A Guide to Awareness Through Movement: 18 Lessons Based on the Feldenkrais Method

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A Guide to

A a e ess

ro glt Mo ,.,,. 18 Lessons Based 011 the Feldeakrais Method

by: Chava Shelbav and Dalia Golomb

© Copyright 2003 by Shelhav Institute. This book or parts thereof may not be reproduced in any form without permission of the publisher.

Photography: Ayala Lesher Demonstration: Ayelet Cohen Taligraf Printing, Bnei Braq, Israel

Special thanks to llan Katz, Anastasi Siotas and Debra Mucsh For their contribution to the Hebrew to English translation.

INTRODUCTION This book was written to assist teachers of the Feldendrais Method and all who wish to expand their understanding of themselves and of the method. It consists of 18lessons ofAwareness Through Movement as taught by Dr. Chava Shelhav. The uniqueness of this book is in its combination of lessons with elucidating explanations and comments.

The Contents of the Book The selection and the sequence of the lessons were derived from the stages of human development. During man's early development, several aspects of functioning emerge: rudimentary and sophisticated motor skills, co-ordination, orientation, balance, cognition and emotion. These systems are inter-related and influence one another, although they develop at different rates and stages. The first year fonns the basis of the development of voluntary movement patterns for the human being. Voluntary movement patterns include all the components of the visual-spatial, the perceptual and the sensory-motor systems. The integration of all these senses as well as balance, co-ordination and orientation influence one's cognition and emotion. During life, each distortion- such as tension, illness or injury - triggers a compensatory mechanism necessary for survival . Any solution found may serve a particular situation, but this "temporary solution" may gradually develop into a pattern of movement, which may subsequently become embedded in one's personality. Such compensatory solutions may become habits and manifest themselves throughout the course of a lifetime, inhibiting abilities and distorting the quality of movement and behavior. By re-experiencing earlier stages of development during which movement patterns and habits were adopted, an adult up this time, is able to experience them with awareness. In this way, one may achieve freedom from distorted movements and habits no longer helpful and sometimes even hannful. This learning process may take place in any physical and cognitive state and at any age. The role of the teacher is to match the appropriate process to the particular person.

The Structure of the Lesson Each lesson is structured around a particular function. Feldenkrais defmed a function as movements with a definite purpose such as walking, bending, turning and so on. Feldenkrais identified that each function was governed by bio-mechanical principles and the laws of physics. These principles guided his teaching towards how to stimulate and activate the components of a function (see exercise No. 1 at the end of Lesson 5). He did not deal with movements around a certain area or a certain part of the body, but rather with the function and its components. The teacher should remember that we are not dealing with movements, but rather with improving the organization of the function. Only through the development of one's awareness, at each and every stage, can this be achieved.

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Development of Awareness The aim of the Feldenkrais Method is to develop awareness. It was not by chance that Feldenkrais named the lessons "Awareness Through Movement" and not "Awareness of Movement". Awareness is a tool to improve functionine on allleve1s. enabline the potential for s.pontaneity and flexibility at any &iven moment. Teachers should devote time to directing the students to pay attention and be aware of how they are functioning. It is not~ is accomplished but hQl! it is done. This is achieved not through mechanical repetitions but through slow conscious movements. This requires attention and sensitivity to the inter-relationships among body parts and their relation to the environment while moving. Drawing a person's attention to the manner in which s/he is functioning within the context of the lesson enables adaptation in everyday life. The ability to adapt to changing conditions - as is done in the framework of the lesson - enables a more efficient and spontaneous quality of life.

How These Lessons may Develop Logical Thinking and Creativity Each lesson has a logical structure and is like a piece of art. It is hoped that teacher and student alike will, through the medium of each lesson, have a sensual-emotional-thoughtful experience. This pleasant feedback which results is a precondition to learning something new and contributes to its assimilation. The more one repeatedly experiences and goes deeper into the lesson, the more one discovers. The components of the lesson become clear, its hidden layers and logical structure become obvious and in this way, the logical structure of the lesson can foster logical thinking. This does not deny a teacher the liberty to adapt lessons in a creative meaningful manner to the needs of the students. On the contrary, the more a teacher is familiar with a wide repertoire of lessons, the more easily s/he will be able to select and suit the lesson to the needs of the students. Creativity will evolve from discovery and understanding of the various layers of the lessons. Both teachers and students benefit from these lessons in the ways Erica Landau describes creativity in her book "Lexicon of Education and Teaching", published in Israel in 1997: "Creativity is the finding of a new way in a given framework. Creativity is expressed in a new, personal way in given conditions. It has no one recipe and it is individualistic. The creative personality is open, sensitive, curious and flexible. It incorporates logic and imagination, subjectivity on objectivity, emotional perception and experience".

Suggestions for Using This Book A. The teacher will first study the lesson with the explanations in detail. It is essential that the teacher internalizes the losson prior to teaching. B. During the lesson, the teacher will not have the text in hand, so as to establish direct contact with the students. This way s/he will be free to observe how the students respond to directions,

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how they are functioning, and in accordance with that to continue to give directions. C.

The teacher may occasionally fmd it appropriate to hold back on certain points, elaborate something and only then to continue the lesson. fu order to do this, the teacher should carefully prepare the lesson by also experiencing it personally.

How Different Students May Benefit From The Same Lesson The lesson is directed at a heterogeneous group of people. Each and every person has an equal opportunity to experience many different variations of the same function. Although the guidelines and conditions in the class are uniform and despite each individual's needs being different, each person is affected differently by the lesson. Each person distills from the lesson, what is most needed to satisfy his own requirements. This occurs along with increased sensitivity and sharpening observation of one's self and awareness of changes and improvements taking place. The ability to observe. by both the teacher and the student. is a precondition for learninK· stems from learninK and leads to improvement

THEFORMATOFTHEBOOK The format of this book was designed to help make reading the prepared lessons easier to comprehend and execute. The Feldenkrais principle - differentiation for the sake of integration - was the guideline in the search for a graphic format, which would illuminate the written lesson. The outcome is the table in which the text of the lesson is separated into 3 categories: 1. "The movement" (in the column on the left) has two different kinds of lettering: Bold letters for "the initial position and the constraints", and in thinner letters for "the movement" that is done within the position or constraint. The distinction between the two may help the teacher to understand the role of the constraint while experiencing the movement. 2. "The sensing" (in the right column), is related to "the movements" (of the left column). The separation between them clarifies their mutual role. 3. Comments for the teacher, both general and specific to the lesson (in the horizontal table across the entire page), enable the teacher to understand further what is behind the different directions. These comments may be shared with the students, if the teacher wishes. It is also possible to use them in other lessons. This too, is left to the discretion of the teacher.

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Separation into columns, according to these categories, enables the teacher to read the text in different ways, for example: a. To read the entire text and get an overview of the complete lesson.

b. To go over "the initial positions and the constraints" (in the bold letters) one after the other. It may help to memorize the course of the lesson. c. To concentrate on "paying attention and sensing", and learn when and how one may stimulate the students' curiosity to feel, to notice and to be aware.

d. To concentrate on the explanations (in the horizontal column across the entire page). This enables the teacher to integrate theories and principles of the Feldenkrais Method to the movements of a lesson . The "picture" of the lesson inside the table makes it easier for the teacher to understand, to absorb and to remember the lesson. It may also help when planning or presenting a lesson, or transcribing a lesson.

EXPLANATION OF THE SYMBOLS (1- This sign is for repeating a movement that has been previously experienced, and also for doing

the same movement on the other side. -

This sign is for rest (usually rest for the sake of discerning changes which might occur).

Remarks: When a previously stated movement is repeated during a lesson, it is not given a new number. Rather it is assigned the same number it was given the first time it appeared, with the addition of the symbol (1-. This way of numbering will assist the teachers to orient themselves when reading the lesson and to realize immediately whether the instruction is a new one or a repeated one. The photographs are not numbered. They are generally located in the column on the right but relate to the directions which are given on the left.

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The list of lessons:

Pa~:e

No.

The lesson

1.

Bending from supine (elbow to knees) .......................................................

1

2.

Lifting the head from prone ........................................................................

9

3.

Transitioning from supine to prone supported on crossed elbows..............

18

4.

Transitioning from supine to side-lying and to sitting ................................

24

Improving upright organization -A series of 3 lessons: ..............................

33

5.

1st in the series - lying on the side ..............................................................

35

6.

2nd in the series - lying supine....................................................................

36

7.

3rd in the series- lying prone......................................................................

54

8.

Turning (rotation) from supine with head fixed to the side .......................

64

9.

Turning (rotation) lying on the side ............................................................

74

10.

Transitioning from standing on all fours - to where?........ ..........................

83

11.

Transitioning from lying to sitting while holding the foot ...................... ...

90

12.

Transitioning from side-sitting to standing, in a spiral motion ................... I 00

13.

Sitting on a chair ......................................................................................... I 06

14.

Breathing in - various positions .......... .......... .............................................. 112

15.

Voice production and speech....................................................................... 118

16.

Lengthening the arms from supine.............................................................. 123

17.

Standing and walking .................................................................................. 132

18.

"Homework" for individual work: .............................................................. 138 A- lying on the back. B - Sitting on a chair.

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LESSON 1: BENDING FROM SUPINE (ELBOWS to KNEES). Directions For the initial position and the constraints For your attention and sensing

For doing the movement

- Lie on your back. Place your arms down by your sides and your legs - long and straight.

~ Pay attention to how you are resting, to the contact your spine makes with the floor, from your sacrum to your skull, which part of your skull is resting on the floor. Which parts of your spine are touching the floor and which parts are raised? Which areas of your pelvis are touching the floor?

Pay attention to the contact your shoulder blades make with the floor. Which parts of your hands, arms and upper arms touch the floor? Can you sense the distance between your arms and your body? Pay attention to where you notice movement created by your breathing in and by your breathing out?

1. Bend your knees and stand your feet on the floor. Place your hands with interlaced fingers behind your head and lift your head with your hands.

a. Lift your bent left leg and move your left knee toward your left elbow. b. Ct (The other side) Lift your right leg and direct your right knee toward your right elbow.

c. (Diagonally) Lift your right leg and direct your right knee toward your left elbow.

d. Ct (The other diagonal) Lift your left leg and direct your left knee toward your right elbow.

~

It is important not to exert yourself in bringing the knee and the elbow toward each other. Do not strive to have them touch each other and do not exceed your limits of comfort. Breathing out may help while you do this bending movement.

Why do we place our hands at the back of our head? What do we gain from this positional constraint? a. By supporting the head with the hands, the muscles of the neck are not strained while lifting the head. This helps clarify the antagonistic function of 'engaged' neck extensors: by having them 'let go' with the help of the hands, they allows the flexors (the agonists) to perform their function. b. Connecting the arms to the head via the hands allows the shoulder girdle and the ribs to 'learn' to become part of the bending action. c. All of the muscles involved in this bending (against gravity) will participate, each according to its ability. Later in the lesson you will be able to bend even without supporting the head as you minimize the resistance of the neck extensors. Consequently, when these three components function in a coordinated manner, you will experience a more even distribution of movement along the entire length of your spine, making the movement light and easy.

- Lengthen your legs and rest.

~ Pay attention to any changes, which have taken place in the way you are lying now and in the contact your limbs make with floor.

2. Bend your knees and stand your feet on the floor. Bring your left bent knee closer to your chest and hold it with your right hand. a. Place your left hand behind your head and move your left knee and left elbow toward one another. Repeat this movement a few times.

b. Switch the position of the hands (without switching the active knee), and move your right elbow and your left knee toward one another a few times.

~

Which shoulder is lifted off the floor? Toward which side is the weight of your body inclined?

When we bring the knee and the elbow closer to one another; the 'flexors' (the muscles in the front of your body) - which in this case are the agonists - contract. At the same time the 'extensors' (the muscles of your back)- which are in this case the antagonists- inadvertently become lengthened. The elongation of the extensors allows the flexors to contract. Forward bending is facilitated when the extensors learn how to 'let go' of their contraction and become elongated.

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2. Ct (Other side): Bring your right knee closer to your chest. Hold your right knee with your left hand and place your right hand under your head. a. Move your right elbow and right knee toward one another. Repeat this a few times.

b. Keeping the same knee raised, change over the hand that holds it and now move your left elbow and right knee toward one another.

3. Bend your knees and stand your feet on the floor. Lift your right knee and hold it with your left hand. Thrn your face to the left and put your right hand over your left ear. Bring your right elbow and right knee toward one another. (Do not remove your hand from the ear. The head remains turned to the left and your eye also look to the left)

• Which vertebrae and which ribs touch the floor? Which vertebrae and which ribs are raised from the floor? Reduce the tension in both hands - in the hand that holds the knee and in the hand that holds the head.

Generally, there is a tendency to invest greater effort in the hands and the arms than necessary, because of their habitual daily use. Therefore, special attention should be paid to decrease the effort in this activity. Just the thought (~f less active use of the hands may lower the overall muscle tone of the arms. 'Letting go' of the excessive tension in the arms will allow more of the spine and ribs to participate in the motion, so that the movement of bending can become more organized and efficient. 3. Ct (Other side):

Grasp your left knee with your right hand, and at the same time turn your head to the right. Put your left hand over your right ear. Bring your elbow and your left knee toward one another a few times.

• It is worthwhile to stay in this position and check whether it is possible to decrease any excess tension in the hands and the feet.

• Do not hold your breath, allow it to flow freely throughout the entire process.

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4. Lift both knees and hold them with both hands. Bring your knees closer to your head, simultaneously lift your head and look straight ahead past your feet. Do this several times keeping your eyes directed toward the ceiling, and then repeat it several times looking straight ahead.

~ Which of the two seems to help you bring the head and the knees closer together looking at the ceiling or looking straight ahead?

Now repeat the above two movements while keeping your knees together.

Neck problems experienced by many people often stem from a lack of coordination between the direction in which the eyes look relative to the direction of the movement of the head. These people may learn to sense how the direction in which they look either benefits or hinders their movements. In this way, they may become aware of their habitual patterns that they had previously ignored. Making one aware of unnoticed patterns may enable one to see how these patterns could be the cause of discomfort and limitation.

5. Bring your left knee closer to your chest and put your left hand under your left knee. Thrn your head to the left and put your right hand on your left ear. The right hand reaches the left ear from behind the head.

Bring your right elbow and left knee closer toward each other.

/

~ Notice that the head rests on the hand, and that the shoulder and shoulder blade are lifted off the floor.

Ct (The other side:) Move your right knee closer to your chest, and put your right hand under your right knee. Thrn your head to the right and put your left hand on your right ear, from behind your head. Bring your left elbow and your right knee toward one another.

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~ On which side is it more comfortable and easier to do this movement?

- Lengthen your legs and rest.

~ At this stage, there may be significant changes in the way you sense the contact between your various body parts and the floor.

6. Bring your left knee closer to your chest, hold your left knee with your left hand, and put your right hand behind your head. a. With the assistance of your left hand move the knee to the left, lifting your head a little. And move your right elbow to the left, in the direction of the left knee and the floor, and roll to the left. The other knee may respond to the movement.

b. Switch the position of the hands and remain holding the same knee. Now roll in the same direction, as before, to the left.

c. Remain in this position of lying on your left side and from this position, while holding the same knees with the same hands as in b move your elbow and knee closer and away from one another. Do just as much movement in bringing the knee and elbow closer together as you do in taking them apart. (1-

~

Notice to what extent this position 'forces' your ribs and the vertebrae of the lower thoracic and lumbar spine to move more than before.

Do all of this on the other side: a, b, c.

Mobility of the ribcage in all its different variations encourages motion in places that are stiff. These motions 'force' the spine, especially the upper thoracic and the cervical vertebrae, to go into action and therefore become even more mobile.

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7. Bend your knees and stand your feet on the floor. Begin moving your left knee toward your chest. a. With your right hand, grasp your kneecap and with your left hand grasp the outside of your foot (thumb together with the other fingers). With the help of both hands, gently move your forehead and your left knee toward one another.

b. Switch the position of the hands but hold the same leg, and from this position -

~

Notice that in this position (b) your hand holds the inner part of your foot.

move your forehead and knee closer to one another.

The previous movements, which activated the diagonal muscles (both in your front and back) provided for the possibility of additional curvature of the spine. And, in step No. 7 the spine is indeed required to curve more than it had previously.

- Lengthen your legs and rest.

~ Notice the differences in the quality of contact your body makes with the floor. Compare your right side with your left side.

7. Ct Do the other side.

Should the need arise, it is possible to add to a certain movement process additional variations based on the same principle idea. Here, for example, in each and every position, it is possible to switch over the hands: the one which is holding the knee, with the one which is supporting the head, and in this way facilitate bringing the forehead and the knee closer together.

8. Put your right hand behind your head. Now bring both knees closer to your chest and, with your left arm hold both legs from behind the knees. Move your knees toward your Forehead and your forehead toward your knees.

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Now, do this after switching over your hand and arm positions.

~

Where does any additional curvature of your spine occur? (which has not occurred or has not been noticed before).

1. Ct Repeating the initial movement of the lesson:

Bend your knees and stand your feet on the floor. Put your hands behind your head. Lift your head with the assistance of your hands, lift your right bent leg, direct your right elbow and your right knee toward one another and bring them closer together.

~ Observe the extent to which the elbow and knee come closer to one another (with less effort), and how this is related to the curvature of your back.

Ct Do likewise with your left leg.

Is there any improvement compared to the beginning of the lesson?

9. Bend your knees and stand your feet on the floor. Slowly roll to one side and then come to a sitting position.

Slowly, stand up.

~ Notice how your body, in the transition from lying down to sitting, responds by bending.

~ What has been the effect of this lesson on your posture? Notice that a new standing posture has occurred spontaneously. You do not actually have to do anything to achieve this new upright organization.

It is generally accepted that an erect posture requires actively bringing oneself to an upright position. However, as a result of this lesson, we Learn that the skeleton and the new organization of the muscles - without our intervention - bring about a more sustainable erect posture. Such 'uprightness', which comes from 'choice 'or 'learning' of the unconscious system, has a much greater chance of being absorbed into daily life than any exercise of mechanical extension, or commands by parents or teachers to 'stand up straight'. A lesson dealing with the improvement of bending (flexion) actually deals with the coordination between the flexors and the extensors. The flexors are able to function fully only when the extensors are able to 'let go' of their habitual tension.

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Part of the problem with flexion is that the extensors continue - out of habit - to work during flexion. Disengaging the work of the extensors resolves the problems offlexion. How can we improve this function? First andforemost by listening and tuning in to the mode of action: - In each step of the activity, we focus on developing an awareness of the appropriate amount of muscular effort required to execute the movement. - when we give a direction to act, we not only focus on the body part that is directed to act, but also on the involvement and participation of all other parts as well. - Each phase of the lesson offers an opportunity to notice excessive tensions. Where they are located? Do they hinder the activity? If they are obstructive to our functioning during the lesson -perhaps they are also obstructive in our functioning in daily life? This discernment tells us that functioning may improve with the reduction of strain rather than with its increase. One may utilize this level of discrimination in daily life, in functions such as driving, prolonged sitting in front of a computer, household chores, etc. The improvement offlexion brings about a new quality in upright posture. Onlv those who can flex can reach a dvnamic erect posture. Dynamic erect posture is that from which one can move easily in any direction without preparation.

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LESSON 2: LIFTING THE HEAD FROM PRONE

Directions For the initial position and the constraints For your attention and sensing

For doing the movement

1. Lie on your front. Keep your legs long and spread slightly apart. Place your forehead on the floor. Have your arms bent and near your head on the floor with your palms down.

Lift your head and look straight ahead Lift it only to the point where you do not have to exert yourself. Next time you lift your head, notice how far up you can see.

~

Pay attention to the quality of the movement when raising the head, and also to the state of tension of the muscles in your neck and in your back. ~

Remember this point for later.

2. Keep your forehead and hands on the floor, your legs - straight. a. Move your eyes to the right and back to the center (with your eyes closed). Move your eyes in a smooth and quiet way and maintain a continuous and steady breathing rhythm without interruptions.

~ How far from the center to the right do your eyes go? What is the range of movement of the right eye? And what about the left eye? Notice that while both eyes move to the right, each one of them reaches a different place.

b. Move your eyes from the center to the left and back.

~ In which direction is the movement of the eyes easier - from center to the right or from center to the left? In which direction is the movement bigger?

c. move your eyes from the center downward, toward your stomach and back.

~ Does the movement of the eyes have any effect on the muscle tone in your back and neck?

d. And now - move your eyes upward and return. e. Lift your head, simultaneously look downward.

~ When the eyes move in the opposite direction of the head movement notice the feeling in your neck, shoulders and back.

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f. Lower your head and simultaneously look upward. Alternate between e and f.

1. Ct Repeat lifting your head.

~ Notice the way you lift your head now. Can you feel any improvement?

The movements of your eyes in this lesson have an effect on the tone of the muscles in your neck. Tension in the neck makes lifting one's head more difficult. In general, your eyes look in the same direction that your head is facing. It is unusual for the eyes to move in the opposite direction to the movement of the head. This unusual movement allows one to feel and notice eye movement within the orbit (socket) of the eye, which influences the muscle tone in the neck. The conscious differentiation of the movements of your eyes and your head - through a non-habitual experience - allows for a new and improved integrated coordination of both. When someone has difficulty in lifting their head, one of the ways to help is differentiation which is described here. 3. Place your forehead and hands on the floor. Move your head downward as if to see your navel by raising your upper back.

~ As a result, your forehead needs to slide downward on the floor.

Most of the movement should be done by using your back rather than by the pushing down on your hands.

Keep your pelvic area in contact with the floor. Repeat this several times.

l.(t Again lift your head.

~ Notice the quality, ease and range of this movement now.

At this stage in order to improve the ease of lifting your head we have employed the principle of 'opposed action '.Moving your head toward your navel 'forces' .vour flexor muscles in the front of your body to shorten. As you raise your upper back, your head responds passively i.e. 'goes with' the force of gravity. This movement is opposite to the movement of lifting your head (from this position), which is against the force of gravity, and is ultimately the movement we would like to improve. How does peiforming such a movement improve the opposite movement? In order to lower your head the flexor muscles must engage and shorten. As a result of this, the

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extensors muscles of your back, out of necessity, must let go and lengthen. These back muscles, which have let go, can afterwards engage by contracting from a 'freer' more neutral starting place, and thus allow lifting the head with ease and without the interference of the old habitual 'holding' pattern. Here, as well as in many other lessons, the antagonist and the agonist learn to function in harmony. That is, when one group contracts the other lets go. In this manner an improved musculo-skeletal coordination can be established.

4. Put your forehead on the floor. Put your hands on the floor on either side of your head. Your elbows are also on the floor and bent. Bend your knees and lift your Feet toward the ceiling. With your knees bent at a right angle -

~

Pay attention to the direction of your feet relative to the ceiling: If we had to put a book on your feet in which direction would it fall off?

flex and extend your feet only. ~

Notice the range of movement in both flexion and extension of the feet. In which part of your foot does the flexion take place?

5. Bend your left knee to an angle of approximately 90 degrees, so that the sole of your foot faces the ceiling. Your right leg remains right on the floor.

~

a. Lift your left knee a little off the floor. While lifting your knee think of moving your knee away from your head. Think more of extending the distance between the head and knee and less of the lifting of the knee itself.

Be aware of maintaining a right angle at your knee while doing this movement.

b. Now, press your knee into the floor.

~ When pressing - which part of you is raised from the floor? (the groin?)

Press and let go several times. a. Again, raise your knee just enough so as to achieve the extension from head to knee.

~

Is lifting the knee any easier now?

II

Ct Do all of this - a, b, a - on the other side, with

your right knee bent at a right angle and your left leg straight. 6. Bend both knees (the soles of your feet facing the ceiling).

~

a. Lift both knees minimally from the floor, just enough to achieve extension.

Concentrate on extending your back and not on lifting your knees.

b. Press both knees down into the floor and then let go. Do this several times.

~

When pressing down there is a tendency to stop breathing, this is not necessary. There is also no need to press your palms into to the floor. Is there any unnecessary tension in the shoulders? (there is no need for this either).

c. Now, press the knees alternately: when your right knee presses - your left knee lifts up, and when your left knee presses your right knee lifts up. Gradually, increase the pace until You can feel a rhythm like an actual drumbeat on the floor with your knees.

~

Can the movement be easy and agile?

In order to make a quick and agile movement one must abandon the 'holding' patterns of the back and the legs. 'Holding' restricts these movements. Your ability to perform a movement at different rhythms is important, as there is a different quality of organization required and inherent to each rhythm. It is important to be aware of this.

1. Ct Repeating the initial movement:

Straighten your legs. Put your forehead on the floor. Place your hands on the floor on either side of your head and lift your head.

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~

Notice how much further you can raise your head.

Which additional parts of your body are lifted along with it? How high up are you able to see now? How easy is it to lift your head now?

As you are lifting your head look to the right and then to the left. Do it slowly.

The purpose of all this is to experience the possibility of movement in every joint of each vertebra in your spine, and to also expand the movement of your ribs. Many people experience stiffness in the rib cage and therefore they excessively mobilize their lumbar vertebrae, which is unnecessary and may lead to damage. Make sure to do the movement of lifting the head in an effortless manner. In order to do so one needs to observe where there is supeifluous strain when doing the movement. If the teacher emphasizes small movements, reducing the tension in the shoulders, extending the back and an even and continuous breathing pattern, the students will increase the possibility of freeing themselves of unnecessary holding patterns that strain the back and inhibits the ability to act freely.

- Lie on your back and rest.

~

7. Lie on your front. Put your head on the floor turned to one side. Place your arms on the floor, your hands near your head.

~

Notice on which side you spontaneously put your head. In general, the first, spontaneous position you choose will be the more comfortable one.

Now tum your head and put it on the other side.

~

Notice the quality of rest in this position of lying on the floor.

Notice the difference.

The unconscious provides a system that will 'take care' of the body. However peoples choices often inteifere with their spontaneous movement choices. The initial, spontaneously chosen position or movement, was selected by their unconscious. As we learn to listen to and become more aware of ourselves, we can learn how to decrease disturbances to the system, and allow it to function more in its own optimal spontaneous way.

/

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7. (cont'd) Lie with your head on your left ear. a. Bend your right leg and slide the knee and the foot as well on the floor toward your chest, and then return it to straight.

~

Which parts of your back are participating in the movement? How far up your back is it possible to observe the resonance of the movement?

Do this several times. (You may straighten your left arm downward). ~

b. Slide your head along the floor to the right, and then bring it back to the center. Repeat this a few times.

Pay attention to your breathing. Can you keep breathing in and out without impeding the movement of your head?

After each time you return your head, initiate the movement to the right from a different part of the head: - from the left ear - from the nose - from the back of the head - from the forehead.

~

c. With each sliding the head to the right, slide the knee to the right, so that the head and knee get closer to one another on the floor.

~ Notice the curving of the spine, and how all of the vertebrae and ribs are invited to participate in the movement.

What can you observe happening in the neck and the thoracic vertebrae as your head moves?

Each person, in his self-image, has a different 'picture· of his head in different positions and with emphasis on different details. Shifting your attention to each different part of the head provides a more complete picture. Moreover, shifting the place of initiation for movement of the head, from the forehead to the ear, to the nose, etc., changes the trajectory of each movement. This will change the angle of movement at each joint in the neck, thus allowing the possibility of an overall new quality of movement for your head.

1. Ct Repeat: Straighten your legs. Place your hands near your head, place your forehead on the floor and raise your head.

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~ Notice, if as a result of what we did in the previous step, there is any difference in the way you sense the tone of the muscles between your left side and your right side when raising your head.

7. Ct (The other side):

with your head resting on your right ear -do a, b, c 1. Ct Repeat the initial movement:

Place your forehead on the floor

~ Notice if there are any differences that arise in doing all of this on the other side?

~ Notice how you raise your head now compared to how you did it at the beginning of the lesson.

and lift your head.

8. Keep your legs long and spread them slightly apart. Place your forehead on the floor. Place your hands on the floor on either side of your head. Raise your elbows toward the ceiling. a. Press on your right palm to shift your elbow to the left toward your shoulder blade and return. Then, with the other palm, push your left elbow to the right. Allow the head to respond to this movement by rolling, without any initiative of its own.

~ The pressing on your palms and your awareness of the movement of the elbows and shoulder blades help you with the movement of rolling the head.

b. Add to each of these movements the sliding of the knee towards the head on the same side as the palm you are pressing into. Gradually increase the pace.

1. Ct Repeat the initial movement: Straighten your legs. Place your arms on either side of your head and place your forehead on the floor.

Again, lift your head.

~

Notice the quality of the head-lifting movement. Can the shoulders lift to a height which allows the elbows to straighten further?

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Lift your head up to the point you marked in your memory at the beginning of the lesson, and from this point continue to raise your head to a place that you can reach now.

~ Compare the two points you have reached when looking straight ahead - at the beginning of the lesson and now. Is this a result of any extra effort?

Aside from the increase in the range of motion, notice the improvement in quality and ease of the movement.

Here you are provided with an opportunity to ask yourself- "how did this come about?" When we are busy improving a certain function (in this case the movement of lifting the head), we are not achieving it by thoughtless and mechanical repetition or by muscular strain (as is usually the case), but rather by breaking down the movement into its component parts, components which one is often not aware of The teacher's role is to tune the student's attention into the importance of listening to themselves while performing a movement. At the end of each lesson one is often surprised as to what has been accomplished by rather unusual means.

- Lie on your back and rest.

~ Pay attention to the contact your body makes with the floor and to the length of your back and the length of your legs.

Where do you notice the movement of breathing taking place?

9. Roll your head a little to the right and a little to the left and then let it remain in the middle. Place your feet on the floor. Roll to the side and come to sitting.

Stand up.

~ When standing, observe the contact your feet make with the floor, and the position of the head relative to the shoulder girdle.

Has your sense of the horizon altered.

10. Walk around

~ Notice how you walk. Do you normally walk like this?

'~----------------------------------~----------------------------------~

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This lesson of lifting the head is a review of a basic function taken from the sequence of human development. Control of lifting of the head is a prerequisite for moving on to the next stage of development. In this lesson we worked on several components, which are essential to the crawling stage and then moving toward a sitting position, such as: - Synchronizing movements of the head and the eyes. - Coordinating action of the flexors and extensors. - Shaping the curves of the Cervical and Lumbar spine. - Improving the head lifting. In order for people to communicate with their environment it is essential that they can easily lift their head. The environment arouses their curiosity and thus stimulate funher development.All the components, which have improved as a result of this lesson, harbor within them the potential for further development.

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LESSON 3: TRANSITIONING FROM SUPINE TO PRONE SUPPORTED ON CROSSED ELBOWS Directions For the initial position and the constraints For doing the movement

- Lie on your back.

For your attention and sensing ~ Pay attention to the contact your shoulder blades make with the floor. Do you sense any difference between them? Do you feel one leg longer than the other? There is not one person whose two sides are both identical. Observe any differences you sense between your two sides.

Can you discern a mid-line? A line going through the middle of your skull, your neck, between your shoulder blades, your lumbar vertebrae, your pelvis, and then continue this line down between your legs. How far from this mid-line do you sense each of your legs is? In which direction are your feet pointing?

We are not looking for symmetry in the structures of our body, but rather how to create a more symmetrical use of ourselves in the actions we peiform. Here we are clarifying the sense of our center; which is an important factor in improving balance and coordination. Searching for the mid-line is of value for a person's own sense of themselves, and in turn their self-image.

1. Bring your arms up so that they rest diagonally on the floor, and spread your legs apart so that they too are creating diagonals. a. Raise your left leg and move it across the midline toward the right, until it is above your right leg, and then return it back to where it started. Do this back and forth several times.

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When moving your leg, allow your pelvis and hip (of your left side) to lift off the floor and to move to the right. keep your feet relaxed, not stiff.

\

b. Gradually allow the upper part of your torso to participate in this movement: the left shoulder will rise and the arm will move to a place above your head, and then to the right until you almost lie on your side.

Return to lying on your back by having your upper part lead the movement.

Go back and forth a few times in this way.

c. Continue this movement until you find yourself lying on your front, supported by your crossed elbows.

~

The movement begins from the leg (lifted and moved to the right) and the upper body follows.

~ The way back begins from the hand, arm and shoulder, which move backward, and your lower parts follow in sequence after them. Pay attention to the importance of the movement of the shoulder. ~

Your left elbow crosses over your right elbow. Both elbows stand under you shoulders.

d. While lying on your front supported by your crossed elbows - lower your head so that it can hang freely.

Move your head from side to side over the crossed elbows, with your eyes looking downward. Remember to lean on your elbows.

~ Notice the chain of motion - instigated by the head movement - in your shoulder girdle, your spine and pelvis.

These interrelated movements are a stimulus for shaping the curvature of ones spine. The movement of the head- from the center to all directions- is an interplay with the gravity, and is an important stage of the development of orientation. When the head changes the orientation the rest of the body learns to adjust its organization according to the changes of the head. e. In order to return to lying on your back 'lengthen' your right arm along the floor, look at your hand and place your head on your right arm. Continue to lengthen your arm until you find yourself rolling once again onto your back.

~

This is the reverse of the previous movement.

~

Lengthening your right arm will result in shifting your weight from your side to your back.

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/

a-e Ct Do the entire procedure in one continuous motion: from your back to your front where you shall be resting on your elbows, and then reverse the sequence returning to your back. Do this a few times, back and forth.

- Let go of everything and rest on your back. a-e Ct Now, do the whole sequence on the other side.

2. Lie on your back. (Repeat the beginning of the sequence just as in 1a): Lift your right leg and bring it over your left leg. But now, simultaneously, bring your right arm to the left. This process will again bring about resting on both elbows, but this time the elbows will be organized parallel to each other and you can look straight ahead toward the horizon.

~

Make a note of the difference between the two ways of resting supported by your elbows: crossed and parallel. Which organization seems more stable?

Later on in this lesson we will perform movements while leaning on parallel elbows, i.e., fixing the elbows in place on the floor. According to the 'proximal vs. distal' movement principle, (in this case the elbows are distal to the back), this organization will 'force' the spine and pelvis to move relative to the more stabilized shoulder girdle. The purpose of keeping your head hanging downward throughout the lesson is to: - offer opportunities for your head to 'let go' and thus be more responsive to gravity. - force your rib cage to participate more in the movement (which will happen as a result of 'letting go' ofthe head). - shift your orientation from your head to the larger muscles of the pelvis and thighs, and allow them to lead the movement.

3. Lie on your front, supported by your parallel forearms and elbows, and let your head hang free. Lift your right hip a few times.

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As you lift your hip, slide your right knee out to the side and up toward your stomach Uust as in crawling).

~ Observe that the sliding of the knee is done while maintaining contact of the entire inside part of your leg with the floor, including the foot.

Repeat this several times.

~

What changes take place when the knee moves towards the stomach?

Ct Do all of this on the other side:

Lift your left hip and do the crawling motion with the leg.

4. While you are in the same position, supported by your parallel elbows and your head is hanging free,

move your head to the right so that your right ear moves towards your right shoulder,

and then go the other way, move your left ear toward your left shoulder.

~ To which side is it easier and more comfortable to move your head?

Now do it from side to side.

~ Which parts of your spine respond to the change in the position of your head to the right, and which parts respond when you move to the left?

3+4:

~ Has the function of sliding the knee been improved as a result of moving the head from side to side?

Lift your right hip and slide your knee upwards Uust as in crawling). As you are sliding your right knee on the floor bring your right ear closer to your right shoulder. Ct Do all of this on the other side. Ct Do this alternating from side to side.

Look at the knee (the one sliding upward) a few times under the shoulder, and then look at it a few times over the shoulder.

~ Notice that every change in the position of the head allows for a new orientation, which in turn stimulates a chain of events in each of the joints of the spine, through to the pelvis and the legs.

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5. Remain with your right knee bent, with your head turned towards it (under or above the shoulder), straighten your left elbow, let your head respond to the movement and then go on to lying on your back.

• The mere straightening of the elbow causes you to roll over on to your back.

6. From supine position to prone position and back: Do this entire sequence again in the two ways we have followed: a. With parallel elbows. b. With crossed elbows Do this from side to side, then roll in the direction of just one side for two rolls.

7. While lying on your front, supported by your parallel forearms and elbows, a. bend and slide one knee out to the side, and bring the other one up and under the pelvis, and then return to where you started. Ct Do the same on the other side.

b. In the same way (as a) bring yourself to standing on both your knees while still resting weight also on your elbows.

c. Lengthen one leg and then the other and you'll find yourself on your stomach and elbows again. Do this back and forth, switching the leading leg from time to time.

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/

8. Stand on your knees and on your hands. Place your toes as if ready for running, and let your head hang down. Move your weight backward to your heels, raise your pelvis while straightening your knees. and come up to standing on the

entire foot.

• Pay attention to how your back, on the way up to standing, changes from folding to unfolding. Notice that your hands leave the floor after your knees and pelvis have already begun lifting. The head arrives last into the upright position.

Resting supported on the elbows and forearm s is an important stage in the sequence of human development. When our head is upright, one's field of orientation expands and one's curiosity has more of an opportunity to develop. This position of the head also provides options for more diverse motion and is therefore a stimulus for further developmental progress than was available during the bellycrawling stage. Organization and strengthening of the shoulder girdle and mobility of the upper ribs are requirements for developing belly-crawling and prepare one for progressing onto all fours. Crossing our mid-line, in the crossed elbow position, helps us to identify our central axis. We thus learn to move in and away from it, further developing our sense of orientation and balance. Crossing the mid-line is also instructive and connected to our ability to rotate about our axis, allowing us to turn in all directions. Pressing weight into the floor is a stimulus to the proprioceptive system. This system has receptors located in the skin, muscles, tendons, ligaments and bones. This network of sensations helps develop one's own f eeling of 'self' in any environment. Our kinesthetic sense, which is our ability to perceive motion, stems from this proprioceptive system.

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LESSON 4 : TRANSITIONING FROM SUPINE TO SIDELYING and TO SITTING /

Directions For the initial position and the constraints For your attention and sensing

For doing the movement

- Lie on your back

~

Notice which direction your right foot is pointing, and compare that to where your left foot is pointing. On which part of your heel do you feel the weight resting? (in each foot). How big is the space between the back of your knees and the floor? Is one knee closer to the floor than the other? Be careful to avoid any excess pressure on your knees. Where do you sense your thighs meet your pelvis? Which part of your pelvis is in contact with the floor? Which parts of your ribs and of your spine touch the floor? Which part of your skull is in contact with the floor? Where have you placed your arms and your hands? Can you notice the movement created by your breathing in your abdomen and in your ribs?

1. Bend your knees and stand your feet on the floor. a . Lower your right knee to the right and bring it up again (your left knee remains upright). Do this back and forth.

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~ Shift your attention to your right foot.

Does the weight go over to the right side of the foot? How far down does your right knee sink? What is the distance between your right knee and the floor?

b. Keeping your right knee lowered to the rightlean on your left foot and lift your left hip joint, then let it go.

• Notice that as a result of lifting your left hip joint your right knee gets closer to the floor (it may even touch the floor, but do not exert yourself to reach it).

Do this several times up and down, keeping the position of your lowered right knee.

• Notice that the movement takes place in your two hip joints: one goes up while the other, simultaneously, goes down. If you allow it, the force of gravity will influence the thigh in a way that the knee and the leg move down towards the floor, and what you get is a see-saw movement between your pelvis and the leg. As a consequence of the movements we have done - can the knee be lowered even further?

a. Ct Again:

Stand your right foot on the floor and let your right knee sink out to the right.

- Straighten your legs and take a rest.

• Notice if the directions, to which your feet are pointing, have changed.

1. Ct Do all of this on the other side, with your left knee lowered to the left: a • b • a.

• Now as the movement is clear, you may have additional observations: When you press on your right foot and lift your right hip joint (b), you create a movement of rotation in the pelvis. Notice how this effects your ribs and rib cage. If you do not 'hold' your breath this rotational movement may also occur in your chest. Can you feel it all the way to your cervical vertebrae? If you do not feel this, observe what is happening and try to notice what is blocking the movement.

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2. Bend your knees and stand your feet on the floor. Let your right knee sink to the right. a. Raise your left hip joint and simultaneously roll your head to the right.

~ Notice how you breathe: when do you inhale and when do you exhale?

b. As you raise your left hip joint, roll your head to the left (in the opposite direction).

~ Notice how the lifting of the hip-joint in the opposite direction to the head influences the extent to which you can roll your head.

c. Alternating: each time you move your pelvis, change the direction of your head movement. Do this in a slow, coordinated manner.

~

Notice how the head movement affects your cervical vertebrae, your thoracic spine and your upper spinal vertebrae.

- Straighten your legs and rest.

~ Notice the effects of what we have done so far on the way your legs are resting: their weight, their length, the direction of your feet.

2. Ct Do this to the other side,

with your left knee sinking to the left: a - b - c. 3. Bend your knees and stand your feet on the floor. With your left foot take a step to the left so that your legs are widely spread apart, and let your left knee sink inward to the right.

~ Your pelvis and left hip joint elevate slightly. Notice the slight rotation to the right which has taken place in the pelvis, and observe how the knee and the movement of the pelvis rotate both the ribs and the rib cage. Allow this rotation to happen in the spine as well.

~

In order for the knee to sink inwards, you need to lessen the excessive tension in your right leg and allow the force of gravity to act on the leg. Exhale each time your knee sinks to the side.

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Notice the relationship between the movement of your ribs, your back and pelvis and the sinking of your knee to the right. ~

Notice how your exhaling affects the movement of your knee toward the floor.

- Straighten your legs and rest.

Observe the consequences of what we have done so far - on the resting position of your pelvis, on the way your legs are resting on the floor, on the position of your ribs and head.

3. Ct On the other side.

~

Ct Alternating: Bend your knees

and place your feet on the floor with your legs spread wider apart than usual, and allow each leg to sink inwards, one after the other.

4. Bend your knees and stand your feet on the floor. Raise your hands towards the ceiling and bring your palms together as if to applaud.

a. Move both arms to the right, and return to the middle, keeping your palms together, and your elbows comfortably straight, to maintain the triangle.

~

Notice the difference between your legs. Which one can sink more? ~ On which side, along the entire spine, does the movement have more resonance?

~

While lowering the knee inward - does the knee move away from the head?

~ A triangle is formed, whose base is the shoulder girdle and whose two sides are the arms.

~

Do the left shoulder and shoulder blade lift off the floor? How far can your hands reach to the right?

Allow your head to move in the same direction with this movement. Do it back and forth a few times.

b. While moving your hands to the right, lower your right knee to the right. Coordinate the movements simultaneously.

~

How far do your hands reach now?

c. Remain with your hands and knee out to the right. Inflate your abdomen and deflate your chest, inflate your chest and deflate your abdomen.

~

When your abdomen inflates, notice that the lower part - from your navel to your pubic bone- does the same. The ribs, however, sink downwards.

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/

Do this several times in a see-saw like action.

~

On the other hand, when the abdomen muscles contract, your rib cage expands. Does it expand all over - sideways and upwards - up to your collarbones?

Flexibility of the rib cage is necessary in order for the shoulder girdle and arms to be able to sink to the side without involving any movement of the pelvis. Activating all the various parts that can participate in breathing will stimulate the ribs (i.e alternately expanding the belly and the chest in a "seesaw movement"), and especially the floating ribs, to move more freely. Thus allow for better coordination between the movement of the diaphragm, the abdomen and the inter-costal muscles. d. Again, bend your knees stand your feet on the floor, raise your hands toward the ceiling and bring the two palms together as if to applaud. ~

Move the 'triangle' and the head in opposite directions: When the hands move to the right the head rolls to the left and vice versa. Do this back and forth a few times.

To what extent do your ribs and rib cage rotate now (as compared to what they could do at the beginning of the lesson)?

Ct Repeat the initial movement (4a): lower the 'triangle' to the right and bring it back to the middle.

4. Ct On the other side: a-b-c- d.

- Lie on your back and rest.

5. Bend your knees and place your feet on the floor. Bring your right knee closer to your chest and hold it with your right hand. Move both hand and knee together to the right, let your head move in the same direction and return to the middle. Do this several times.

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~ Make sure not to press your knee into your stomach.

Ct Do the same on the other side:

Bring your left knee closer to your chest, hold it with your left hand and move both hand and knee together to the left and back. Do this several times. 6. Bring both knees - spread apart closer to your chest, bend your arms and raise them in the air, (your palms and feet are hanging free).

l

a. Let your left knee sink to the left, and consequently let your arms move to the left, and, of course, allow your right knee to join in with the movement to the left.

~ The active part is the limb that does the pulling, and the other one- follows along more passively.

Remain on your left side in this fetal position. b In order to return from your side to your back: lift your right bent knee toward the ceiling, and return onto your back. Continue towards your right side. Allow your left leg to follow your right leg and thus allow yourself to roll on to the other side. c. Continue in this way to roll from side to side: your legs lead the movement, and your hands and head respond by following your legs from side to side. Keep your elbows bent, your palms and feet hanging free. Rest a while on the side you have reached, and only then begin your rolling to the other side.

~

Lifting the knee towards the ceiling will bring the other leg to follow it. ~

The upper leg descends onto the lower leg, and the upper hand descends onto the lower hand. Hands and legs are bent. ~

As you roll from side to side, notice how your ribs respond to the rolling movement. As you roll from the middle to the side, allow all your limbs to respond to the force of gravity. How much can you slow this movement down?

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I

\

Your ability to roll slowly to the side depends on the coordination of your extensor and your flexor muscles. It also depends on the mobility of the two pairs of the large ball and socket joints in your hips and shoulders, and on the ability of your limbs to respond to the force of gravity. When you do the movement quickly you may bypass some of these factors, and thus may miss the opportunity to improve them. Crossing the middle line during the act of rolling is a vital stage in the development of your 'vestibular system', and thus your ability to maintain your balance in the transition from one position to another.

- Straighten your arms and legs and rest. 6. Ct Again, do the rolling from side to side as before,

~

Use your experience to sense what you do at each stage and how you synchronize the movements of the limps.

and then do it quickly.

7. (Preparation for rolling up to a sitting position).

Lie on your left side. Bend your legs and arms. a. Bring your right knee closer to your chest, then move it away. Let your head respond to the movement.

b. Place an imaginary rod between your right knee and your head, and move them together in the same direction: When the knee moves away from the body the head moves forward, and when the knee comes closer to the chest the head moves backwards.

- Rest on your back.

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~ Notice that when your knee gets closer to your chest and then moves away from it, your head rolls: once - the back of your head is on the floor, and once - your forehead turns towards the floor. In other words, there is a connection between the movement of your leg and that of your head.

7. Ct (On the other side:)

Lie on your right side and do both movements (a and b).

8. Lie on your back, bend your knees and bring them closer to your chest. a. Roll to your left side and at the same time move your right leg backwards, parallel to the floor, and lean on your left elbow until you get to a side sitting position.

b. Go back in the same way:

While in the side sitting Position lean on your left palm, bend your elbow and put some weight on it. Let your back sink down toward the floor, until you get to lie on your back with your legs bent in the air.

~ Notice where you place your elbow. Try various places until you find the suitable place for this function.

Do the whole process (a,b) in one continuous movement.

Ct Do it on the other side. Ct Do this alternately from side to side.

~ When the mode of action is clear on one side, you may go on to do this easily on the other side, and also in various speeds.

Do these movements at various speeds, back and forth from side to side.

Performing a function from the end to its beginning is based on the principle of 'reversibility', which states: "a well organized movement is one which can be performed from beginning to end and from end to beginning with the same sense of clarity, ease and quality". It should also be possible to stop, go back or to continue the movement at any stage of its execution with ease. There are functional movements, which are taught more easily from their end to the beginning (such as sequence required in 8b, going from sitting to lying position). Many people find it easier to go from sitting to a lying position because here there is a response of 'going with' the force o.f gravity rather than resisting it, as you do when going from lying to sitting. There are several essential stages in human development, which are attended to during this lesson. Here the student is exposed to the following functions: transitioning from one side to the other, rolling and coming to a sitting position.

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Generally, people are more goal oriented and less concerned with the way it is achieved. The emphasis here is on the transition from one stage to another. Some of the important components embedded in these transitions are: -

Orientation- Flexibility. Balance. Central Axis or Mid-line. Weight shifting . Coordination in general . Specific coordination of the shoulder girdle and hip joints and coordination between the arms and the legs.

If these components are not utilized or are not adequately organized, pain and other disturbances may result. It may be worthwhile to repeat this lesson several times since it contains many different important components. Each time you repeat the lesson you may expand or go deeper into the components you choose, according to your students.

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Lessons 5, 6 and 7 form a series addressing the requirements necessary for the ability to spontaneously attain upright posture. Upright posture developed in humans through the evolution. It stems from elements that have been embedded in our biological system, and is one of the most significant phylogenetic developments which characterizes the human species. The components of upright posture exist within the human body. In standing we are not looking for a static posture, but rather for a dynamic one, from which we could move in any direction without any need for preparatory adjustments. The word "acture", might express the idea of a dynamic posture (a combination of posture and action). In order to enable the skeleton to fully realize its potential for movement, the extensor and flexor muscles should learn how to coordinate with each other, in other words, the agonist and the antagonist muscles should learn how to work in harmony. Improving our upright organization is done through addressing each of its components, which are found in all of our joints and muscles. How do lessons- dealing with arching and bending- help to improve our acture? How do they help us learn to coordinate the action of the muscles. In arching - the extensors in our back learn how to contract in a non-habitual function, while the flexors in our front 'learn' how to 'let go' and become more fully lengthened. In bending- the extensors must learn how to 'let go' in order to allow forward bending, and thus the flexors learn how to function without the resistance of the extensors. One of the main rolls of the extensors is to counteract the pull of gravity. When we stand up they keep us from falling forward. They help us maintain vertical alignment in relation to gravity. In this series of lessons - arching movements are executed in various orientations to gravity: In lesson no.5 - in side lying In lesson no.6- in supine position In lesson no.7- in prone position An initial movement of- 'lying on the side and moving the bent legs backwards' -is repeated within each lesson of this series - at the beginning, during the lesson and at the end. Even though we are repeating the same movement, it is not done mechanically, but rather gains a different quality with each repetition. This activity is termed a 'reference movement', since each repetition is an opportunity to compare and observe any changes in the way it is performed. The teacher should bring the students' attention to these positive changes.

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How do these changes occur while 'repeating the same movement'? These lessons are based on biomechanical knowledge. They are planned in such a way that these laws of mechanics will work on the skeleton during the lesson. The repertoire and variations 'demand' that those parts which did not move previously, would participate in the movement, and those which hindered the movement would either disappear altogether or become less pronounced. In order to improve a function, it is necessary to develop one's kinaesthetic sense and to enable our sensory-motor system to learn to adapt itself to gravity in a variety of situations and orientations. At the end of the series, a new self-image is assimilated both in our posture and in our acture. This process continues to improve our self-image, as more and more experience is gained through doing a variety of lessons. The spontaneous 'uprightness', which occurs at the end of this series, has a greater possibility of being absorbed by the nervous system than any command (or repeated request) to "stand up straight".

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LESSON 5: IMPROVING UPRIGHT ORGANIZATION LYING ON THE SIDE (1st in the series of three lessons) /

Directions For the initial position and the constraints For doing the movement

For your attention and sensing

In order to improve your posture in the upright position, it is important to clarify the way you sense your various body parts both in standing and in lying down. For example: your ability to clearly distinguish between your back and your front, sensing relative positions of one body part to another and their interrelationships etc. It is therefore advisable to extend the amount of time you take to notice how you sense and feel yourself, right from the beginning of the lesson, and compare this state with what you feel at the end of the lesson.

- Lie on your back.

~

Notice the distance between your legs.

Do your toes point in the same direction as your knees, or are they more outwardly oriented? Your pelvis- does it fully rest on the floor or are you rather resting more on your sacrum? Observe your thoracic vertebrae - which of them make closer contact with the floor? Notice which part of your skull is resting on the floor? What is the distance between your chin and your chest? Do you notice any difference between the way your right side rests on the floor compared to your left side? Imagine two longitudinal body lines: one on the front going from your forehead to your pubic bone, and the other on your back, from your cranium to your sacrum. Which line feels longer, the one in front or the one in back of you? Notice your breathing: In which parts of yourself do you sense movement created by your breathing?

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1. Lie on your left side.

Bend your knees and place them one on top of the other. Find a comfortable place for your hands. If you find it necessary, you may support your head with a cushion. a. Slowly, bring both knees closer to your chest and then return them to where you started. Repeat this a few times. b. Move both bent knees backward from the middle and then return. In returning be aware not to bring your knees closer to your chest. Do this several times.

~

In order to allow you to make fine distinctions, it is suggested that you make minimal movements rather than going to your maximum. Doing less, and in a slow manner, will prove to be of greater benefit. Do not exceed your limits of comfort. How far back behind your pelvis do your legs go easily? How is your head participating in this movement? Can you observe which parts of your back are not participating? Are you exerting yourself? Do not strive too hard.

Movement No.1 will be repeated several times throughout this series of 3 lessons. It will serve as a "reference movement", which the student will use to compare and identify progressive changes, which occur during this series. In order for these changes to take place spontaneously, execute each movement in the easiest and most comfortable way. With each successive repetition, avoid striving toward an imagined goal. I. Ct The other side.

Roll to the other side. Lie on your right side ~

and do the same movement of moving your bent legs backward.

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Is there any difference between your two sides in terms of the size and ease of doing the movement? Is it more comfortable to do it on this side?

a. Move your bent upper leg backward, parallel to the floor, and return it, maintaining the angle at your knee as constant as possible.

Maintain the angle of your ankle, preventing over-flexion or over-extension.

~ When the angle of the knee remains constant, more movement may occur in the pelvis and spine.

~ Check whether your foot has any unnecessary tension.

Is your pelvis participating in the movement? Can you feel the resonance of this movement all the way up to your skull?

As you move your leg backward - inhale and inflate your abdomen.

~ Does inflating your abdomen help you to move your leg backward?

Do this several times.

~ Can you feel the participation of your pelvis more easily? How far does the thigh move away from your chest, and to what extent does the angle at your groin become more open?

b. Move your lower leg backwards and then return it to its place (under your upper leg). Do this a few times.

~ What do you feel is the difference between moving your upper leg compared to moving your lower leg backward?

Maintaining the shape of the two angles (at the knee and at the ankle) while executing the movement, helps develop an orientation that arises from our kinesthetic sense rather than our visual sense. Sometimes, the inability to keep these two angles constant does not stem from difficulties in joint or muscle function but rather from the lack of our ability to orient ourselves in space.

- Straighten your legs and rest on your back. 1. Ct Repeat: Lie on your left side and bend your knees.

~ Compared with how it was to lie on your right side: on which side is it more comfortable to lie?

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/

Again, move both knees backward as far as it is comfortable for you to do. Maintain a fixed angle of the knees with no pressure on any of the joints.

~

Is moving the knees backward done in a 'legato', smooth, continuous manner, or is it 'staccato', interrupted and irregular? Movement in a "legato" fashion is a sign of better control.

A comfortable position is one in which our nervous system is open to learning. It is not preoccupied with either 'holding' muscles or with superfluous parasitic activity, and is therefore more ready and available for optimal action. It is important that one recognizes the significance offinding and staying within ones own range of comfort, and then learns to actively seek out this organization where and whenever possible.

2. Ct The other side: Remain lying on your left side with your knees bent. a. Move your right leg (the upper one) backward parallel to the floor, while maintaining the angle at the knee.

~ What influence does this movement have on your hip joint? On your head?

~

Do this, while flexing your foot at the ankle.

There are people who move with a permanent flexion of the foot and are not aware of this flexion and its consequences.

Now cease flexing your foot and do the movement with a relaxed foot.

~ Notice what effect relaxing the foot has on the movement. Does the movement become bigger in other joints as well?

We are not looking for a way to relax our muscles, but rather with learning to organize ourselves for efficient and therefore easy functional movement. 'Letting go' in one area (in this case in the foot) is a stimulus for the letting go of other muscles which inhibit the movement. Just as there are stimuli to flex a muscle, there are also stimuli to decrease the contraction of a muscle. b. Move your left leg (the lower leg) backward, and keep your upper leg in a comfortable position. Here also, do this movement while flexing your left foot and then while relaxing it.

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~ Follow the change in the way you do this movement with each position of the foot.

1. Ct Repeat: Again, move both legs together backwards.

~

To what extent have the differentiations we have made with each leg separately, affected the range and ease of this movement? Which parts of your back are now participating in the movement more than before?

- Straighten your legs. Lie on your back and take a rest.

~ If you had noticed earlier a difference between your two sides, What has been changed since then? Sometimes you may feel the change internally, and not in the way you make contact with the floor.

3. Lie on your left side. Bend your knees, place one leg on top of the other and move them a little backward. a. Place your right arm over your pelvis. (Your elbow is comfortably straight). With easy movements, move your right shoulder backward, and return.

~ Does the shoulder movement cause the head to move along with it?

b. Place your arms, straight out in front of you, one hand on top of the other. ~

Slide your right hand forward, over your left palm and onto the floor.

Notice the range of this movement in the arm and shoulder, and the extent to which your shoulder blade moves away from your spine.

c. Reach your hand along the floor exploring different directions: along your shoulder line, then diagonally upward, and then downward and so on.

~

Look for the effect each direction has on your shoulder blade, on your cervical vertebrae and on all the muscles that connect your shoulder girdle to your chest and neck.

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d. Move your right hand along the floor in the direction of your head. Continue this movement until your arm is beyond your head and return. Repeat this movement back and forth several times. Let your head respond by rotating to the left.

Continue to move your arm and explore the place in which your hand rotates over from front to back.

~

When your hand reaches a certain place (in this diagonal direction) it is possible to discern that it may turn over. Notice that you move your right shoulder blade and shoulder relative to your left shoulder blade and shoulder, both forward and backward. What is happening to the ribs beneath your armpit? In what way does your sternum participate in the movement? When do you sense that you become erect when your arm is in front, or when it rotates backward (beyond your head)?

Do not let your upper knee lift. (You may, however, let it slide on your lower knee).

~ If you lift your knee there will be less of a twist. Try it and feel it for yourself.

Pay attention to your breathing, to what is happening in both your upper and lower ribs.

- Lie on your back and rest.

~

Notice the changes that have taken place. What is the distance between your shoulder blades and your spine? Has this distance, changed, has it had any effect on your face? Your eyes? Your mouth? Your tongue?

At this stage, is it perhaps more possible or even pleasant to do the movements with no cushion under your head? Does your abdominal area move while you breathe?

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4. Lie on your left side (same side). Your knees bent one on top of the other. Put your hands in front of you. Gently, make a soft fist with your right hand.

a. Move your legs backward and move your right hand toward your head until your arm is on the same line with your right ear, and then return.

~ Your right elbow may bend a little. The fist of your hand will gently slide on the floor. What else is participating in this movement?

Do this several times.

b. Return your bent knees back to the middle. Remain with your right arm on your ear and from there - simultaneously move your right arm diagonally in front of you and your right leg backwards (the leg

stays bent).

- Lie on your back.

~

Allow your head and shoulder girdle to move together with your arm. Your right shoulder will come forward and your pelvis will move backward. In this way, there will be a play of balance between your shoulder girdle and your hips.

~

Again, notice the contact your shoulder blades make with the floor, and the distance between your shoulder blades and your spine.

5. Go back to lying on your left side. Bend your legs and place one knee on top of the other. Put both arms strait out in front of you. a. From this position move your right arm towards your head, (your arm will pass over your ear), and continue to move it in an arc backward to the place where your elbow can, more or less, rest on the floor on the right side of your body, and return in the same way.

~ How far can your arm reach diagonally backward?

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/

Do this back and forth.

~ Notice how the weight of your arm activates your ribs, your armpit, your sternum and cervical vertebrae.

b. With your arm over your ear take both bent knees a little backward. As before move your right arm backward, but this time, simultaneously, move your right knee forward toward to your chest. Return both of them to the middle: bring your arm close to your ear and your right leg back on top of the other leg. Do these movements back and forth several times.

~

Here, too, there is a play of balance. Between which parts do you sense this balance taking place?

Alternating 4+5: It is possible to alternate the movement forward and backward: ~

When your shoulder comes forward the leg goes backward, and when the shoulder goes backward the knee comes forward. Keep an equal range of motion for both your leg and arm.

Pay attention to the movement of your shoulder girdle, to the movement of your right shoulder relative to your left shoulder, and also to the relationship between the movement of your shoulder and pelvis.

- Lie on your back.

~

If you previously considered that you had reached a point of feeling the greatest differences, what has been added now? In particular with regard to your perception of length, your sense of weight and the way you are lying and resting? Each time we rest we become aware of new changes that are taking place at various levels inside ourselves, and of subtle new sensations which are developing inside us. As we assimilate these new sensations, our self-image is being changed and reconstructed.

~~--------------------------------~--------------------------------~ 42

6. Roll over and lie on your left side. Place your arms straight out in front of you. Bend your legs and put one knee on top of the other. In this position move both knees backward. With your right hand draw a circle, parallel to the floor: move it forward and downward over your knees and pelvis, and continue making the circle backward and upward. Gradually increase the pace. Reverse the direction of the circular movement.

- Lie on your back.

~

Notice that:

- your shoulder comes forward,

-

your shoulder girdle moves relative to your pelvis, - your upper parts rotate relative to your lower parts, - your head rolls on the floor in the direction of the movement of your hand.

~

What do you observe now? Which new sensations of change have been added (feelings you had not discerned before)? - in your contact with the floor, - in the sensing of your body width, - in the clarity of sensing your length? - Do you feel a difference in the way you perceive your muscle mass on your right side to the way you perceive it on your left side? If you still have a cushion under your head, try removing it now.

1. c,. Repeat: Lie on your left side. Bend your knees and place one on top of the other. a. Bring your knees closer to your chest.

~ Are you doing this the same way you did it at the beginning of the lesson?

b. Move your knees backward.

~ Notice the range and ability to which you can bring your knees closer to your chest and further away: Has it become greater? what else do you notice has changed?

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Put your left hand on the left side of your pelvis and do the whole sequence (as when lying on the left side) as you remember it.

• You will recall more as you move along. Notice how the circular motion that the arm makes helps other body parts participate in the course of its movement.

Do each step at least twice.

7. Roll over to your side and slowly stand up.

• Notice how your feet accept the weight of your body. Can you imagine where are your pelvis, your sacrum, the large bones of the pelvis in front and in the back ? Where the connection between the pelvis and the vertebrae of your back is located? Is it possible to feel the 'erectness' of the torso from the pelvis through the lumbar and thoracic vertebrae to the shoulder girdle and head? What is the position of the skull relative to the cervical vertebrae? Do you feel that your head is the continuation of your spine? Can you imagine the front longitudinal line from your forehead to your pubic bone? Can you imagine both parallel longitudinal lines - in front and back of you? What is the distance between them? How are you oriented and standing in between them? Can you discern that your muscles are less involved in holding your skeleton upright? And that your posture relies more on the skeleton than on your muscles?

Slowly begin walking. Walk around the room.

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• Can you sense the movement of your hip joints?

~

Notice where your back heel is located relative to your hip joint.

Where is your pelvis located relative to the hip joint? What does your pelvis do when a step is taken? What is the angle formed by the front leg at the groin? And what is the angle at the groin of the leg that is back?

Take another step shifting your weight forward.

~ What is the image you have of your entire back as you take a step?

Now keep walking. Walk slowly.

~

Notice that with every step there is a movement of becoming erect and upright, if you actually allow it.

Despite the emphasis placed on arching throughout the lesson, forward bending was improved as well. How? By having the flexors learn how to 'let go ' they help facilitate arching by not inteifering. The extensors are now free to function as the agonists in an unusual manner and without the resistance of the flexors. The skeleton operates with a coordinated distribution of weight among the joints, in bending forward as well as in becoming upright. How does improving one function influence other functions? In the Feldenkrais Method there is no lesson that deals with only one body part. Since each function is made up of many components, and since any one component may be used in various functions, improvement in the components of one function brings about improvement in other components that participate in other functions. Thus one lesson may accomplish various goals, and enable us to respond to a variety of different needs. For example, in this lesson while in side lying and moving our legs backward, we formed an arch with our back that also caused our head to move backward. According to the biomechanicallaw of 'equilibrium ', the head is forced to balance the action of the backward moving legs. The movement of our legs backward is also stimulating our vestibular system (which develops in the first year of a child's life). Stimulating this ancient system, in this way, allows it to respond in a way it had known before our acquired habits interfered with its natural expression. And so, by arching (extension), as the head moved backward, we incorporated components of equilibrium without really intending to. There is no ATM lesson, which does not deal, in one way or another; with these primal elements of 'equilibrium. ' '~----------------------------------------------------------------------~

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LESSON 6 : IMPROVING UPRIGHT ORGANIZATION LYING SUPINE (2nd in the series of three lessons) /

Directions For the initial position and the constraints For doing the movement - Lie on your back, with legs long and arms by your sides

For your attention and sensing ~

Pay attention to the contact your body makes with the floor and to the perception of your length and width. In which parts of yourself do you sense movement created by your breathing?

1. Roll onto your right side. Bend your knees. Place your arms in a comfortable position.

~ Where is the most comfortable place for you to put your arms and hands?

Slowly, move your bent legs backwards and then return them to where you started.

Here, there are already things to observe: How far does this movement 'resonate' through the rest of your body? What is happening in your upper torso?

Repeat this movement several times not going to your maximum, but rather to a place where you could remain comfortably for a while.

~ There is a tendency to press on your right shoulder when moving your legs backward. Can you refrain from doing this?

Remain with your legs in the backward position.

~ If you have reached a place that is uncomfortable, that means you have gone too far.

~

To exceed the limits of comfort, means to go to a place where your nervous system is mobilized for self-protection, i.e., it is 'preoccupied' with self protection and therefore not free to observe and to learn.

2. Lie on your back. Bend your knees, stand your feet on the floor and spread them slightly apart.

~'---------------------------------~--------------------------------~

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a. Raise your pelvis and lower it. Do this several times, slowly.

• Notice that you are arching your back just as you did previously on your side, only this time you have changed your orientation in relation to gravity. In both positions- on your side and on your back - the angle at the groin is opening in the same direction. Also, the relationship between the pelvis and your thoracic spine remains the same. Which parts of your back are lifting together with your pelvis? How high can you lift your pelvis without exerting yourself? (Make a note of this height and of the effort you use to do this, in order to compare and observe any improvement as we continue to do this movement in various ways throughout the lesson).

Keeping your feet on the floor and raising your pelvis allows your center (proximal part) to learn to move relative to your feet (distal parts). This creates the condition for your hip joints and groin to be better organized for upright posture. Opening the angle, formed at the groin by the leg and pelvis, is an important component in the process of moving toward an efficient upright posture. b. Slowly lift your pelvis a little and let it drop all at once. Let your lumbar vertebrae also drop into the floor.

• This time your are not emphasizing the lifting of your pelvis, but rather dropping it. Therefore it is not necessary to lift it very high, a little will suffice.

c. Drop your pelvis in smaller and more rapid successive movements, without interrupting your breathing.

• You can only do such a rapid movement when you stop 'holding on' with your muscles.

Rapidly raise and drop your pelvis. Tap-tap-tap-tap...

- Straighten your legs and rest on your back.

• Do you have a different, perhaps clearer, sense of the bones of your skeleton now?

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3. Bend your knees and stand your feet on the floor. Cross your right knee over your left knee.

a. Push into your left foot and lift your pelvis. Try different positions for your foot in order to attain a more stable position for leaning.

~

Notice the change in the way your weight is distributed.

~

b. Press on your foot and imagine yourself lifting and lowering your pel vis. At first, only imagine this without actually doing it. Then actually, slowly lift and then drop your pelvis.

How high can you lift your pelvis (in your mind)? Has your breathing stopped? Is the lifting movement done with your leg or your back?

c. Slightly raise your pelvis and then drop it.

~

Do this several times.

- Straighten your legs and rest on your back.

One should learn how to decrease muscular tension in order to let the pelvis drop and to really feel the weight of your pelvic bones.

~ Notice the difference in the position of your legs and the contact that your thighs make with the floor.

Releasing the pelvis to the force of gravity stimulates the proprioceptive system (the deeper sensory system). Also, every time the pelvis is dropped ,the compressive forces that resonate through the joints and skeleton, provides the requirements for stimulating an increase in bone density.

3. Ct The other side: Bend your knees and stand your feet on the floor. Cross your left knee over your right knee. Find a suitable place to stand your right foot in preparation for lifting your pelvis.

a. Press on your foot to lift your pelvis and lower it a few times. b. Do this in small and quick movements, each time letting your pelvis drop into the floor.

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~ How are your pushing on your foot? Are your pressing on the entire foot? Do you feel excessive weight on your back or rather on your foot? Notice that your lumbar vertebrae are also dropping into the floor.

I

Searching for a suitable place on the floor for your foot is an inseparable pan of the act of organizing yourself Through searching and closely listening to yourselfyou are learning, under experimental conditions, how to improve your overall orientation.

- Straighten your legs and rest on your back.

~ Notice how you sense your pelvis and the contact it makes with the floor. Do you feel that your thighs are more in contact with the floor?

2. c,. Repeat:

Bend your knees and stand your feet on the floor, spread your feet slightly apart and once again lift your pelvis.

~

How high can you lift your pelvis now? Can you feel that other parts of your back are participating?

Learning how to do a certain movement in various ways expands ones range of options. Variations 4 and 5 (below) are included in order to explore the action of arching your back while lifting the pelvis.

4. While in a supine position, bend your knees and stand your feet on the floor, and this time bring your feet and knees together. lift your pelvis.

In which position is it easier to lift your pelvis, when your feet are close together or when they are spread apart? ~

Spread your feet apart, press on your heels only (raising your toes slightly)

'

and in this way lift your pelvis.

~ Can you feel any compression taking place from your heel through the bones of your leg and up to your hip joints?

Again lift your pelvis. This time make it only big enough in order for you to drop it.

Emphasize dropping your pelvis rather than lifting it.

Do this small movement in rapid succession.

~

~

Pay attention to the quality of the rapid movement.

- Straighten your legs and rest on your back.

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5. Bend your knees and stand your feet on the floor. Stand the sole of your right foot on your left thigh close to your knee.

With your right foot press on your thigh and imagine lifting your right knee towards the ceiling. With this thought in mind, lift your pelvis.

~ Does imagining doing the movement affect the actual lifting of your pelvis?

Do this several times.

~ In order to allow for easier and fuller breathing, 'let go' of your abdominal muscles.

- Straighten your legs and rest on your back.

~ Can you feel the entire front of your body -your ribs, your abdomen, your groin, your knees, and your ankles?

5. Ct The other side:

Bend your knees and stand your feet on the floor. Stand your left foot on your right thigh. With your right foot pushing on the floor and with your left foot on your right thigh, imagine lifting your left knee towards the ceiling while you are lifting your pelvis.

~ As you push into the floor, which foot carries more weight, your left foot (previous step) or your right foot (now)?

Some people tend, when walking, to place more weight on one foot than the other. It is important to make this distinction.

Do this in small rapid movements.

~ Notice also whether you are pressing on the entire foot or only a part of it?

Pressing on one foot provides an opportunity to observe the organization of one side of your body relative to the other. In daily life, when we walk, placing excessive weight on one foot will cause a chain reaction that resonates through the spine to the vertebrae of the neck.

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\

2. Ct Repeat:

Bend your knees, put your feet on the floor, spread them slightly apart, and once again lift your pelvis.

~ Notice if there is a difference in how you are doing this now? What parts that did not participate in this movement at the beginning of the lesson are participating in it now?

Can you feel your thoracic vertebrae all the way up to your neck? What kind of improvement has occurred in lifting your pelvis in terms of the range and ease of the movement?

- Straighten your legs and rest on your back.

6. Bend your knees and stand your feet on the floor. Lift your right hip joint and put your right hand, palm down next to your right shoulder, and then lower your hip joint.

Raising the right hip joint is done in order to help form a bridge on the floor between the right foot and the right hand. The fingers of your right hand should be pointing downward in the direction of your feet. ~

a. Place your left hand on your right elbow, andwith the assistance of your left hand, move your right elbow to the right and to the left, nearer to your face and then away from it.

b. With the assistance of your left hand, move your right elbow upward beyond your head, away from your knee. SimultaneouslyPress on your right foot and move your knee away from your elbow

c. With the assistance of your left hand move your right elbow downward, without taking your palm off the floor.

~

Notice the size of this movement and make it equal to the left and to the right.

~

Notice that when you move your elbow to a place beyond your head, your shoulder and shoulder blade are raised off the floor, just like your hip joint and pelvis are when you move your knee away from the head.

~

The extent to which your elbow moves downward is small, since when the fingers point toward the feet, your wrist restricts the movement.

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I

'\

d. Combine all four directions of the movement of your elbow; upward, to the right, downward, to the left, and form a complete circle. Make this circle anticlockwise and then reverse and do it clockwise.

Straighten your legs and rest on your back.

In order not to press on the wrist when making the circles, assist yourself by involving and including your shoulder blade and ribs. ~

~ Notice how your shoulder blade makes contact with the floor. How long is your arm? How has this movement affected your neck and face?

6. Ct- The other side: a, b, c, d. Making circles with the elbow, keeping your hand on the floor as if to form a 'bridge', brings about mobility in the entire upper part of your body. Your shoulder moves relative to the hand (movement of the 'proximal versus the distal'), in contrast to the usual organization of your hand caussing your shoulder move.

7. Lie on your back with your knees bent. Place both hands on the floor by your shoulders as if to form a 'bridge'. a. Move both elbows upward in the direction of your head and return.

b. Push through your palms and lift your head to look directly forward between your knees.

c. Push through the palms of your hands, and move your elbows upward (to a place beyond your head), lift your shoulder blades and let the back of your head slide on the floor until you can form a small 'bridge' between the hands, head and pelvis.

- Straighten your legs and rest on your back.

' 52

~ Make sure the elbows remain directed to the ceiling and not to the sides.

~ Again, make sure not to move your elbows away from one another.

Slowly move your knees backwards.

~

When moving your knees backward, recall how you did this at the beginning of the lesson. Is there any difference in the feeling? in the effort you put into it and in the range of the movement? Can you feel there is a sequential chain of movement going from your feet throughout your entire skeleton? Has your head begun to participate in the movement of your knees going backward? How did this happen? Do you remember if or how the head was involved at the beginning?

The repeated activity of lifting the pelvis is a 'reference movement', which enables the student to compare and perhaps discern any changes that have taken place during the various parts of the lesson. Repeating this movement in different ways and comparing it to how it was at the beginning of the lesson allows the student to learn how: to observe changes which occur through the lesson. to discern a new quality of movement. to acknowledge that the improvement, which they experienced, is a result of various movements in different positions and orientations to gravity, and not as a result of repeated strain, as is commonly expected. Every movement you peiformed (around lifting the pelvis) stimulated the thoracic spine and sternum to become more involved and participate more fully in this activity. Keeping the feet or the hands in fixed positions on the floor, results in mobility of all the participating joints that are not normally used.

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LESSON 7 : IMPROVING UPRIGHT ORGANIZATION LYING PRONE (3rd in the series of three lessons)) /

Directions For the initial position and the constraints For your attention and sensing

For doing the movement

- Lie on your back.

~

Pay attention to the quality of contact your limbs make with the floor: to their weight, to the placement of your elbows and the position of your hands, to how your arms are connected to your shoulders, to the distance between your arms and your torso and to the motion in your body created by your breathing.

1. Thrn and lie on your right side. Bend your knees and arms and put them one on top of the other. M ove both knees backward. Make a small movement; it is not necessary for you to go to your limit.

Ct Roll to lying on your left side, and move both knees together backward.

2. Lie on your stomach and rest your arms diagonally upward away from your body and separate your legs wide apart. Place your head on one side. Reach your right hand on the floor and lift your arm slightly at the end of your reach. Lift your wrist so that your fingers 'hang' in the air.

\,_

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~ Notice how you do this movement now, compared to the way you did it in the previous lesson. Which parts of your back, pelvis, and shoulders are participating in the movement? Is there any difference? What is your head doing?

Is the movement easier? How is it different on this side? Are your feet tense or relaxed? ~

~

Place your arms wide apart on the floor on either side of your head. Your legs are also spread a similar distance apart.

~ Imagine that your arm is like the wing of a bird going up and down. The arm is moving not in "staccato", but rather slowly and smoothly, in a flowing "legato" movement.

Let your breath accompany this movement and observe when it is more comfortable to inhale and when to exhale. Where does this movement begin? Does it start from your hand or from your arm? Does it start from your shoulder? Is your back participating? If you are attentive to a slow, long movement, you will be able to feel that more and more parts of your back will gradually become involved in the reaching movement.

Change the position of your head, place it on the other side and continue to lengthen the same arm as before, almost without lifting it off the floor.

2. Ct Do it with the other arm.

~

Is there any connection between the direction of the head and the ease with which you can lengthen your arm? What is the connection?

~

Which arm is easier to lift? Is your hand 'hanging'? Can you co-ordinate this movement with your breathing? Can you feel this movement in your back?

Compared to normal exercise classes, where the emphasis is on the doing, here the emphasis is on observing. These are two different objectives. When your objective is observation and exploration- your movement has to be slow. For example when lifting your arm slowly, you have time to Learn how to notice the movement occurring in your spine, in the muscles of your back, in your breathing, etc. Changing the position of your head allows you to discern which of the positions makes it easier for you to lift your arm. You are also learning about the connection between comfort and efficiency while peiforming the movement.

- Lie on your back and rest.

~ What do you feel now? Has anything changed in your thoracic spine, your neck or your shoulders?

The purpose of each rest on our backs is to observe and to integrate what has actually changed as a result of the movements we performed, and whether there has been a change in the relationships of our body parts to one another or the relationship between each of them and the floor. The rest allows time to pay attention to where changes have taken place and in what way. Observations of this sort require us to concentrate and to remember details, which in themselves teach us self-orientation and further develop our kinesthetic sense. Learning of this kind takes place both during the process of doing the movement and while resting.

55

a. Slowly, lengthen your right leg, and when you get to the end of this motion lift it a little off the floor,

~ Has the position of your pelvis changed vis-a-vis the floor?

Keep breathing without interruption as you raise your leg. ~

then lower it back to the floor.

When you lower your leg let go of all excessive muscular tension.

Repeat this movement a few times

Some people keep holding their skeleton with their muscles while resting their feet on the floor, and the tension in the muscles remains. Pay attention to this. When your foot comes to the floor, where does the heel settle - inwards or outwards? Remove all tension from your feet both in lifting and in lowering your leg.

Do this with your foot bent and let your heel move away from your head during the reaching and lifting. Now do this with a relaxed foot.

b. To the movement of reaching of the right leg add reaching of the left arm (diagonal movement). Do this simultaneously and with an equal amount of reach in both arm and leg.

~ Notice what happens in your back as a result of lifting your leg when your foot is tense, and what happens when your foot is free of tension. ~ The combined movement begins as a very small, minimal movement, and gradually increases. The hand is 'hanging' free and the elbow is a little bent.

Do this with a straightened elbow,

~ Which way is it more comfortable? Those of you who keep your elbow straight will probably experience tension in your shoulder girdle.

and then with a slightly bent elbow.

~ When the elbow is slightly bent it allows the shoulder blade to slide over the ribs. Try to observe this.

3. Ct (The other diagonal): a. Gradually lengthen your left leg and only

~ It is necessary to learn how to remove excessive tension from your foot during lifting at the end of your reach lift it slightly, just and lowering it, and how to loosen the entire half an inch, and then lower it back to the leg from tension when it is resting on the floor. floor. ~~--------------------------------~----------------------------------

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/

'\

b. Let your right arm join the lengthening movement of your leg so that the opposite hand and leg are lifted together. Start with lengthening the entire diagonal and only then continue with lifting it. Then lower it to the floor. Do this several times.

- Roll over to your back and rest.

~

Whoever finds it difficult should only imagine doing this. Search for any new observations, what can be lifted higher, your arm or your leg? Are you exerting yourself at your shoulder? Is your breathing stopping from time to time?

~ Notice the sort of information about yourself that you get from the floor. Has the contact your back makes with the floor expanded and spread?

Notice the movement in the lower part of your abdomen when you breathe. How your diaphragm moves up and down? How does the entire upper part of your body feel compared to the way it felt at the beginning of the lesson? Have you learned how to 'let go' of excessive 'holding'?

'Letting go' of habitual holding patterns is of the utmost impottance. If the muscles remain mobilized while you are resting, they will start their next activity from that state of contraction. Every new movement should stan from a more neutral state in order to minimize interference and optimize efficiency.

4. Lie on your stomach. Place your arms diagonally upward, spread your legs wide apart and place your forehead on the floor.

Notice the two long diagonal lines: The line between your right hand and your left foot and the line between your left hand and your right foot. Can you feel that these diagonal lines pass through the shoulder blades?

a. Reach both arms along the floor

Begin the lifting in your imagination only and gradually lift your forearm so that your fingers will be hanging towards the floor. Do only a quarter of the amount of this movement.

and at the end of your reach lift them slightly.

b. As you do the reaching, raise your head in addition to raising your arms.

~

~

~ Think more of lengthening rather than of lifting.

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Since the head is the continuation of the spine, it participates in the reaching and lifting of the spine and arms.

c. Leave your hands and forehead on the floor. In a slow lengthening movement lift both legs.

~

Raise your legs, imagining that they do not end at the hip joints but rather that they connect into your back.

With your legs in the air, flex and extend your feet and then search for their neutral position. Repeat this lengthening and raising of the legs in a gentle movement, like that of a bird's wing in flight.

~

Let your feet hang just like your hands.

- Rest on your stomach.

4. (Continued). Remain in the same position~

d. Do this in your imagination only: Raise everything together: arms, head and legs.

Maintain the feeling of reaching and lengthening. Notice how your thoughts can mobilize your muscles.

e. Now, actually do it: Lift everything together.

~ Remember to think more of lengthening than of lifting.

- Lie on your back and rest.

5. Again return to lying on your stomach with your arms and legs in a diagonal position.

a. This time lengthen your left arm and left leg. Do it slowly until your entire left side is lifted slightly. Your head and your weight will shift to the right.

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/

The lifted knee can bend slightly at the end of the movement. The foot is hanging free in the air. The head moves backwards. If your arms are widely spread apart you will be in a more balanced position.

- Take a rest while lying on your stomach.

5. (Continued). b. Lengthen your right side your right arm, leg and head will all move backwards as you arch your back. Your stomach will move forward in response to your back arching.

c Roll to the right and then to the left. Do it back and forth a few times. Do this with your knees bent backward and with elbows slightly bent (just like a baby does).

1. Ct Repeat for purpose of comparison:

Reach with one arm. Reach with the other arm.

~

Inflating the abdomen helps in arching the back.

~ As you roll onto your inflated stomach, continue to roll over to the other side.

~

Pay attention to the groin: when your bent knees move backwards the angle of the groin opens. The head remains raised and it moves from side to side along with the entire body.

Is more of you involved now with the raising of the arm compared with the beginning?

~

How far can you lengthen your arm now compared to what you could do at the beginning of the lesson? ~

Is your hand hanging free? Is it easier to lift your arm?

6. Roll over and lie on your right side.

~ Position yourself on the mat so that you will have enough room to roll onto your stomach.

./

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a. Move your bent knees backwards (This is a repeat of the movement from the first lesson no. 5 from this series of attaining an upright organization).

b. Remain with your bent legs backward, put your hands above your head and place your head between your arms.

~ How far backward are your knees moving now compared to when we did this the first time? To what extent has the angle at the groin opened? How far backward can your legs easily go? How is your back moving now?

~

Your arms are in line with your ears.

Move both your arms and head together, backwards and return. Now add the movement of the legs and move your entire body, with head, arms and legs together, backward into arching and then forward into bending. Do this back and forth several times.

~ In bending, the elbows, knees and hands move towards one another. In lengthening, they move away from each other to form an arch.

c. Remain in the arched position, with your arms and legs backward, and move only your head forward and backward a few times.

b. Ct Repeat: Allowing the head to move once again together with the movement of the arms and the legs.

- Lie on your back and rest.

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~

What do you feel in your thoracic spine and sternum when your head moves in relation to your arms which remain in one position?

~

Can the upper part of your body organize itself better now in terms of the movement of your head and arms?

6.