison, CT – Pilates Barn
Pilates for Seniors - 11am-1:30pm – $100
2.5PMA CECs
Working with an aging population is great, but we must understand their special needs. What are the common conditions of the agin client? How do you drive a workout at his/her level? What are some modifications or new exercises to do? What are some great tools to use. You’ll leave this workshop feeling more confident that you know what to do and what not to do with your senior clients.
Teaching Tower Class: How to Create and Actively Teach
2p-4:30p – $100
2.5 PMA CECs
Apparatus classes are a big part of our growing Pilates world. You teach them, but you were never trained for them. In your tower classes, there are people of all levels, many who have never seen or been on the tower and then there are some who are pretty advanced, as well. How do you create a class that takes care of them all? Let’s take the time to learn how to create really safe, strong and challenging classes on the tower. There are special guidelines and progressions you can follow and great ways to make a fantastic class for everyone…including you as the teacher!
To register, contact Lori at Lori@PilatesBarn.com or 203.214.3213
Sunday, December 4
Albany, NY – Albany Pilates Center
Magic Circle Miracles – 10a-1p – $120
3PMA CECs
The Magic Circle has become a common tool in Pilates…so small, but so effective! It is Miraculous in it’s ability to transform a clients body and mind! You’ve used it a lot, but truly understanding it will make it your most precious tool in getting your clients to connect with their core/powerhouse, full body and mind. In this workshop you will learn the circle’s history, understand where, why and when to use the Magic Circle, learn solid technique of Magic Circle exercises and learn creative uses, too. It’s miraculous that a little ring can do so much!
Archival Exercises: Beyond the Everyday - 2p-5p – $120
3PMA CECs
Joseph Pilates created somewhere between 500-600 exercises. You know some of the repertoire…it’s time to learn more. In this workshop, you will learn you rarely seen and immediately useful exercises on multiple apparatus (Mat, Reformer, Cadillac, Wunda Chair, Standing Arm Springs) all created by Joseph Pilates. You’ll leave feeling confident in the purpose and technique of teach exercise, have time to do exercises, practice teaching and ask questions. You’ll walk away with your own special archive of exercises for your strong intermediate clients…and yourself!
Call Albany Pilates Center www.albanypilatescenter.com to register: 518-435-1156
December 9-11
Boston, MA – Atelier Pilates (Somerville, MA)
3PMA CECs
3PMA CECs
3PMA CECs
3PMA CECs
Workshops in Your Studio:
If you are interested in my teaching workshops and/or semi-private sessions for your teachers at your studio, please contact me at info@TheVerticalWorkshop.com I’ll be thrilled to put together a program with you for your needs!
While my vocabulary is classical Pilates, the principles behind my teaching and workshops apply to every style of Pilates.
We have countless topics to play with within technique workshops of classical Pilates and teaching skills workshop that apply to all!
*******
Sessions:
If you’re in NYC and want a Pilates session e-mail me at info@TheVerticalWorkshop.com
And I’m Westchester, NY on Thursdays.
Workshops:
If you’d like a workshop and/or semi-privates at your studio, e-mail me at info@TheVerticalWorkshop.com I travel all over the world and would be thrilled to come to you!
Consultation:
If you’d like to set up a meeting on the phone or in person to ask questions about teaching or building/maintaining your business, e-mail me at info@TheVerticalWorkshop.com
Enjoy!- Shari
What’s The Point Of It All?!
Do you take a moment before each session, even before each exercise to remember the goals? Let’s do that right now and recall that the goals in Pilates are to use each exercise and ultimately the entire session to help teach actions that work to bring your client toward a more balanced body and mind…and all that goes with that, not to match each body up to the photo image of the ideal shape of each exercise.
Within each exercise, let’s find the correct version of that exercise for that particular day or point in your client’s (our your) development. We often have to “work towards” the ideal and aren’t just simply there automatically…let alone every day. Some days, The Hundred is with legs 2 inches off the floor…The Ideal. Other days, for the same person, The Hundred has legs at 45°. Some days, Stomach Massage on the reformer, you’re sitting with your pelvis all the way against the edge of the carriage, practically sitting on the springs. Other days, you can barely keep your pants from sliding down on Stomach Massage Reach Back. We must make sure we teach and do for the day and progress each exercise over time. Nearly no one is the photo ideal of an exercise on session 1 or even session 101. So…figure out what the point of the exercise is; what we’re trying to develop through that exercise and make sure that is achieved. That is the goal!
Make sure the goal of the exercise is achieved no matter how modified you need to get. Do the least amount of modification necessary to get the desired actions.
Let’s look at the classic Teaser. What’s the point of doing Teaser with straight legs if your client’s action with in the exercise lacks opposition, space in the spine and legs drop below 45°. Sure she has straight legs! Sure she looks like the photo “pose”…sort of…but what’s the point? Look at the heart and soul of each exercise and determine are we actually learning from the exercise and training this body into the actions of the exercise or a snapshot of one point of the exercise? The Teaser strengthens the abdominals, with opposition stretches open the lumbar spine, strengthens the multifidi in the effort of lifting the lumbar spine, challenges the hip flexors by keeping those femurs up at 45°. So…bend the knees if you have to! Keep those femurs up, keep the pelvis in a posterior tilt so the client has an opportunity for opposition from the abdominals vs. the base of the pelvis and lift of the lumbar from the multifidi. And, let’s not forget it’s the effort on the way up into the balance and the way back to the mat that is essential in the Teaser. Not just the balance. The photo snapshot of the middle of the exercise will come in time…and if it doesn’t…who cares?! It’s the action of each part of the exercise that matters and working to achieve the correct actions…not the correct photo.
Your client is doing Standing Chest Expansion and can press the bar all of the way to her thighs, but in the effort to do so, rather than working to open her collar bone/expand her chest…she presses her ribcage forward. Well, the goal of the exercise is to use the roll back bar for opposition so that the client can find support from her abdominals and multifidi to lift her vertebrae away from each other while challenging the stability of the torso and of the scapulae, all the while both stretching the neck and strengthening the back of the arms. Does any of this happen when the bar goes so low that she can’t maintain torso stability and in lieu of opening her collar bones and stabilizing her scapulae she forces her chest out? Right. So, remember the goals and work to achieve those. Keep the torso stable while open the collar bones only so much as the torso doesn’t move…press the bar less, lift more. Maybe next week or next year or 20 years from now (or never), that bar will go lower…and everything else will be stable and lifted!
When I had my studio in Beverly Hills, I didn’t have mirrors. OK, one in the bathroom and where people put their bags, etc., but none in the studio space. Why? Because I didn’t want clients looking in the mirror to see if they made the shape of one part of an exercise. I wanted them to have a physical experience, not a visual or intellectual one. Their personal progress was based on a deep inner ability that developed over time and had nothing to do with what an exercise looked like.
I often say “Teach! Don’t be afraid to teach!” Please, give a small modification that will allow your client to actually do the action of the exercise. Then challenge her when she has developed the strength. (Remember, we mustn’t keep our clients in modifications if they are now strong enough to move on…) And do this for yourself in your workouts. It doesn’t matter if you’ve been doing Pilates for 20 years. There is great no shame in using a modification. We have to make sure that we encourage this in our clients and ourselves. Most of the time, I don’t let my clients know they are getting a modification because that word, alone, makes our clients get competitive and want what they don’t need. So, if you try a version of an exercise that doesn’t work and you’ve given some cues to make it better, but it still is not happening, then say “Try this version…it will get you deeper into the exercise”. Avoid any phrases like “this will be easier for you”, “that way was too hard for you”. Please try not encourage rather than diminish.
Another tool you can use to help your clients within their appropriate version of an exercise…is…NOT showing exercises. Please use your words, images, hands-on cues. Please don’t show exercises. They will see the outward shell…the moving picture, but not the effort on the inside that creates those pictures. Let them have the opportunity of achieving over time, with effort, often times going from a modification to an eventual ideal version of an exercise.
So, give your client the Half-Roll Down if he needs it because his abdominals pop out and his back is stiff and his legs lift on The Roll Up. Give your client Teaser with bent legs and thighs still (always) at a 45° angle if when he rolls up, he lacks opposition with his abdominals, can’t balance behind his tailbone and his legs want to drop. Do only the parts of The Tree that your client really needs. Etc. Etc. Remember what each exercise is for…what the actions of the exercise are meant to develop within the client. Then give the appropriate version and appropriate cues for those actions to happen…and both you and your clients will be very pleased with the positive results…indeed! As your client gets stronger and stronger within each exercise…start to challenge even closer toward the ideal version.
Enjoy teaching!
****Thank you for taking the time to read this post and continue your education in this way! If you have any questions, comments, etc…please drop me a note in the comment section. Then read below about workshops coming your way or sessions. Thank you, again!****
3PMA CECs
Joseph Pilates created somewhere between 500-600 exercises. You know some of the repertoire…it’s time to learn more. In this workshop, you will learn you rarely seen and immediately useful exercises on multiple apparatus (Mat, Reformer, Cadillac, Wunda Chair, Standing Arm Springs) all created by Joseph Pilates. You’ll leave feeling confident in the purpose and technique of teach exercise, have time to do exercises, practice teaching and ask questions. You’ll walk away with your own special archive of exercises for your strong intermediate clients…and yourself!
CHICAGO – Body Endeavors/Chicago Pilates Collective
Sessions: Privates and Semi- Private Sessions
Contact Liv Berger for more information at LBERGER31@CS.COM
or call 312.202.0028
3PMA CECs
There are many more versions of Mr. Pilates’ exercises than we see today. Variations, modification, combinations of multiple exercises in one! Fascinating, challenging and all the rest! These versions should not just live in the memories of those of us who had access to them years ago. They ought to be living, breathing exercises for those who need the modification or challenge! Experience this material, then teach it so we never lose track of these great exercises!
October 2
Rhinebeck Pilates
Semi Private Sessions
Creative Spine Corrector Workshop
3PMA CECs
The Spine Corrector is one of the most underused yet extremely versatle pieces of equipment designed by Mr. Pilates. In this workshop, you’ll learn how to transform your Spine Corrector into one of the most useful pieces of apparatus in your studio! You will learn how to do and teach an entire flowing workout/ session on the Spine Corrector as well as how to use just a handful of exercises to enhance a full workout. With over 40 exercises, there’s a lot to work on and discover. You will also learn how to organize the exercises, how to position the clients on the apparatus and where to be spot and cue the exercises as the teacher. It’s surprising how special and important you’ll find the Spine Corrector.
Dates, times and rates coming soon!
Go to www.RhinebeckPilates.com for more informaiton
November 5
NYC – Re:AB
Enhance Your Teaching Skills – 2:30-4pm
(3PMA CECs pending)
The more you teach, the more you need. Great Pilates doesn’t come from more and more exercises. Mr. Pilates created a set number of exercises in the classical Pilates Method. We work within those exercises. Great Pilates is about digging deeper and deeper in to the physical understanding of the Pilates Method. In this workshop, Shari will teach you to see more of what you need to cue in your teaching. We cue precision and stabilization in layers. Develop your eye and your understanding. If you do this, you will always be able to challenge your students as well as yourself for a lifetime of Pilates!
To register, contact Emilie at Re:AB at 212.420.9111 or by e-mail at center@reabnyc.com
November 13
Madison, CT – Pilates Barn
Pilates for Seniors - 11am-1:30pm – $100
2.5PMA CECs (pending)
Working with an aging population is great, but we must understand their special needs. What are the common conditions of the agin client? How do you drive a workout at his/her level? What are some modifications or new exercises to do? What are some great tools to use. You’ll leave this workshop feeling more confident that you know what to do and what not to do with your senior clients.
Teaching Tower Class: How to Create and Actively Teach
2p-4:30p – $100
2.5 PMA CECs (pending)
Apparatus classes are a big part of our growing Pilates world. You teach them, but you were never trained for them. In your tower classes, there are people of all levels, many who have never seen or been on the tower and then there are some who are pretty advanced, as well. How do you create a class that takes care of them all? Let’s take the time to learn how to create really safe, strong and challenging classes on the tower. There are special guidelines and progressions you can follow and great ways to make a fantastic class for everyone…including you as the teacher!
To register, contact Lori at Lori@PilatesBarn.com or 203.214.3213
December 9-11
Boston, MA – Atelier Pilates (Somerville, MA)
3PMA CECs
3PMA CECs
3PMA CECs
3PMA CECs
Workshops in Your Studio:
If you are interested in my teaching workshops and/or semi-private sessions for your teachers at your studio, please contact me at info@TheVerticalWorkshop.com I’ll be thrilled to put together a program with you for your needs!
While my vocabulary is classical Pilates, the principles behind my teaching and workshops apply to every style of Pilates.
We have countless topics to play with within technique workshops of classical Pilates and teaching skills workshop that apply to all!
*******
Sessions:
If you’re in NYC and want a Pilates session e-mail me at info@TheVerticalWorkshop.com
And I’m at Purchase College (Near White Plains/Westchester, NY) on Thursdays.
Workshops:
If you’d like a workshop and/or semi-privates at your studio, e-mail me at info@TheVerticalWorkshop.com I travel all over the world and would be thrilled to come to you!
Consultation:
If you’d like to set up a meeting on the phone or in person to ask questions about teaching or building/maintaining your business, e-mail me at info@TheVerticalWorkshop.com
Enjoy!- Shari
First Things First…
- First Things First
Which came first – The Chicken or The Egg? Well…this one is a conundrum. But what about in Pilates? Which cue first?
If you’re the sort of person who likes to teach Pilates, you’re probably a pretty detail oriented person. You enjoy the challenge of coordinating many different and intricate actions in the attempt to balance your own body and mind…and then have the ability to see the imbalances in your clients…and want to “fix” them. You love this so much that you almost see the errors of movement more than you see what’s working well…and just want to teach your clients everything that you know so that they can be “fixed”.
You are a good person! You want to help. You have a good eye and want to use it. You cue the shoulders, the ribs, the abdominals, the hips, the length, the breath, the everything.
However…we have to make sure that we’re really doing our clients a great service. And that means prioritizing. First things first. Literally. First…get your clients moving in the shape of the exercise. Next…cue only what’s necessary.
But what’s necessary? Isn’t everything necessary? Don’t we need to breathe, stabilize, lengthen, etc.?
No. (Said like the true Brooklyn-ite that I am…thank you for your enduring patience with my bluntness.)
We need to move our clients, first and foremost and then…what do you cue? Well, we have cues of stability and cues of precision. We need to cue the most important things first, make sure they can accept/utilize/do that action before we go and cue something else…the next most important thing.
Stability cues are those that encourage balance and steadiness of a joint by strengthening the muscles that surround the joint. Cues for the abdominals, shoulder girdle, midline of legs (or other limbs), opposition, squaring of the box, etc.
Pull you abdominals in and up to lift your lower spine.
Open your collarbones.
Hug your heals to work your inner thighs.
Reach your sitbones forward and your abominals and lower spine back.
etc.
Precision cues are those that make the exercise look more ideal…the placement of body parts.
Curl your chest up higher to the tips of your shoulder blades.
Reach your legs lower to the middle of the wall.
Pump your arms bigger…4 to 6 inches above your abdominal wall.
etc.
While everything is important…not everything is important right now. Your job as a teacher and what makes a big determination on how your client physically and emotionally progresses is what you choose to cue and how much effort you put into making sure positive changes actually happen. You need to be specific, patient and repetitive.
You’ve got your client moving in the version of the exercise that is appropriate for her and then you cue…the abdominals and lower spine. ”Pull your abdominals in and up to lift your lower spine.” Keep your client moving and working on the action of the exercise and this stabilization cue for the appointed number of repetitions and then move on. That’s it.
If your client can accomplish the action of the exercise and this stabilization lower spine through abdominal strength and opposition/length (because that is what the cue “Pull your abdominals in and up to lift your lower spine” does), then you might find that you can cue some precision. If your client is advanced enough, you might layer on another stabilization cue. ”Might” is the operative word.
First things first: move your clients and get them into their abdominals to lift their lumbar spine.
Over time (and remember your clients are coming to you multiple times a week for a long time…or that’s what we hope), you will cue more and more because they will be able to do and coordinate more and more. Take your time.
It’s remarkable to me how many instructors don’t cue the abdominals…and don’t ensure that positive changes happen. It’s stunning how many cues of shoulders, ribs and everything else is going on, but abdominals are popping out and exercises are failing…because we really have to just focus on one thing at a time.
Now, again, I know you love precision and are really great at seeing all of the things that are “going wrong” in your clients’ bodies. You want to fix them all. Of course! But you have to shelve most of the troubles and just deal with the most important things first. Give your clients time to accomplish one thing at a time. See the shoulders, the ribs, the other stuff…and hold off until your client is really ready to coordinate several different actions at once. It really is a coordination. And it really is an accomplishment to do one thing at a time…and really well.
When we cue too many things at once, our clients can’t accomplish what we’re asking. We’re asking for too much. So, our clients get frustrated and feel diminished. We feel frustrated, too. We’re asking for too much.
Beginner clients just need to move, connect to abdominals, discover their back bodies and get used to the apparatus.
Intermediate clients must maintain what they learned as beginners…and build on it one stabilizer at a time.
Truly advanced clients get many, many cues of stability and precision, but even they need them in a layering manner. Cue one thing, then make sure they have done it…then cue another…make sure that happens, too.
Be patient and teach.
I just had a fantastic time in Istanbul teaching workshops at Pilates with Gerda. As we were working on exercises, participants would say, “but what about the shoulders?”, but what about the ribs”? And in all of my silly bluntness, I would say “I don’t care about the shoulders until her abdominals are in and up and she’s lifting her lower spine. I see the shoulders. I see the rest…but I have to make sure I take care of the most important parts first.”
I remember when I used to cue everything, too. Oh, boy, did I feel like a great teacher! It was how I was taught to teach. My clients were sooo impressed by how much I could see and how little they were aware! It was so delicious. Well…it’s not delicious. It’s too much. It was how I was taught to teach and I proudly did it well, but it didn’t actually help my clients all that much. They moved, they got stronger, but the results would have been so much greater if I had worked in the way I do now…in the way I am explaining. When we go with one stabilization action at a time and repeat it over and over again (of course with different words, different images, different hands-on, different apparatus) and ensure that they “get it”, accomplish it, can repeat it and apply to other activities in their lives and each new exercise…then we are really teaching our clients something and not just instructing. Big difference between teaching and instructing.
So…teach thematically. You’ve heard me say before because it’s important and works. First and foremost, make sure your clients are making an abdominal connection and create space in the lumbar spine. Make sure you do, too! Practice on yourself. 3 workouts a week where your one and only goal in every single exercise is to Draw Your Abdominals In and Up to Lift Your Lower Backbones. Then give the same thing to your clients. Every single exercise.
Then we can layer the next stabilizer on once that is a certain action…
What is the next stabilizer? It depends. We’ll discuss another time. First things first.
****Thank you for taking the time to read this post and continue your education in this way! If you have any questions, comments, etc…please drop me a note in the comment section. Then read below about workshops coming your way or sessions. Thank you, again!****
3PMA CECs
Joseph Pilates created somewhere between 500-600 exercises. You know some of the repertoire…it’s time to learn more. In this workshop, you will learn you rarely seen and immediately useful exercises on multiple apparatus (Mat, Reformer, Cadillac, Wunda Chair, Standing Arm Springs) all created by Joseph Pilates. You’ll leave feeling confident in the purpose and technique of teach exercise, have time to do exercises, practice teaching and ask questions. You’ll walk away with your own special archive of exercises for your strong intermediate clients…and yourself!
CHICAGO – Body Endeavors/Chicago Pilates Collective
Sessions: Privates and Semi- Private Sessions
Contact Liv Berger for more information at LBERGER31@CS.COM
or call 312.202.0028
3PMA CECs
There are many more versions of Mr. Pilates’ exercises than we see today. Variations, modification, combinations of multiple exercises in one! Fascinating, challenging and all the rest! These versions should not just live in the memories of those of us who had access to them years ago. They ought to be living, breathing exercises for those who need the modification or challenge! Experience this material, then teach it so we never lose track of these great exercises!
October 2
Rhinebeck Pilates
Semi Private Sessions
Creative Spine Corrector Workshop
3PMA CECs
The Spine Corrector is one of the most underused yet extremely versatle pieces of equipment designed by Mr. Pilates. In this workshop, you’ll learn how to transform your Spine Corrector into one of the most useful pieces of apparatus in your studio! You will learn how to do and teach an entire flowing workout/ session on the Spine Corrector as well as how to use just a handful of exercises to enhance a full workout. With over 40 exercises, there’s a lot to work on and discover. You will also learn how to organize the exercises, how to position the clients on the apparatus and where to be spot and cue the exercises as the teacher. It’s surprising how special and important you’ll find the Spine Corrector.
Dates, times and rates coming soon!
Go to www.RhinebeckPilates.com for more informaiton
November 5
NYC – Re:AB
Enhance Your Teaching Skills – 2:30-4pm
(3PMA CECs pending)
The more you teach, the more you need. Great Pilates doesn’t come from more and more exercises. Mr. Pilates created a set number of exercises in the classical Pilates Method. We work within those exercises. Great Pilates is about digging deeper and deeper in to the physical understanding of the Pilates Method. In this workshop, Shari will teach you to see more of what you need to cue in your teaching. We cue precision and stabilization in layers. Develop your eye and your understanding. If you do this, you will always be able to challenge your students as well as yourself for a lifetime of Pilates!
To register, contact Emilie at Re:AB at 212.420.9111 or by e-mail at center@reabnyc.com
December 9-11
Boston, MA – Atelier Pilates (Somerville, MA)
Though it’s not set in stone, yet…it looks like we’re planning for the following:
All workshops will have PMA CECs…information to follow soon!
Workshops in Your Studio:
If you are interested in my teaching workshops and/or semi-private sessions for your teachers at your studio, please contact me at info@TheVerticalWorkshop.com I’ll be thrilled to put together a program with you for your needs!
While my vocabulary is classical Pilates, the principles behind my teaching and workshops apply to every style of Pilates.
We have countless topics to play with within technique workshops of classical Pilates and teaching skills workshop that apply to all!
*******
Sessions:
If you’re in NYC and want a Pilates session e-mail me at info@TheVerticalWorkshop.com
And I’m at Purchase College (Near White Plains/Westchester, NY) on Thursdays.
Workshops:
If you’d like a workshop and/or semi-privates at your studio, e-mail me at info@TheVerticalWorkshop.com I travel all over the world and would be thrilled to come to you!
Consultation:
If you’d like to set up a meeting on the phone or in person to ask questions about teaching or building/maintaining your business, e-mail me at info@TheVerticalWorkshop.com
Enjoy!- Shari
Breathe. Breathe in, breathe out…just breathe.
Breathe!
My dear friend, Bob, would say “we are being breathed”. He’s correct. If you choose not to inhale ever again…well…you’ll pass out and your body will breathe you. If you are healthy…you will inhale automatically whether you like it or not…because that’s what keeps you alive. However, exhaling is a choice. Indeed. So, we must choose to exhale completely.
Breath in Pilates is just like that…because the breath in Pilates is the same as the breath in life. Breathe in through your nose and out through your nose. (check out the post Breathing – That’s What Your Nose Is For!2010/08/18 )Allow an expansion of your lungs and then push the air out with the aide of your abdominals. If you empty your lungs completely (a deep, active exhalation), then you create a vacuum in your lungs. When you release the hold and flip into inhalation…it is nearly passive meaning that the vacuum fills up on its own. Effortless inhalation. The more you exhale, the more you can inhale.
Breathing is easy.
If only breathing were easy. It’s not. We’re full of stress, anxiety, holding patterns and more. So, in Pilates and other modalities, we have opportunities to re-learn breath. When we have holding patterns, we have neurological connections that are difficult to retrain. We can retrain, though, through action. We can help with Pilates.
Rules
So…Mr. Pilates has a bunch of rules. Rules, of course, are made to be broken and we often do break them or play with them, but let’s start with a solid structure of rules and then when advanced enough to play with them…we will, indeed!
INHALE:
1 – Inhale on effort. Mr. Pilates believed that we ought to inhale on effort (like when we reach against springs either on the reformer or on the Trapeze Table/Cadillac) to give the body the most amount of oxygen directly when it is needed. While this is a lovely thought, alas, it is not the truth of how our bodies work. There is a delay in the oxygen getting into the blood stream. It is not instantaneous. However, this action of inhaling on effort is really effective. When we inhale, the diaphraghm drops down, ribs expand, intra abdominal pressure increases (especially with strong transverse abdominus and healthy pelvic floor). This is a solid place from which to do strong work…your torso is really supported. In addition, that air in the lungs gives an opportunity for space between each vertebra. We’re in business!
2 – Inhale when lifting the spine. Just like I said above…an opportunity for more space! Let the air in the lungs help lift the thorax like a built in hot air balloon. Lift the organs right off of the pelvic floor, the ribcage and spine right out off the pelvis. Built in balloon lift!
3 – Inhale when extending the spine. Maintain space in between the vertebrae and solid support when there is an opportunity for compression in back extension.
Inhale on effort against springs
Inhale when lifting the spine
Inhale when extending the spine/back extension
EXHALE:
1 – Exhale on the resistance all the while maintaining the space created by the inhale. As springs compress, work with length and space to not compress. Opposition!
2 – Exhale on forward flexion/rounding the spine forward. The action is to empty the lungs completely…so that when you lengthen the spine again the inhalation will be effortless! Now, that doesn’t mean that we round with compression. We must maintain and even attempt to increase space between backbones with this deep exhalation. So…the exhalation must be assisted with the strength of the transverse abdominus.
3 – Exhale in rotation/twisting. While working to maintain space between all vertebrae, exhale…wring the lungs out, completely. Then when you return to a “neutral” position…the inhalation and action is nearly effortless…the air assisting the action of creating space between each vertebra.
Now…it’s good to know that one of the actions of the transverse abdominus (TrA) is to assist in exhalation. Studies going as far back as the 1950′s show that in resting positions or postures the TrA is pretty inactive. If you just lay down and breath, the TrA doesn’t do much. Even standing in a relaxed position…no TrA in the action of breathing. However, when we are active and vigorous, TrA works automatically to aide the exhale and all we’ve got to do is consciously work it more to really get it going. So…let’s give really strong exhales to strengthen that TrA so that we have effortless inhalations and strong muscles to support our organs and spine!
When and how to cue:
We could concentrate on the breath in every exercise from Day 1, but beginners have so much to concentrate on that it’s best to hold off on every breath cue. It’s most effective to teach the breath of Pilates in a few exercises at the beginner level and become thematic with it in intermediate level. Eventually, your client will have learned the breath of Pilates and do it without conscious thought in session and in life. It’s OK for it to be a process. We must hold back from giving everything all at once whether it be breath cues or other stabilization cues. Too much information is just that: too much information. You client can’t digest it all. Give only what’s really needed. Take time to figure out what’s needed. Beginners need to know which body parts to move and where to move them (technique of exercises), cues to connect to their abdominals and a few breath cues. That’s it. There will be plenty of time to build on these actions…layer by layer.
So…which exercises would we cue breath to teach our beginner clients?
Mat: The Hundred, Half-Roll Down, Double Leg Stretch and Spine Stretch Forward.
Reformer: The Hundred, Round and Twist on the Short Box
Cadillac/Trapeze Table/Tower: Breathing and Rolling Back
That’s it? Yup.
Cue “Deepen your abdominals in and up to empty your lungs completely”…and mean it! Really! In The Hundred, we have 5 counts to exhale. How much should we exhale? Every single molecule of air. Yes…work hard! You try it today. Do your Hundred…you have 10 chances (repetitions) to expand your breath not by trying hard to take in more air, but rather by working hard to expel more air. See how incredibly deep your abdominals get? See how easy and enormous that inhale becomes? Fantastic!
Try Spine Stretch Forward. What if you stay rounded forward until you have no more air left. Empty your lungs completely with your strong abdominals! Then…only come rolling up when you have not a single molecule left in those lungs (you might find that you’re down there for a long time…great!)…and you’ll find that your lungs fill up with a tremendous amount of air…with no effort…so you can concentrate on lifting your abdominals and lifting the space between each back bone. Wonderful!
If we teach the breath on these exercises listed above, then we have set our clients up for the ability to do it in other exercises as they advance. Ultimately, you’ll teach a series of sessions to each client where your theme for the entire session…every single exercise, will be breath. Stay within your rules listed above and work to teach your client to connect abdominals, lift of spine and breath with every exercise.
Where to breathe?
Yes, often your client will ask where should she/he breathe since we’re not doing a “belly breath”. We breathe into the entire ribcage: front, back, both sides.
The ribcage will naturally expand…almost bloom out at the base. Allow it to. Please do not constrict movement.
Allow the ribcage to expand…equally around: front, back, both sides. The ribcage will naturally rise/expand up at the shoulders and collar bones. Yes, yes, indeed…allow movement. This is normal. Shoulders and collarbones will naturally rise with inhalation. The shoulder girdle rides like a little row boat on the sea of the ribcage…let it float and rise as the ribcage expands. Encourage movement.
The back will feel tight. As though it is a solid plank. Well…we’ve got to get busy there and use breath to open space between each vertebra, each rib, each strand of muscle. Give images of space.
We don’t have to get all that creative to figure out some good images. I use simple ones. I’m sure you’ve got some good ones yourself! I often say “Imagine you have a big pink balloon inside. Inhale into that balloon. Expand it completely so that it stretches your chest, the sides and back of your ribs from the inside out. Now, exhale keeping that space, but deflate that balloon from deep inside so it shoots up narrowly through the top of your head. Then fill up another pink balloon…” Odd image? Sort of…but effective and pretty much the truth of how it works…ish (that’s Yiddish for “sort of”). Give it a try. Create a different image…just something that maintains space and length.
Normal Life
In normal life, we don’t want to be doing a forceful exhale with every breath, but why not exhale completely all of the time. We’re working our muscles, exercising them in Pilates so that they are at our beck and call in regular life whether it be our TrA, diaphragm, multifidous, triceps, hamstrings…you get the picture.
Please, oh, please ask me questions. Remember, these articles are just conversation starters. I hope you will investigate the actions of breath…real actions. Study breath from an anatomical point of view…not just Pilates. How do we breath, what does what and why? Go beyond the exercises of Pilates and the cues you were taught before and that we explore in this article…and learn how our bodies work. Then you might be surprised to see that some of what you do and were taught really follows the way our bodies work naturally at their best and other things might be the contrary. You might choose to question and/or change them. This is how I started studying anatomy and bio-mechanics. I realized that some of the things I was taught were really contrary to what our bodies actually need. That led and continues to lead me to study more and make sure that what I’m teaching is The Truth and not just intuition. Intuition is a good starting point, but it’s not an end. We must work to prove that our intuition is fact. Education and understanding is awesome!
Please feel free to request a topic for me to write on. I really enjoy your input!
Here’s what’s coming up:
(full information below…but here’s the quick list…)
August 7 Avalon, NJ
August 20&21 Istanbul, TURKEY
September 17 NY, NY (Pilates on Tour)
September 24 NYC
October 22 Chicago, IL (Pilates on Tour)
December 8-10 Boston, NY
Workshops:
|
Archival Mat & Standing Exercises
There are many more versions of Mr. Pilates’ exercises than we see today. Many Pilates teachers have never been taught many of these variations, modifications, and combinations of multiple exercises in one! Fascinating, challenging and all the rest! These versions should not just live in the memories of those of us who had access to them years ago. They ought to be living, breathing exercises for those who need modification or challenge! Experience this material, then teach it so we never lose track of these great exercises!
Sunday, August 7, 2011 9:00 AM-11:00 PM 2101 Ocean Drive Avalon, NJ 08202 |
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Shoulder Girdle: A Delicate Balance
The Shoulder Girdle is a complex system. When I first started teaching, all I knew was “pull your wings down” and “crack a walnut”. The more I study biomechanics, the more I know there’s very little down and no cracking. It’s a delicate balance of bone, muscles, ligaments, tendons…and constant reassessing. Dynamic Stability is what we’re looking for. Let’s spend time studying where we’re going with the shoulder girdle and how to get there in Pilates. We’ll take time with anatomy and biomechanics, Pilates exercises, common ailments and all of your questions. Take a moment to review what you already know before the workshop…then we can grow from there.
Sunday, August 7, 2011
11:30 AM-1:30 PM 2101 Ocean Drive Avalon, NJ 08202
Shoulder girdle from Gray’s Anatomy.
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Creative Spine Corrector
Shari Berkowitz teaching the Creative Spine Corrector Workshop in Barcelona Sunday, August 7, 2011
2:30 PM-4:30 PM
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The Spine Corrector is one of the most underused yet extremely versatle pieces of equipment designed by Mr. Pilates. In this workshop, you’ll learn how to transform your Spine Corrector into one of the most useful pieces of apparatus in your studio! You will learn how to do and teach an entire flowing workout/ session on the Spine Corrector as well as how to use just a handful of exercises to enhance a full workout. With over 40 exercises, there’s a lot to work on and discover. You will also learn how to organize the exercises, how to position the clients on the apparatus and where to be spot and cue the exercises as the teacher. It’s surprising how special and important you’ll find the Spine Corrector.Pilates for Seniors
3PMA CECs
Joseph Pilates created somewhere between 500-600 exercises. You know some of the repertoire…it’s time to learn more. In this workshop, you will learn you rarely seen and immediately useful exercises on multiple apparatus (Mat, Reformer, Cadillac, Wunda Chair, Standing Arm Springs) all created by Joseph Pilates. You’ll leave feeling confident in the purpose and technique of teach exercise, have time to do exercises, practice teaching and ask questions. You’ll walk away with your own special archive of exercises for your strong intermediate clients…and yourself!
3PMA CECs
There are many more versions of Mr. Pilates’ exercises than we see today. Variations, modification, combinations of multiple exercises in one! Fascinating, challenging and all the rest! These versions should not just live in the memories of those of us who had access to them years ago. They ought to be living, breathing exercises for those who need the modification or challenge! Experience this material, then teach it so we never lose track of these great exercises!
October 2
Rhinebeck Pilates
Semi Private Sessions
Creative Spine Corrector Workshop
3PMA CECs
The Spine Corrector is one of the most underused yet extremely versatle pieces of equipment designed by Mr. Pilates. In this workshop, you’ll learn how to transform your Spine Corrector into one of the most useful pieces of apparatus in your studio! You will learn how to do and teach an entire flowing workout/ session on the Spine Corrector as well as how to use just a handful of exercises to enhance a full workout. With over 40 exercises, there’s a lot to work on and discover. You will also learn how to organize the exercises, how to position the clients on the apparatus and where to be spot and cue the exercises as the teacher. It’s surprising how special and important you’ll find the Spine Corrector.
Dates, times and rates coming soon!
Go to www.RhinebeckPilates.com for more informaiton
November 5
NYC – Re:AB
Enhance Your Teaching Skills – 2:30-4pm
(3PMA CECs pending)
The more you teach, the more you need. Great Pilates doesn’t come from more and more exercises. Mr. Pilates created a set number of exercises in the classical Pilates Method. We work within those exercises. Great Pilates is about digging deeper and deeper in to the physical understanding of the Pilates Method. In this workshop, Shari will teach you to see more of what you need to cue in your teaching. We cue precision and stabilization in layers. Develop your eye and your understanding. If you do this, you will always be able to challenge your students as well as yourself for a lifetime of Pilates!
To register, contact Emilie at Re:AB at 212.420.9111 or by e-mail at center@reabnyc.com
December 9-11
Boston, MA
More info to follow.
Workshops in Your Studio:
If you are interested in my teaching workshops and/or semi-private sessions for your teachers at your studio, please contact me at info@TheVerticalWorkshop.com I’ll be thrilled to put together a program with you for your needs!
While my vocabulary is classical Pilates, the principles behind my teaching and workshops apply to every style of Pilates.
We have countless topics to play with within technique workshops of classical Pilates and teaching skills workshop that apply to all!
*******
Sessions:
If you’re in NYC and want a Pilates session e-mail me at info@TheVerticalWorkshop.com
And I’m at Purchase College (Near White Plains/Westchester, NY) on Thursdays.
Workshops:
If you’d like a workshop and/or semi-privates at your studio, e-mail me at info@TheVerticalWorkshop.com I travel all over the world and would be thrilled to come to you!
Consultation:
If you’d like to set up a meeting on the phone or in person to ask questions about teaching or building/maintaining your business, e-mail me at info@TheVerticalWorkshop.com
Enjoy!- Shari
Lock Joints? Don’t Lock Joints? What Do We Do?!
Strong, straight legs! Photo thanks to olympicdivingfans.com.
If you’re going to have strong arms and legs…you’ve got to be able to work with straight arms and legs. In Pilates, it’s common to “soften” the elbows or knees…but that’s only a modification for beginners with hyperextension or forced “quadding”, as I call it (when some pushes the kneecap backwards fully from the quad with no resistance from the hamstrings and popliteus. Eventually, we must take our clients out of “soft” joint modifications and get them to fully straighten their elbows and knees. True strength comes from working our muscles completely.
Now, does this mean they “lock”?
Yes and No.
We actually do want our clients to lock their elbows and knees, but how they do it is essential. They must lock with strong muscles balancing each other around the joint. We need to teach our clients to use their muscles lock the bones in place. We don’t want our clients to lock by jamming bone into bone.
Muscles can lock bones.
Bones ought not lock each other.
Ah! So, one is dynamic stability and the other is compression! It always comes to this! We must train muscles to do their jobs in balance with each other. This is not easy. It takes the teacher understanding how the body works and the extreme patience from both the teacher and client…because creating this dynamic stability takes time. ”Rome wasn’t built in a day”, they say, and balance doesn’t happen in one repetition or session or week or month…truly…who knows when it will develop. It just takes practice and patience.
Here’s a minor bit of the functional anatomy of it all:
The quadriceps are the accelerators of knee extension (straightening the knee). That means it is the muscle that makes the knee straight. The hamstrings are the decelerators of knee extension. That means they slow the quadriceps down so the bones don’t smash. Well…this only happens if the hamstrings actually engage. If you “quad” and smash the knee cap back, then the hamstrings can’t do their job. (Yes, yes, the hamstrings main function is the flex the knee, but…remember that all muscles have more than one function. In fact, the hamstrings are the accelerators of knee flexion while the quadriceps are the decelerators of knee flexion. Hamstrings make it happen, quadriceps keep the knee from snapping and smashing the knee capsule.)
Take an exercise like The Footwork Toes on the reformer. When your client presses the carriage out and extends her knee, the main effort is the quadriceps to straighten the leg, but without the hamstrings, the knee cap smashes down. Stopping at soft knees does, indeed, stop the smashing, but does nothing to strengthen the quadriceps and teach your client how to use his/her leg in motion. In fact, it will create relatively weak quadriceps, hamstrings, popliteus and more. But aren’t we supposed to be making strong legs? We have to find full extension without hyper-extension from a balance of quadriceps and hamstrings (these are primarly, but they are not the only ones involved in stabilizing the knee) ostensibly locking the knee joint with a balance of muscular contraction. We must find “end range” of joints with the balance of muscular action.
How does one develop this? Well, in Footwork, as a solid example, as the teacher, alert your client. When she smashes her knees say something like “Did you feel that when you straightened your legs, your knees smashed into position?” The usual response is “No”. And that’s understandable. your client is used to smashing and doesn’t even realize it. So, this is half of the battle. You now say “Do it again and let me know what you feel”. Now, they are aware of their movement…now you can teach. Whether they smash again or not, cue this “As you press away on the footbar, work to use the back of your leg, your hamstrings, as much as the front of your leg, your quadriceps. We’re looking for a balanced strength of your leg. Do the same thing when you bend your knees and resist the springs in. Front of leg and back of leg working together.”
This way they have something to work on! Find this in every leg exercise. Work to straighten the leg completely…with balance.
Those with hyper-extended knees will stop short or go too far more often than not. Stay patient and encouraging…develop balance.
Same thing with elbows. There is a balance that needs to be developed that can be found through opposition: Reach the shoulder blade back (just enough to be balancing on the back of the ribcage) and the hand forward. This opposition will ultimately allow for a “locked” elbow with great strength. If the elbow continually hyperextends, then the lost action is the shoulder drawing back.
Whenever we’re looking to stabilize a joint…working on a stable surface is ideal:
For learning how to straighten a leg with balance, sitting up on a mat is great. With legs outstretched, have your client “soften” her knees. Then have her press her heel into the mat strongly with a softened knee to activate her hamstrings. Then have her maintain the pressure of the heel while drawing her kneecap up her thigh which is engaging the quadriceps. The effort of keeping heel down and knee cap engaged ought to work to straighten without quadding or hyper-extension.
For learning how to straighten an elbow with balance, lying down on a mat is great. With knees bent up and feet flat on the mat, have your client reach her ams up to the ceiling right over her shoulders. She ought to lift her shoulder blades off of the mat and start with softened elbows. Then ask her to keep reaching her fingertips to the ceiling, but draw her shoulder blades onto her back, into the mat (note that I did not say “down her back” or “away from her ears”…these cues are not proper ways to stabilize the shoulder blade…even though many of you have been taught this…I apologize, but they are compressive cues rather than stabilizing…and we can talk about this another time…please ask me to explain.)…so she must draw her shoulder blades onto her back and into the mat. If she is reaching up and drawing back equally and opposite…her elbow joint will become straight with strength. With mighty effort, balance and control…very mindful and active.
Well…these are not quick fixes, but they are extremely strengthening and balancing!
We’ve got to work through our muscles finding the end range of motion for both extension and flexion of joints. Full Range of Motion is what we’re going for. Stopping short at “soft” knees or elbows does have an element of control and consciousness and is import for beginners, but intermediates need more…we’ve got to work for balance of strength (and stretch) to give our clients the most!
As always…please ask me questions and let this be the beginning of a discussion, not the end or a monologue. I hope this information is helpful! Try it out on yourself first…and then your clients when you feel comfortable with it. And please feel free to request a topic for me to write on. I really enjoy your input! Enjoy!!!
Here’s what’s coming up:
August 6&7 Margate and Avalon, NJ
August 20&21 Istanbul, TURKEY
September 17 NY, NY (Pilates on Tour)
October 22 Chicago, IL (Pilates on Tour)
To register, contact Melissa at www.njyogazone.com
|
Archival Mat & Standing Exercises
There are many more versions of Mr. Pilates’ exercises than we see today. Many Pilates teachers have never been taught many of these variations, modifications, and combinations of multiple exercises in one! Fascinating, challenging and all the rest! These versions should not just live in the memories of those of us who had access to them years ago. They ought to be living, breathing exercises for those who need modification or challenge! Experience this material, then teach it so we never lose track of these great exercises!
Sunday, August 7, 2011 9:00 AM-11:00 PM 2101 Ocean Drive Avalon, NJ 08202
|
|
Shoulder Girdle: A Delicate Balance
The Shoulder Girdle is a complex system. When I first started teaching, all I knew was “pull your wings down” and “crack a walnut”. The more I study biomechanics, the more I know there’s very little down and no cracking. It’s a delicate balance of bone, muscles, ligaments, tendons…and constant reassessing. Dynamic Stability is what we’re looking for. Let’s spend time studying where we’re going with the shoulder girdle and how to get there in Pilates. We’ll take time with anatomy and biomechanics, Pilates exercises, common ailments and all of your questions. Take a moment to review what you already know before the workshop…then we can grow from there.
Sunday, August 7, 2011
11:30 AM-1:30 PM 2101 Ocean Drive Avalon, NJ 08202
Shoulder girdle from Gray’s Anatomy.
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|
Creative Spine Corrector
Shari Berkowitz teaching the Creative Spine Corrector Workshop in Barcelona Sunday, August 7, 2011
2:30 PM-4:30 PM
|
Pilates for Seniors
There are many more versions of Mr. Pilates’ exercises than we see today. Variations, modification, combinations of multiple exercises in one! Fascinating, challenging and all the rest! These versions should not just live in the memories of those of us who had access to them years ago. They ought to be living, breathing exercises for those who need the modification or challenge! Experience this material, then teach it so we never lose track of these great exercises!
Workshops in Your Studio:
If you are interested in my teaching workshops and/or semi-private sessions for your teachers at your studio, please contact me at info@TheVerticalWorkshop.com I’ll be thrilled to put together a program with you for your needs!
While my vocabulary is classical Pilates, the principles behind my teaching and workshops apply to every style of Pilates.
We have countless topics to play with within technique workshops of classical Pilates and teaching skills workshop that apply to all!
*******
Sessions:
If you’re in NYC and want a Pilates session e-mail me at info@TheVerticalWorkshop.com
And I’m at Purchase College (Near White Plains/Westchester, NY) on Thursdays.
Workshops:
If you’d like a workshop and/or semi-privates at your studio, e-mail me at info@TheVerticalWorkshop.com I travel all over the world and would be thrilled to come to you!
Consultation:
If you’d like to set up a meeting on the phone or in person to ask questions about teaching or building/maintaining your business, e-mail me at info@TheVerticalWorkshop.com
Enjoy!- Shari
Pick and Choose – An Article For Everyone!
Joseph Pilates and friends at Jacob's Pillow - photographer unknown
- Pilatespeak – Choose Your Words Carefully2011/06/07
- Pilates…a Profession?2011/05/04
- Neutral Pelvis and Neutral Spine: What are they and why do we care?!2011/04/01
- Bowed Legs – Another Knee Issue2011/02/27
- Anatomy – Where do I begin?!2011/02/08
- One more tidbit about knees…all knees…2011/01/18
- Knock-Knees Part II2011/01/02
- Knock-Knees and Pilates2010/12/12
- Advancing to the Ideal: Modify and then Advance2010/11/23
- Pilates Teachers, what do you need?2010/11/12
- Flow, rushing, pacing…what’s it all about?2010/10/07
- Purpose and Legacy2010/09/28
- Commanding Your Class – A question from a reader2010/09/08
- Breathing – That’s What Your Nose Is For!2010/08/18
- Classical Confusion: Clarifying the Definition of Classical Pilates2010/08/02
- “Success Story” – Pilates Style2010/07/13
- Independence: It’s fundamental to Pilates!2010/07/04
- Cues: A Handful of Great Ones Are All You Need2010/06/18
- Rome Opens My Eyes: Pilates’ Place in the World of Fitness!2010/06/16
- Gym Mentality: How to Win Over the Gym Pilates Client2010/06/04
- Pilates Olympics Extravaganza! Fantastic!2010/05/25
- Lower Abdominals: How can we teach our clients (and ourselves) to connect?2010/05/06
- Creating a Holiday: Pilates Day Everyday!2010/04/30
- Positive Cueing – Teach What To Do, Not What Not To Do!2010/04/16
- Teaching Mixed Level Semi-Private Sessions – Guidelines2010/04/14
- Group Classes – Multi-tasking the Multi-level Group Class2010/04/07
- Pilates Apparatus – So many different manufacturers. Can we teach on anything?2010/03/30
- Pilates Myth: “Get out of your hip flexors”2010/03/19
- Improvisation in Pilates2009/10/29
- Heart Starter2009/08/17
- Entropy has no place in Pilates2009/06/26
- Taking the Mystery Out of Pilates2009/06/06
- The Value of the Entire Method of Pilates2009/05/30
- Go to what scares you the most!2009/04/12
- Those Pesky Ribs – Poppin out all over the place!2009/02/04
- Expectations: It’s About Growth – Not Perfection2008/11/30
- What is one thing you learned today?2008/10/20
- 4 Pilates Stances – Deeper discussion on parallel vs. external rotation2008/10/02
- Parallel vs. “Turn Out”/External Rotation2008/08/14
- Back to Basics: Honor Every Position…especially the last part!2008/08/03
- Back to Basics – Part 2 – Would Mr. Pilates Recognize That Exercise?2008/07/14
- Back to Basics – Part 1 of The Series2008/06/23
- Half Effort is Wasted Effort2008/05/12
- 4 Teaching Tips2008/04/23
- Hips Up…Shoulders Back!2008/03/19
- Don’t be afraid to teach2008/02/21
- Classical Excitement!2008/01/27
- Keep the Common Exercises Uncommon! – Will Wonders Never Cease?2008/01/09
- Remember what it’s all about.2008/01/02
- Confidence2007/12/01
- Thankful for Pilates2007/11/23
- Practice What You Teach2007/11/14
- Create “A Community of Help”
To register, contact Melissa at www.njyogazone.com
|
Archival Mat & Standing Exercises
There are many more versions of Mr. Pilates’ exercises than we see today. Many Pilates teachers have never been taught many of these variations, modifications, and combinations of multiple exercises in one! Fascinating, challenging and all the rest! These versions should not just live in the memories of those of us who had access to them years ago. They ought to be living, breathing exercises for those who need modification or challenge! Experience this material, then teach it so we never lose track of these great exercises!
Sunday, August 7, 2011 9:00 AM-11:00 PM
2101 Ocean Drive Avalon, NJ 08202
|
|
Shoulder Girdle: A Delicate Balance
The Shoulder Girdle is a complex system. When I first started teaching, all I knew was “pull your wings down” and “crack a walnut”. The more I study biomechanics, the more I know there’s very little down and no cracking. It’s a delicate balance of bone, muscles, ligaments, tendons…and constant reassessing. Dynamic Stability is what we’re looking for. Let’s spend time studying where we’re going with the shoulder girdle and how to get there in Pilates. We’ll take time with anatomy and biomechanics, Pilates exercises, common ailments and all of your questions. Take a moment to review what you already know before the workshop…then we can grow from there.
Sunday, August 7, 2011
11:30 AM-1:30 PM 2101 Ocean Drive Avalon, NJ 08202
Shoulder girdle from Gray’s Anatomy.
|
|
Creative Spine Corrector
Shari Berkowitz teaching the Creative Spine Corrector Workshop in Barcelona Sunday, August 7, 2011
2:30 PM-4:30 PM
|
Pilates for Seniors
Workshops in Your Studio:
If you are interested in my teaching workshops and/or semi-private sessions for your teachers at your studio, please contact me atinfo@TheVerticalWorkshop.com
I’ll be thrilled to put together a program with you for your needs!
While my vocabulary is classical Pilates, the principles behind my teaching and workshops apply to every style of Pilates.
We have countless topics to play with within technique workshops of classical Pilates and teaching skills workshop that apply to all!
*******
Sessions:
If you’re in NYC and want a Pilates session e-mail me at info@TheVerticalWorkshop.com
And I’m at Purchase College (Near White Plains/Westchester, NY) on Thursdays.
Workshops:
If you’d like a workshop and/or semi-privates at your studio, e-mail me at info@TheVerticalWorkshop.com I travel all over the world and would be thrilled to come to you!
Consultation:
If you’d like to set up a meeting on the phone or in person to ask questions about the teaching or building your business, e-mail me at info@TheVerticalWorkshop.com
Enjoy!- Shari
Pilatespeak – Choose Your Words Carefully
Cover of George Orwell's "1984" from folio.
Remember the great novel 1984 (Nineteen Eighty-Four)? Remember “Newspeak”? It was the choice use of words to create a mentality and society that behaves in the way that the government wanted eliminating free thought and independence. It was author George Orwell’s way of expressing the power of the lexicon. What you say is directly related to how you think and what you do. There is no separation. If you say it…that is how you behave.
What does this have to do with Pilates? Everything.
When we teach, we must choose our words carefully. What we say is exactly what our clients do. If we are wise, we will pick words that embody the intention of the exercise. With this, our clients learn the exercises more easily…and not just the movement, but the action.
Pilates is about action. Length. Space. Strength. Opposition. We’re looking to create a balanced body and mind. That body has length, space, strength, opposition. That body is energized for Life. That mind is creative, flowing and focused. The movement is flowing, joyful and spontaneous. There is no habit. There is no compression. There is no force.
With our words, along with the method, we create an environment of length, space, strength, openness.
So…choose your words carefully. Speak Pilatespeak.
Remove all words that indicate compression, tension, force, shortness, pain and replace them with words that represent Pilates length, space, strength and openness.
Here’s a guide:
Common – - – Pilatespeak
Down – - – - – Lengthen
Push – - – - – - Reach
Squeeze – - – - Hug
Drop – - – - – - Lower
Release – - – - Resist
Grab – - – - – - Place
Tummy – - – - Abdominals
Pinky – - – - – Small Finger
What’s it about? Psychology. Yes. We’re working the body and the mind. We have to understand how people learn. You see, the first thing people learn is what they burn into their memories. We are imprinted with our initial experience. Unlearning that is difficult. Not a little bit difficult…extremely difficult. It’s really important to teach the correct action correctly the first time. The first time. So, if you say “drop”…that’s exactly what your client is going to do. And that’s exactly the opposite of anything we ever want to do in Pilates because it gives into gravity. Choose a word that resists gravity…that incorporates length, opposition, control! You have a choices as a teacher. Make ones that affect your client positively.
Why waist your time having to teach multiple actions if one word change will make it happen right away.
For example: Mat: Side Kicks – Front/Back
If right away, on day 1, you teach the very bare technique (literally what body part is moving and where it is moving to) “Reach your leg forward, give it a pulse. Reach your leg back. No pulse.” You’re in business! Your client is working with control and reaching…lengthening…there it is! If you, instead, say what you’re used to saying “Kick your nose 2 times, swing your leg back and hold”…then you’ve set yourself and your client up for failure. Where is the control? Where is the length? You’ll get there eventually, but you could have gotten there on repetition number 1! Incredible. It is!
Why not give your clients (and yourself) an opportunity for success? Why not teach Pilates through your choice of words.
Another example: Reformer: Footwork: Tendon Stretch
Here is an exercise that while it stretches the sole of the foot achilles and calf muscles, as well as strengthens the muscles of the foot, around the shin/tibia and calf, it also needs to teach opposition and control. Remember that there is an equal balance of stretch and strength in every exercise. If on day 1 and every day after, you teach the initial, first repetition of technique while you stand directly in front of the footbar “Reach your heals to me. Lift them up to you.” Again…you’re in business! You just taught length with effort. However, if you say what you’re used to saying “Drop your heels. Lift them back up.” You’ve taught a lack of control that gives into gravity.
Does that make sense?
Here’s another: Mat: The Roll Up
First repetition as a new exercise: ”Inhale, curl your head and chest up. Exhale reach your spine forward. Inhale start rolling your spine back. Exhale lengthen your spine into the mat.” That’s just the very first repetition. Already this client is reaching and lengthening. I don’t say “down to the mat” which implies lack of control, compression and release into gravity…I emphasize actions that are part of Pilates.
It makes an unbelievable difference!
Now, there are times that I have to “translate” Common Speak to Pilatespeak in order to teach my client my language. Such as a Swan Prep. First repetition, I might say something like this “Lift your torso and head up. Lengthen back into the mat…down to the mat. Second repetition which requires less words of technique and more rhythm and a sense of the energy or muscularity of the exercise I would say “Lift Up! Lengthen Long to the mat.” Embodying the exercise with the tone of my voice and choice of words.
It takes effort to choose words that embody the exercise. It does! And…if you’ve read my pieces before or work with me in workshops you know what I will say next: It’s your job to make the effort! And…it’s fun! It’s far more fun to choose great words that help your client than it is to choose cheap mindless ones. I don’t blame you for being mindless about this thus far. You’re doing a great job! You’re using the words that your teacher used and her teacher before. But…you can do better! You’re the next level in teaching. Let’s build on what we’ve learned. Let’s not stay in the habits of others…unless they work! And then…let’s even reach beyond that!
Enjoy! Have fun! See where you can stretch yourself…as a teacher! We’re supposed to be working our bodies and minds, too!
*****As always…please feel free to comment, ask questions, request a blog post/article topic, etc. Whatever you need, relative to Pilates, please just ask and I will work to provide! See below for workshop and session details! Thank you for taking the time to further your Pilates education with me!******
Upcoming Workshops:
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Sunday, June 12, 2011
Rhinebeck, NY
9-10am – Thematic Mat Class
10:15a-1:15p – Archival Mat and Standing Exercises
2-5p – The World of The Chairs: High Chair and Wunda Chair – Your Body’s Best Friends!
For registration and pricing information, contact Elaine at Rhinebeck Pilateswww.RhinebeckPilates.com
Saturday, June 18, 2011
NYC – Real Pilates
Shoulder Girdle: A Delicate Balance
3-6pm
3PMA CECs
The Shoulder Girdle is a complex system. When I first started teaching, all I knew was “pull your wings down” and “crack a walnut”. The more I study biomechanics, the more I know there’s very little down and no cracking. It’s a delicate balance of bone, muscles, ligaments, tendons…and constant reassessing. Dynamic Stability is what we’re looking for. Let’s spend time studying where we’re going with the shoulder girdle and how to get there in Pilates. We’ll take time with anatomy and biomechanics, Pilates exercises, common ailments and all of your questions. Take a moment to review what you already know before the workshop…then we can grow from there. Register atwww.realpilatesnyc.com Go to the option “Browse our classes” and then click on “Workshops”. You’ll see it there! If you prefer, you can just call 212.625.0777 . ***Please share this information and tell your Pilates teacher friends and colleagues to come on over for workouts and workshops that will get your Pilates-teaching-juices flowing.***
Again, these are not your typical workshops where you might get 1 useful tidbit. You will leave full of new teaching skills and ways to look at Mr. Pilates work. You will have a new perspective on Pilates that will enliven your teaching and your own workouts!
Shall we set up something at your studio or the one you work at? Clearly, I travel to teach and enjoy it! Read below for more info!
Workshops in Your Studio: While my vocabulary is classical Pilates, the principles behind my teaching and workshops apply to every style of Pilates. We have countless topics to play with within technique workshops of classical Pilates and teaching skills workshop that apply to all! ******* Workshops: Consultation: Enjoy!- Shari |
