Anatomy Dances: Breathe

Breathe by Lesley A. Powell

Breathe by Lesley A. Powell

Anatomy Dances: Breathe by Lesley A. Powell

You can see how the diaphragm fills the bottom of the ribcage.  It is like a hydraulic pump that moves up and down the inside of the torso.

If any of the muscles influencing the ribcage are locked down, can you see how it would affect the breath.

Sign up now for Early Bird Discount to Anatomy Trains & Pilates Workshop 11/8 w. Doris Pasteleur Hall

To register: 212-414-1103

231 W. 18th St. NYC To register: 212-414-1103

Doris Pasteleur Hall will also be teaching a Master Pilates Equipment Class

Exploring the Psoas Equipment class.  November 8 2-3 PM 

Intermediate-Advanced $36. Class rates apply (no discounts for this class)

Doris Pasteleur Hall teaching Anatomy in Clay

Anatomy Trains & Pilates
Saturdays 3:15 -6:15 PM  $150 Early Bird discount pay by prior month by the 15th   15% off

Anatomy Trains provides a comprehensible way for movement educators to observe the body morephoto clearly. Throughout each workshop you be able to identify and trace one of the 6 fascial lines of Anatomy Trains. These tools will expand your postural assessment and provide more effective choices on how to help the student/client within the Pilates repertoire.

SUPERFICIAL BACK LINE               November 8
The Superficial Back Line protects and connects the entire posterior surface of the body.

Pilates Equipment class for Movers and Shakers w. Lesley Powell Fridays at 3/NYC

Tangos & TanglesPilates Equipment class for Movers and Shakers

To register: 212-414-1103

To register: 212-414-1103

Fridays 3:00 – 4:15 PM  Reservation is required.

Pilates is great for building of strength, coordination and flexibility for professional movers such as dancers and athletes.  This intermediate/ advanced class is about creating better foundations of balance, technique and it’s applications to standing such as dance and other activities.  End of class we will explore Pilates principles to standing, dance and other activities.

Pilates Lab: Anatomy Trains and Pilates with Doris Pasteleur Hall/NYC

To register: 212-414-1103

231 W. 18th St. NYC To register: 212-414-1103

with Doris Pasteleur HallDoris Pasteleur Hall teaching Anatomy in Clay

Saturdays 3:15 -6:15 PM  $150 Early Bird discount pay by prior month by the 15th   15% off

Anatomy Trains provides a comprehensible way for movement educators to observe the body morephoto clearly. Throughout each workshop you be able to identify and trace one of the 6 fascial lines of Anatomy Trains. These tools will expand your postural assessment and provide more effective choices on how to help the student/client within the Pilates repertoire.

SUPERFICIAL BACK LINE               November 8
The Superficial Back Line protects and connects the entire posterior surface of the body.

SUPERFICIAL FRONT LINE             January 24
The Superficial Front line protects and connects the entire anterior surface of the body.

LATERAL LINE                                   February 21
The Lateral Line frames both sides of the entire body from mid-foot to the ear.

SPIRAL LINE                                      March 21
The Spiral Line begins on each side of the skull and loops itself from back to front to the same hip as the skull. In the leg the line moves along the anterolateral thigh under the arch of the foot and back up.

ARM LINES                                        April 25
The Arm lines have four distinct myofascial directions.We will trace the muscle/fascial chain from the core to distal end of the arm lines

FUNCTIONAL LINES                                    May 9
The Functional Lines apply the arm ,torso and legs in the front and well as the back body. It is mostly used in contralateral movements of every day life and sports.

DEEP FRONT LINE                           June 27
The Deep Front Line means the core of the entire body. Between front/back and side to side of the body. We will trace the muscle/fascial chain that goes from the foot through the adductors, psoas, diaphragm, throat and side of the skull.

Doris Pasteleur Hall 
Doris has been a student and a teacher of movement, including dance, Pilates and Yoga, for over 30 years. Her complementary research into the somatic modalities of Laban, Body-Mind Centering, Anatomy in Clay and kinetic anatomy have fostered and augmented her interest in the body-mind embodiment. She attended the first Body language from Kinesis done in New York City with Tom Meyers, author of Anatomy Trains.
Doris currently works with Tara Collins, PT at Black Rock Physical Therapy in Bridgeport, CT as a very qualified movement/neuromuscular re-educator. She continues to teach Pilates independently specializing with injuries and pain. Doris strives to continuously hone her teaching abilities to help people get from where they are to where they want to be.
Doris had studied and taught at Carol Trier’s Pilates studio.  She also taught at White Cloud, New York, the first Gyrotonic studio from 1988-1993.  She has been teaching teachers since 1997 through the PhysicalMind and now internationally workshops to teachers about the body.

 

 

Effective Movement Training Calls for Conscious Awareness By Apollonia Holzer

Effective Movement Training Calls for Conscious Awareness

By Apollonia HolzerApollonia Holzer

From Tai Chi and Yoga to Cross Fit and Pilates, there are several ways to improve the health of the body and mind. While each technique has varied strategies, each body has its own unique potential, needs and goals.

As a Pilates trainer, bodyworker, dancer and explorer of many workshops and studies for 14 years, I have accumulated extensive information on how to perform exercises; or movement, I prefer to say.

Bringing conscious awareness to our workouts and to our daily lives — before, during and after a session — creates common ground for observing different qualities and emotions we experience from inside and out, which can transform the habits of posture, and how we express and communicate with our environment and ourselves. Movement changes not just the body, but also the mind and spirit.

Presence

Our presence in working with clients creates the field for awareness andconsciousness. The body is a expression of our life. As soon as we work with the body, its patterns and expressions may change, fall back, or stay the same.

How can we determine a cause, when the same imbalance, pain or discomfort is showing up repeatedly? For example: the right side of the pelvic half is anteriorly tilted; the iliacus and quadriceps are holding, while the other pelvic half is posteriorly tilted; the psoas and hamstrings short.

To uncover root causes, bringing conscious awareness to daily life activities will give us insight on how our habits influence repeated imbalances. We can help our clients develop heightened awareness of their activities; including how they carry a bag, how they use their phone, posture sitting at a desk, limited vision or hearing on one side, or emotional stress, to name a few.

Observing Clients

A session starts as soon as the client enters the room. There is a lot of information shown through walking, conversations and posture. How does a client perform these movements? Are they still moving as though they are at work?

It is not enough to know and just to tell our clients, “This exercise is for the Psoas…This is for the triceps,” etc. Often the correct muscle or joint is not doing the work because there is too much compensation elsewhere. Can we help them to experience what they are really doing, or not doing, as it relates to performing an exercise in the way in which we ask?

In observing my clients, I copy their movements to enhance my understanding of their body mechanics, and find the best way to support their body.

Observing Sessions

Observing other sessions is so informative. Some of the most helpful things I have learned occurred while watching teachers with their clients and instructors-in-training. Observe how teachers communicate with their clients; how they approach challenges and which props they use to alter the feeling of an exersice. It is useful to consider how the texture, material and shape of a prop can impact the performance of an exercise, depending on the client’s needs.

Gravity

Each position a client takes in space in relationship to gravity has a different effect on the body and mind. In a supine, standing or prone position, the nervous system and the alignment have different reactions and directions of movement in space. To work on the same muscle group in different positions challenges different muscles as stabilizers.

For example: If I work on the rotator cuff muscles in a standing or sitting position, the humerus bone is in a different orientation to the gravity than it does in a side-lying position. The humerus bone can become an additional weight to the rotator cuff muscles depending on how gravity is influencing its position. Imagine adding different tools, such as weight or having the elbow on a ball while the client is seated. This would challenge the muscle to stabilize more because of the need to balance the ball.

Tools

Weight, balls, Thera-band, springs, space, floor…every material has a different texture and a different impact on our neuromuscular system. Various tools can be used for the same exercise, but our nervous system is responding differently to each one.

For example: the springs in Pilates on the reformer. When the carriage slides out, the springs create tension in two directions. Is our mind focused on pushing away from the footbar, or reaching the feet into footbar? Can we still resist and control the springs when the carriage comes in?

Voice

The way we use our voices in guiding a client through an exercise supports the dynamics of a movement and affects the nervous system. A calm and grounded voice can bring clients to a different presence and quality of movement. A dynamic voice can support and encourage them to move with strength. Depending on what state a client is in, when they see us, we create with our voice a field of support, consciousness and excitement. Using the voice with different intonation, such as in a melody, can have a profound effect on performing a movement.

Listen

Listen to your clients’ daily lives to understand the habits in their work and activities, especially when there is a continuation of a repeating pattern. Listen with hands on, and support the direction of movement.

Conscious awareness in movement can have a profound effect on a client’s entire life, not just their movement patterns. Let us see movement as an expression of the human spirit, and longstanding change can occur.

Lesley Powell offers in her Pilates teacher training program and workshops very instructively and valuable informations and details to conscious awareness in movement. Check it out.

So You want To be a Pilates Teacher. Upcoming Balanced Body Schedule w. Lesley Powell

 

Lesley Powell

Lesley Powell

To Register for all Courses with Balanced Bodybalanced body

 

 

 

 

 MAT I

  • November 14-16. 2014
  • September 26-28 2015

MAT II

  • January 9-11, 2015
  • October 16-18 2015

REFORMER I

  • December 5-7 2014
  • November 6-8 2015

 REFORMER II

  • February 6-8, 2015
  • December 4-6. 2015

REFORMER III

  • March 6-8, 2015

APPARATUS I

  • April 17-19 2015

APPARATUS II

  • May 15-17, 2015

 

Two workshops at Chelsea Movements: Franklin Method: The 3-D Spine and Finding Balance in Scoliosis

To register: 212-414-1103

To register: 212-414-1103

Franklin Method: The 3-D Spine     Workshops for AllIMG_0028

September 27, 2014 2-3:30 PM        $45   Early bird discount by 9/15 $38.25
With Lesley Powell, Franklin Method Teacher, Certified Movement Analyst, Balanced Body Pilates Faculty

The spine is a masterpiece of design containing over one hundred joints and associated muscles and ligaments. This workshop will explain spinal evolution, design and function using imagery and simple movement. A new embodied understanding of the spine will allow for all daily movement and exercise to benefit spinal health.

3-D Spine we get you to experience how the spine works especially in spiral movement. Part of the lack of effectiveness in overcoming back problems is that people do not understand how the spine moves. We look at the shape of each vertebra and the Sliding action of the facets in movement. We will apply this to the Pilates repertory and other modalities.

Franklin Method: The 3-D Spine and Finding Balance in the Scoliotic Spine         Muscular Imbalances
Teacher Workshop

September 27, 2014 2-6 PM           $120   Early bird discount by 9/15    $102
With Lesley Powell, Franklin Method Teacher, Certified Movement Analyst, Balanced Body Pilates Faculty

Part I 3-D Spine we get you to experience how the spine works especially in spiral movement. Part of the lack of effectiveness in overcoming back problems is that people do not understand how the spine moves. We look at the shape of each vertebra and the Sliding action of the facets in movement. We will apply this to the Pilates repertory and other modalities.

Part II With the understanding of how the spine moves in 3D, we can now apply these principles to muscular imbalances of the spine such as scoliosis. As movement teachers we often encounter clients with scoliosis. Just as individuals have unique spines, each scoliosis has its unique qualities. In this workshop we will:

  • Discuss the most common scoliotic curves and their musculoskeletal characteristics
  • Explore strategies to achieve balance and ease of motion in a unique scoliotic spine
  • Use Pilates repertory to facilitate change