Back into Action: The Feldenkrais Method for Moving Smarter ISBN 0-88450-045-4

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Back into Action The Feldenkrais® Method for Moving Smarter

Lawrence Wm. Goldfarb, M.S., CFP

Illustrations completed under contract by Bruce Gordon Lee

This handbook was originally developed in 1988 as a participant guide for Mind in Motion's Back. into Action seminar. This seminar teaches physical and occupational therapists and other health professionals the clinical application of the Feldenkrais• Method for rehabilitation of patients with orthopedic spinal injuries. Mind in Motion provides postgraduate training for physical

and occupational therapists, nurses, athletic trainers, movement re-education specialists, allied health professionals, and Feldenkrais practitioners in North America and Europe. Besides this seminar, Mind in Motion offers other courses for rehabilitation professionals, including: Pushing, Pulling and Lifting; On Your Feet; Upward Mobility; Sitting: Platform far Change; Moving in the World of Objects, and An Introduction to Feldenkrais in Pediatric Care. Mind in Motion also provides movement education courses

in industrial injury prevention; athletic performance enhancement; physical education; and dance, music, and theater training. Mind in Motion offers accredited professional training programs in the Feldenkrais Method.

© 1994 by Lawrence Wm. Goldfarb

All rights reserved. No part of this material may be reproduced, stored in a retrieval system, or transmitted in any form or by any means without prior permission in writing from the copyright owner. ISBN 0-88450-045-4

Catalog No. 4328

10987654321 Printed in the United States of America For information about our audio and/or video products, write us at: Therapy Skill Builders, P.O. Box 42050, Tucson, AZ.85733

For more information about the Feldenkrais Method or to find a Feldenk.raispractitioner in your area, contact: The Feldenk.rais Guild•

528 Ellsworth Street P.O. Box489 Albany, OR 97321 phone: (800) 775-2118 phone: (503) 926-0981 fax: (503) 926-0572 Contact Larry Goldfarb and Mind in Motion at: Mind in Motion

307 North McKinley Avenue Champaign, IL 61821-2754 phone: (217) 398-6683 fax: (217) 398-6684 E-Mail: 71044. 1112@ CompuServe.Com The terms Feldenkrais• Method, Awareness Through Movement•, Functional Integration•, and The Feldenkrais Guild• are registered service marks of the Feldenkrais Guild.

This book is dedicated to · Joah Lowe and David Paul Moses, who inspired me to do what I can with the time I have.

About the Author Lawrence William Goldfarb is a certified Feldenkrais practitioner. He is both Program Administrator and Educational Co-Director of the Strasbourg International FeldenkraisTraining in France and founder of Mind in Motion, an international movement and education consulting firm based in Illinois. An internationally recognized expert on movement education, Mr. Goldfarb

travels worldwide giving workshops on the Feldenkrais Method and maintains a private practice in Champaign. Mr. Goldfarb received his B.A. in psychobiology from the University of California, Santa Cruz, and his M.S. in cybernetic systems at San Jose State University. At present, he is a Ph.D. candidate in kinesiology at the University oflllinois at Champaign-Urbana.

Contents Preface .................................................................... vii

Shoulder and Hip Circles I ............................... 37-43

Introduction: Design for Learning .......................... 1

Shoulder and Hip Circles II ............................. 45-52

Moving beyond Habits ......................................... 1

Cat and Camel-Theme

.................................. 53-59

The Score and the Script ...................................... 2 No Pain, More Gain .............................................. 4 Pre-exercise Instructions ....................................... 5

Cat and Camel-Variations ............................. 61-68 Arching Your Back I···························-············ 69-74

A Comfortable Back I ........................................ 7-13

Arching Your Back II ....................................... 75-83

A Comfortable Back II ..................................... 15-22

The Pelvic Compass I ....................................... 85-91

Turning with Ease I .......................................... 23-28

The Pelvic Compass II ................................... 93-100

Turning with Ease II ........................................ 29-36

Bibliography ......................................................... 101

Preface I wasn't exactly in a prize mood. My friend Joah had gone home to visit his family for Christmas a few weeks earlier, and he never returned. He developed Pneumocystis carinii pneumonia when he was back in Texas and he was dead within ten days. I ran away to Santa Cruz, to walk on the beach and to visit Bruce, to let him know how glad I was that he was alive. Bruce had survived a crash off a 300-foot cliff on Route 1 south of Big Sur in Northern California; he had been thrown out of his car at 175 feet. The impact crushed one vertebra, bruised a few ribs, broke his leg, injured his knee, and conferred assorted bumps and scrapes. That was months before. Now he is lying in his bed recovering from spinal surgery while I'm giving him a gentle hands-on Feldenkrais lesson. Bruce is wondering whether to have an operation to remove the Harrington rods that were inserted in his back to keep it rigid while the surgical fusion took hold. These rods are attached internally to his spine.

"Bruce, these skeletons are darn good. I didn't know you could see into the body so well." "Well, my parents are X-ray technicians. I've seen Xrays of people ever since I was a kid. I remember going to work with them and listening to the sound of the old machine, whirring like one of those big devices in Frankenstein's laboratory. That training was a lot more helpful than any class in anatomical drawing." "Hey, would you want to help me out with a project?" "Are you kidding? I'd love something to do. I've been drawing these comics to keep from going crazy. You know, recuperation is pretty unexciting. What do you have in mind?"

He says, "I'm not excited about having another operation; on the other hand, I don't like the idea of carrying two metal rods in my back the rest of my life."

"I've been working on a new course for physical therapists based on the classes I teach back-pain patients at the clinic. It would be helpful to have some handouts for the workshop participants. I don't want them taking notes during the movement lessons, because that interrupts the flow of their experience and inhibits their own learning process. And it's so hard to remember the lessons, especially if they've never done Feldenkrais before. So, I've been thinking about having some kind of summary for each lesson."

"What's the doctor's advice?" I ask.

"And you thought illustrations might help."

"He says the rods will provide extra stability."

"Exactly."

"Is the fusion taking?"

"What kind of drawings do you have in mind?"

"Yes."

"I'm not sure."

"Well, a fusion is very strong. Once it's successful, you won't need the rods for stability. They'll only keep you rigid and interfere with the flexibility you have in adjacent regions. You'll need to move in those places to make up for the motion you lost at the site of the fusion."

"Why not use photographs or sketches done from photographs. What about that?"

When I finish the lesson, Bruce sighs and says he feels more flexible than he has in a long time . He rolls onto his back to slowly explore the increased mobility in his back. I look at his desk and see what looks like a page from a comic book. It doesn't look like a comic you'd buy in the store, though-it's printed on computer paper. I reach over and pick up the page. It is a comic of two skeletons. Preface

"I don't want photographs or drawings of actual people. I wouldn't want patients to look at the pictures and think they couldn't do the movement because the person demonstrating it is younger or skinnier or more athletic or something." We are both silent for a few moments.

"In his book Awareness Through Movement, Moshe Feldenkrais used one of those articulated wooden artist's models to illustrate the movement sequences. The problem was the figure didn't always give a clear idea of the vii

movements. I remember when I first tried the movement lessons on my own many years ago. I was so frustrated I threw the book across the room and put a hole in the wall!" "How about a more abstract figure?" "Well, when I teach in the clinic, I sometimes make these rough drawings to help illustrate the movements. They're pretty simple sketches of a little character with a rectangle for a body and a circle for a head. It kind of looks like this":

"When I want to illustrate it arching its back, I draw this":

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"When I want to illustrate turning, I draw this":

"What do you think ofFlexi?" "Flexi?"

Thus began the collaboration from which this book evolved. I would get on the floor and Bruce would prop himself up where he could watch me move. I would demonstrate each segment of a lesson and Bruce would have me repeat each movement slowly as he sketched it on a pad. He asked me questions about how different parts of my body participated in the movement; often he asked me to show him the same movement from various angles so that he could make sure he was portraying it correctly and clearly. We discussed what was important to highlight in each drawing, and I pointed out any problems I saw. As we proceeded methodically through each lesson, the book began to take form. I wrote out the manuscript and, while Bruce was drawing each lesson, I refined the text. We would go back and forth, working on making the lessons clearer and easier to understand. I would make suggestions about improving the illustrations and Bruce would comment on the text. It soon became obvious that my estimate of a few drawings for each lesson was inadequate. Eventually, we were satisfied with the artwork and the wording. Bruce refined the final sketches on the computer, combined the descriptions with the illustrations, and laid out the first version of the handbook. We revised the handbook three times before beginning work on this final version. The process of writing and editing, drawing and refining would end up taking six years. Along the way, the handbook evolved from a patchwork of text, sketches, and hand-drawn images to the form you see here.

"Yeah, its name is Flexi, short for flexible." "I think we could improve on him a bit. Your drawings get the meaning across. I just think that Flexi can improve graphically. For instance, I think it would help to see the movement if he were three-dimensional, like this":

"That's great. Flexi looks much better as a 3-D creature, more human and easier to relate to." viii

The original impetus for the BackintoAction workshop came from a suggestion from Gregg Johnson, RPT, that I teach a Feldenk.rais Method course for physical and occupational therapists. He thought that my experience working in clinical rehabilitation combined with my scientific training and education background were excellent preparation for teaching. The ideas slowly took form over the next few months, as I decided to put together a workshop that introduced the method in the context of a specific theme. Over the years, I have taught this workshop to hundreds of physical and occupational therapists, many of whom have generously contributed their suggestions and observations from their experience using the material in the clinic. Participants from these and other courses encouraged me to create a set of audio tapes. Preface

None of this would have been possible without the pioneering genius of Moshe Feldenkrais. His profound understanding of human movement, his brilliant insight into human learning, and his compassionate devotion to improving the lot of humanity are the basis upon which the book is built. He showed the way. I am forever grateful. Many other people contributed to the final book. My fellow Feldenkraispractitioners have served as sources of support and inspiration: Elizabeth Beringer, Scott Clark, Jill Feigal-Fuchs, Dennis Leri, Marcia Margolin, Myriam Pfeffer, Mark Reese, Edna Calie Rossenas, Beth Rubenstein, Frank Wildman, and Gaby Yaron. In particular, Edna's assistance as my mentor in the early years of my Feldenkraispractice proved central to my learning and development. Rod Fleming, RPT, and Murray Fleming, RPT, gave me my first job doing Feldenkraisin a rehabilitation setting and encouraged my efforts to bridge the gap between Feldenkraisand physical therapy. Several academic colleagues have been unwavering in their support of my work, in particular cybernetician Heinz von Foerster and kinesiologist Gary Riccio.

Preface

One of my Feldenkrais colleagues, David ZemachBersin, took the time to review an early version of the entire text in detail. He contributed many invaluable suggestions and provided the initial inspiration for making the lessons shorter. Jan Hunter, editor and student in my weekly class, edited a revised version of the original text, offering many suggestions and refinements. My neighbor, student, and friend, author Norma Marder, edited the most recent text, giving me the benefit of a student's point of view and a novelist's ear. She was also kind enough to take the photo for the back cover. The audio tapes would not have been possible without the expert assistance of Keith Johnson, who recorded and edited them. His good humor and constant support made this process first imaginable, then possible, and finally, enjoyable. Many people helped with taping the lessons, providing the all-important listening and moving that helped me pace the tapes: Margery Dahl, Joanna Dawe, Nancy Jane Dawe, Sharon DeCelle, Karen Donaldson, Larry Ende, Lisa Faye, Joan Frain, William Gillespie, Jeff Glassman, Dianne Johnson, Marcy Lindheimer, Nancy MacAllister, Jennifer Merrall, Nan Miller, Lisa Nathanson, Anna Ruocco, and Maria Silva.

Ix

Introduction: Design for Learning The original Back into Action handbook was developed in 1988 to accompany the Back into Action workshops. This manual, the third edition of the handbook, presents a series of movement lessons for the back based on the FeldenkraisMethod. While these lessons are useful for anyone who wants to improve his or her daily life, this book is designed for the rehabilitation specialist-physical therapist, occupational therapist, movement educator, or athletic trainer--who wants to make use of the Feldenkraisapproach in treating chronic back pain. The FeldenkraisMethod, developed by physicist and martial artist Moshe Feldenkrais (1904-1984), provides a comprehensive understanding of the human design for motion and offers an effective approach for utilizing this potential. The Back into Action program teaches fundamental spinal movement patterns. The lessons can serve as the basis for a movement re-education class or can be used as neuromuscular therapy in individual treatments. To make this material useful in clinical settings, each lesson takes approximately 20 to 25 minutes. This program was developed at the Santa Cruz Spinal Care Center and refined at the Marin Spine and Orthopedic Center. In both clinics, Back into Action was presented in a small-group setting by a certified Feldenkrais practitioner as part of an integrated care approach that incorporated manual therapy, exercise, and back school. Our experience was that the program served as a critical element in changing the chronic splinting patterns and distorted kinesthetic perceptions that so often hamper rehabilitation from chronic pain. The Back into Action program cultivates patients' sensitivity to movement, preparing them for the more cognitive approach of back school by improving their understanding of movement. Most important, this program teaches patients with chronic back pain that it is possible for them to move comfortably and easily. The lessons address the kinds of movement problems that commonly accompany chronic back pain. The curriculum is also applicable in other situations where patients need to redevelop comfortable, effective movement after an injury, accident, or illness. Given the gentleness of the movements, the program is safe for patients who would

Introduction

not be able to participate in more strenuous or difficult exercise regimens. These lessons are especially effective with chronic pain syndromes and neurological disorders. Because this book is written for the rehabilitation specialist, it is assumed that the reader understands the fundamentals of human movement and of rehabilitation. It is vital that the therapist, trainer, or teacher have an adequate understanding of the patient's abilities and limitations to ensure that the lessons are used appropriately. Care should be taken in the case of acute injury or in situations where slight mobilization is ill advised. The relative gentleness of the approach does not mitigate contraindications; that is to say, if a patient is prohibited from engaging in certain specific movements in daily life, then lessons based on similar movements should not be prescribed. As with all movement-based programs, these lessons require caution. Patients, especially those with pain or movement limitations, should obtain approval from a physician before proceeding. If you are using this material on your own without the supervision of a therapistor movement teacher,consultwith your primary careprovider beforeproceeding.

Moving beyond Habits We have all experienced the difficulty of trying to change ingrained movement habits. Our patients' actions have become inefficient-often dangerously so-and automatic. Limitations in flexibility due to splinting and other habitual impairments in motor function have outlasted any acute injury or local dysfunction. Most often the patients, try as they might, cannot alter how they move. Even worse, the patients' attempts to solve the problems posed by their pain usually lead to more movement restrictions and greater inefficiency.

In these situations, we do our best to help our patients change the way they move. We may demonstrate a different way of moving, using various kinds of verbal cues and manually guiding them through new movements. Still the patients do not change. A decreased sensitivity to movement seems to persist,

interfering with their ability to understand and follow directions. Even in those situations where a patient can volitionally move in a different way, the new movement pattern disappears as soon as the patient stops attending consciously.

principles of strengthening is to overload the specific muscles that are being worked. Stressing the sensorymotor system is most likely to elicit the habitual movement pattern, the very thing that you and the patient are trying to change.

Though we are most aware of the behavioral manifestations of splinting and other habitual movement patterns, it is the mover's perceptual distortions that are central to the problem of movement. The subjective aspect of habitual movement is habituation. Habituation is a psychological phenomenon in which a constant stimulation disappears from awareness. In other words, the patient-the mover--is on "automatic pilot," moving without conscious control and without awareness. What is most obvious to the observer is invisible to the mover.

The FeldenkraisMethod is a system of sensory-motor reeducation that consists of two modalities, Awareness ThroughMovement and FunctionalIntegration.Both modalities are remarkably gentle and both emphasize the role of self-perception, or awareness, in motor learning. Awareness Through Movement is a group approach in which students are verbally led through structured movement sequences. FunctionalIntegration is an individual approach in which individuals are tactually guided.

Movers must become aware of what they are doing and what else they could do. Without refined perception, patients are unlikely to regain intentional neuromuscular control over their movements. This sensory-motor dimension is often ignored in treatment programs that address strength, endurance, and flexibility alone.

Feldenkrais was a physicist and an early proponent of judo who held a second-degree black belt in this martial art. From his studies, he developed a profound understanding of the human body's design for graceful and efficient action. From his investigations of infant motor development and of methods of movement education, Feldenkrais came to appreciate learning as sensory-based exploration. He began by applying his ideas to his own debilitating knee problem, teaching himself to walk without pain by confronting-and overcoming-the difficulty of changing habitual movements.This experienceinspired the many years of research that led to the method bearing Feldenkrais's name, a method for learning effective action and optimizing human function.

Indeed, prescribing a batch of strengthening exercises can be counterproductive because the patient may well perform the movements in such a way that they will have exactly the opposite effect. Dr. Vladimir Janda* has demonstrated experimentally that people with chronic back pain can perform so-called abdominal strengthening exercises and end up strengthening the dorsal extensors instead. Without addressing the neuromuscular system, even the best-intentioned rehabilitation programs can fail. But how does one address a patient's neuromuscular system? The neuromuscular system is under the control of the sensory-motor loop. With people in chronic pain, the functioning of this feedback loop has been distorted due to the deleterious effects of habituation. These patients' perceptions must be dehabituated; that is to say, they must learn to sense their movements and must refine that sensitivity. Sensory-motor learning exercises are not to be confused with other forms of exercise. They are fundamentally different from exercises designed to improve strength and endurance, cardiovascular health, or flexibility. Most forms of exercise function by stressing the system they address. For instance, as you know, one of the • Janda, V. 1980. Muscle as a pathogenic factor in back pain. In The treatment ofpatients. Proceedingsof thefourth conferenceof the international federation of orthopedic manipulative therapists.

Christchurch, New Zealand: International Federation of Orthopedic Manipulative Therapists.

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The following chapters present twelve Awareness ThroughMovement lessons. As you will see, each lesson consists of series of movements that fit together into a meaningful sequence. The lessons are not exercise sequences in the usual meaning of the term "exercise." They are carefully constructed formats that guide students to new sensory and conceptual understandings of their movement abilities. Each lesson explores fundamental relationships underlying a certain movement. For instance, the lesson on extension examines the role that the lumbar spine, thoracic spine and chest, cervical spine and head, and eyes play in developing the full potential for extension.

The Score and the Script The Back into Action handbook is an instructor's guide to teaching patients new ways of moving. The accompanying workbooks and audio tapes are designed as educational aids for assisting patients in learning these movements and reinforcing practice in home programs. Introduction

Lessons are simultaneously presented in two ways: a visual format {or score) and a written text {or script). Each illustration is paired with an accompanying portion of text. These two representations complement each other, giving a fuller appreciation than either one alone. The illustrated figure named Flexi demonstrates the basic positions, the directions of movement, and the overall organization of each action. Each illustration highlights the crucial aspects of the movement; any unimportant elements have been purposely left out to focus attention on the essentials. For instance, Flexi's eyes are shown only when students are instructed to move their eyes. These illustrations are guides to movement, not commands that must be followed exactly.They can serve to clarify ambiguities or uncertainties. While the movements are specific and should be followed closely, the students' comfort and ease are more important than perfect performance. Furthermore, every movement should be done only in the range that is easy and resistancefree for each student. The purpose of each lesson is to guide the students in finding a specific movement pattern. Each lesson simple motion that is contains a test movement-a returned to several times over the course of the lesson. The test movement serves as a way of evaluating the students' progress through the lesson-as the lesson continues, the test movement should get smoother and easier.

Making the Lessons Work These lessons may be conducted with individuals or small groups. A group should have no more than the number of people you can easily watch and supervise. It is best if patients do the lessons on the floor or other place where they have room to move freely. Because an important component of the lessons is feeling how the body makes contact with the surface underneath it, patients must be lying on a firm surface. For comfort, they may lie on an exercise mat, carpet, or folded blanket. You may wish to dim the overhead lights so that patients do not have to stare into bright lights. A few conventions merit brief explanation: 1. The number of movements is never prescribed. Students are asked to repeat movements either a few, several, or many times so that they can attend to their own experience rather than being distracted by counting. (Few refers to two or three times, several to three to five times, and many to a dozen or more times.) Introduction

2. After performing a specified movement, students are instructed to return to home position. "Home" is specific to each lesson, referring to the position with which each lesson begins. 3. In the rest position, Flexi has been drawn with forearms prone and palms facing the floor. This illustration shows just one possible configuration, not the optimal or ideal way to place one's hands. Participants should not feel that they must copy this hand position. People may instead lie with their forearms resting on the ulnar surface or with their forearms supinated. As long as their arms are resting alongside the torso, do not instruct people to change their position. Students are free to rest in whatever position is comfortable for them. For instance, someone who is not comfortable resting on his or her back may prefer to rest on one side. 4. Because you will not be demonstrating the movements and because the emphasis of the lessons is on each student paying attention to their own experience, it is not important that students be able to see one another or you. Encourage students to remove their glassesor contact lenses before the lesson so they can be more comfortable. Removing contact lenses can be particularly important for the lessons that involve eye movements, because these sequences are best performed with the eyes closed. 5. In the Feldenkrais approach to learnirig, students

explore alternatives and weigh preferences without intervention or guidance from the teacher. You will note that the script asks many open-ended questions that direct the students' attention to relevant aspects of their movement experiences. Do not provide the answers to these questions. Do not demonstrate the movements. Do pause after asking each question. This way of teaching has nothing to do with telling or showing. Instead, encourage your patients to move slowly and gently enough so that they can discern their own answers. This kind of learning encourages independence and responsibility. 6. The questions and the slow pace of moving elicit exploratory activity, the kind of "learning movements" that children engage in with such ease and joy. Performing and exploring-doing and learning-are fundamentally different modes. Adults often forget this, wanting simply to be told or shown what to do. The problem is that with these patients, as with most of us, neither explaining nor demonstrating work. Because students don't know ahead of time what is wrong

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or right, learning requires exploration and an environment in which it is safe to explore. By moving slowly and easily, we learners can try new ways and explore alternatives without the danger of hurting ourselves.

Format of the Lessons The lessons are presented in pairs. Part II builds on Part I; therefore, students should do the first part of any lesson before going on to the second part. The twopart lessons also allow for review of previously learned movements and provide continuity. The movements are designed for patients with back problems, which means that the lower back is not brought into the movement until late in the lesson. Lessons directed specifically at the lower spine are reserved for later in the series. If you present these lessons to patients with other kinds of problems, please modify the exercises accordingly to avoid problem areas initially and to address whole movement patterns in the least threatening possible way. Before you teach these lessons to your patients, be sure to experience them yoursel£ In fact, I encourage you to go through the lessons a few times before teaching them. The first time you listen to the tape or read the lesson, you experience it as a student. The subsequent times can help you develop a more objective understanding of the structure and flow of the lesson. You will better understand how the lessons work if you understand what they can do for you. You might also consider teaching the lessons to your colleagues, friends, or a study group before working with patients. Seeing the lesson unfold as you teach it will further your understanding of the process. Also, it is useful to practice teaching with individuals who do not have all the limitations that people in chronic pain manifest.

No Pain, More Gain How students approach these lessons is crucial. If they attempt to perform the movements as some sort of exercise, repeating them a certain number of times, straining, moving against resistance, and paying no attention to how they move, they will receive little, if any, benefit from them. These are not like strengthening or flexibility exercises; struggling and straining will not help. Each of these movements should be done slowlyand gently, as easily as possible. Students should be repeatedly reminded to move without forcing, pushing, or stretching.

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As the teacher, you will ask students to direct their attention to the quality, rather than the quantity, of their movement. That is to say, they should aim to perform the movements without any little stops and starts, without unevenness in effort or motion. In each action, look for minimal effort and smooth, continuous movement. If at any time you notice discomfort, encourage the student to further decrease the range and effort of motion. Any movement that a patient cannot perform physically can be imagined. As you teach, look for the students to perform all the movements at their own rates. Students should be moving slowly and continuously, without any jagged motions and without straining at the beginning or end of a movement. They should breathe easily as they move. If they are continuing to move after you have finished with a set of instructions, allow more time. You can repeat the description of the movement, and you can give a few moments of silence. Students should move at what they experience to be a comfortable pace, as long as they move slowly.As Feldenkrais was fond of reminding his students: "Move slowly to learn quickly." The purpose of this way of moving is to assist students in becoming aware of what they may not yet notice: the ways in which they are moving and the ways in which they can move. Most of us are much more aware of where we are going than of how we are getting there. This is why so many approaches to movement failthey emphasize what should change without helping the student learn what he or she is already doing. By attending to the quality of movement, students begin to notice how they are moving. This kind of noticing makes it possible to become aware of and change inefficient movements and restricting habits. You will notice that there are many rests in each lesson. These are designed to allow an opportunity to reflectupon the effect of the movementsjust completed. The rests also serve to break the rhythm of moving and give students time in which they don't have to concentrate on movement. The rests are a chance for them to notice whether their contact with the floor, mat, or table has changed. Students may also rest at any other time they like. This gentle way of moving is necessary for learning to move more easily, more efficiently, and more comfortably. Though you will notice that the lessons lead to everyday movements becoming easier,it is not suggested that people perform everyday movements at this slow speed and with such minimal effort. You can, however, invite your students to explore decreasing the effort in everyday activities to find out whether they can make those actions easier. Introduction

There is no final destination in any of these lessons. That is to say, the process oflearning and exploring is what counts. Lessons can be repeated for additional benefit; each time a lesson is done, something new can be noticed and learned. These lessons are not meant to impose a certain movement on students, but rather to elicit the process of exploration and discovery so that students can improve on their own. At every step of the way, the students' comfort and enjoyment should be emphasized. As singer/songwriter Harry Chapin used to say,"It's the getting there that's gotta be good." To help students integrate these lessons into their everyday movements, relate the lessons to exercises and activities of daily living. For instance, if you are prescribing some form of extension exercise, you can use the Cat and Camel and Extension lessons to teach a student the movement pattern upon which the exercises are based. The introduction to each lesson includes some suggestions about how the lessons relate to everyday movements; you may want to think of others. The more you can support students in relating these movements to functional activities, the more impact the lessons will have.

Pre-exercise

Instructions

Before teaching these lessons to your patients, you can read or paraphrase the following text. This introduction orients students, summarizing some of the key features of this kind ofleaming and preparing them for what will come: How you approach the following lessons is of utmost importance. If you attempt to perform these movements as some sort of exercise, repeating them a certain number of times, straining, moving against resistance, and paying no attention to how you move, you will receive little if any benefit from them. Unlike strengthening or flexibility exercises, struggling and pushing yourself will not help in these lessons. These lessons are for learning how to improve the way you move. Do every movement slowly and gently, without forcing, pushing, or stretching. Direct your attention to the quality, rather than the quantity, of the movement . In each action, use the minimal amount of effort possible. Perform each movement in a way that feels absolutely comfortable and easy. Strive for a smooth, continuous movement : perform each action without any little stops and starts, without unevenness in effort or motion. Introduction

You should always feel comfortable when doing these movements. If you notice any discomfort or pain, decrease the range and effort of motion. Any movement that you can't do, you can imagine. This means that any time you experience pain or strain, you should first slow down and then decrease the range of the motion. Experiment with small adjustments in your position and in your way of moving. If you cannot eliminate the discomfort, stop moving. Remaining in the position described in the lesson, imagine doing the movement without actually moving. If it helps, you can form a mental image of yourself moving. Whether you visualize or not, imagine how the movement would fie!. Make your imagination as detailed as possible, emphasizing the experience of moving rather than the destination of the movement.

If you feel discomfort after repeating a certain movement several times, or after completing a lesson, that may mean that you were overexerting yourself This is a sign that you can do even less-less trying, less straining, less pushing yourself--when you return to that lesson or begin the next one. You will avoid injury and ensure the maximal benefit by staying well within your comfort zone. Do all the movements at your own rate. Move at a slow, comfortable pace. The purpose of this way of moving is to help you become aware of what you may not yet notice: the ways in which you are moving and the ways in which you can move. Most of us are much more aware of where we are going than of how we are getting there. By attending to your quality of moving, you can begin to notice how you are moving. This kind of noticing makes it possible to become aware of and change your inefficient movements and restricting habits. You will notice that there are rest periods in each lesson. These allow you to sense the effects of the movements you have just completed and reflect upon them. The rests also serve to break the rhythm of moving and give you a chance to notice whether your contact with the floor (or whatever the supporting surface is) has changed. You may also rest at any other time you like. A gentle way of moving is necessary for learning to move differehtly--more easily, more efficiently, and more comfortably. Each lesson contains questions to help you focus and know what to attend to. Move slowly enough so that you can find your own answers.

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Facilitating Integration Helping your patients make the most of these lessons means helping them to integrate their new movement patterns and refined kinesthetic perceptions into everyday activities. We often ask our patients to apply what they have learned into new movements after the lesson. This has not proven an effective strategy. A more effective approach is to ask patients to perform a specific activity beforedoing the lesson and then to return to the same activity afterward. This approach-"sandwiching" the lesson between repeated explorations of a functional activity, so to speakallows students to notice changes on their own and creates a context for the lesson. Using the activity as a before-and-after "test" gives students a way to measure the lesson's effectiveness. Specifying a particular activity that may be improved through the lesson motivates patients and makes the lesson more meaningful, particularly if you select activities that are important to individual patients. You can use these lessons to teach the specific movement patterns on which the lessons are based, or you can use them to improve body mechanics and coordination in everyday activities. The student booklets each begin with a short general introduction to the lesson that relates the lesson to everyday movements. Here is a list of functional activities you might relate to each lesson:

Abdominal strengthening exercises

Turning with Ease {rotation) Turning to look over one's shoulder Turning in bed Reaching across midline Pushing and pulling Shoulderand Hip Circles(side-bending) Walking Going up and down stairs Reaching for something on a high shelf Removing something from a low drawer while sitting Cat and Camel Sitting Standing Hip joint movements Arching YourBack (extension) Looking up Showering Washing hair Pelvic Compass Preliminary to dynamic stabilization Lifting Sexual activities

A ComfortableBack (flexion) Putting on and taking off shoes Dressing and undressing Washing feet and legs in the tub

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Introduction

A Comfortable Back I

To be comfortable during the following movement lesson, it is a good idea to empty your pockets, take your belt off, and remove your shoes.

How is your pelvis resting on the floor? Which side of your pelvis rests more heavily on the floor, your right buttock or your left buttock?

Lie on your back with your knees bent and your feet shoulder-width apart. Rest your arms alongside your torso. You can rest your hands on the floor or on your belly, whichever is more comfortable.

Is your tailbone resting on the floor7 Is your sacrum-the bone above your tailbone and between your hips-touching the floor? How much of your spine is touching the floor?

For the next few moments, I am going to ask you some questions about how your body makes contact with the floor. The purpose of these questions is to orient you to your bodily experience so that you can develop a clear impression of how you are lying on the floor now. This impression will serve as a baseline for you to notice and track the changes that happen during the lesson that follows. Can you answer these questions without looking, by feeling how you make contact with the floor7 Notice how your right foot is making contact with the floor. How does the bottom of your right foot rest on the floor7 Is the inside or outside of your foot making more contact? Is the heel or the ball more fully on the floor? How about your left foot-how does it rest on the floor7 Compare your right and left feet. Where are your toes pointing7 Can you sense which heel is closer to your pelvis7 Where is your left knee pointing-directly at the ceiling, in toward the right knee, or out to the left7 How about your right knee, where does it point? How does the position of each knee relate to the contact each foot makes with the floor?

A Comfortable Back I

How much room is under your lower back7 (If you like, you can use your hand to feel under your back.) What areas of your mid-back make contact with the floor7 Does your spine between your shoulder blades touch the floor? How do your shoulders rest on the floor? Does one rest more fully or feel heavier than the other? How does each of your arms rest on the floor? Which elbow is closer to your body7 How much space is under each wrist? How does each hand touch? How much space is there underneath your neck7 Does it feel as if you have more space underneath the back of your neck or underneath your lower back? What part of the back of your head is touching the floor? What is your overall impression of how you make contact with the floor7 Are you resting on stilts, with small areas of support distributed over many places, or are you resting on wide, continuous patches of support?

Take a moment to notice how your breathing moves your back along the floor. Where do you feel movement when you inhale and exhale?

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Slowly lift your head off the floor. Use minimal effort so that you just barely lift your head off the floor. Repeat this a few times, noticing how the rest of your body participates. What happens in your neck'?In your jaw'?

Does your chest move'?How does your contact with the floor change'? Where does your back press into the floor'? Do you breathe as you Ii~ your head'? Is this movement easy or difficult'? Does your head feel heavy'?

3 Stop moving. Rest on your back a few moments. Notice where you feel the consequences of these small movements. Did you remember to move slowly and easily'?

Usually we move habitually, without thinking about how we move. That means we don't necessarily move in the easiest or most efficient way.We move only as well as we have learned to and, unfortunately, that learning often happens haphazardly or by accident. What could you do to make this movement easier'? In other words, how can you change how you are moving so that your head feels lighter and the movement takes less effort'?

That's what the rest of this lesson is about.

4 Interlace your fingers and put your hands behind your head. Make sure your hands are behind your head, not in back of your neck. Using your arms and chest to do the work, lift your head just a little, very slowly. Slowly put your head back down, bringing the weight of your head to rest fully on the floor again. Repeat this movement several times, pausing between each movement. How can you make this motion a little easier each time'?

Move slowly and gently, without straining or pushing. Go only as far as is easy for you.

5 Stop. Bring your arms down and rest for a moment. Did you notice whether you held your breath while you moved'?Did you notice where your elbows were pointing'? Were you using only the effort you needed to Ii~ your head or were you doing extra, unnecessary work'? How do you find out what is unnecessary'?

By decreasing your effort, you can notice when you work too hard. Then you can improve the coordination and quality of your movement by ridding yourself of wasted efforts.

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A Comfortable Back I

6 Interlace your fingers and put your hands behind your head. Keeping your elbows pointing out to the sides, slowly lift your head again, then gently lower your head back to rest on the floor. Pause. Did you remember to put your hands behind your head rather than in back of your neck?

Repeat the lifting and lowering movement so that your arms are doing the work, and your head is coming along for the ride. Make your head the passenger and your arms the vehicle. Do you notice the quality of the movement? Are you moving like water flowing down the side of a hill or like a ball bouncing down a flight of stairs? Can you make this movement smoother and easier each time you repeat it7

7 Raise your elbows halfway to the ceiling, making approximately a 45° angle with the floor. Now raise and lower your head, keeping your arms at this angle. Repeat the movement, moving so slowly that you take twice as long as you did for the first movement. Remember to let your arms do the lifting, allowing your head to come along for the ride. And remember to rest between movements. After you have repeated the movement a dozen or so times, stop for a moment.

8 With your hands interlaced behind your head, raise your elbows toward the ceiling. Lift your elbows until they are pointing more or less toward to the ceiling. Your arms will make as close to a 90° angle with the floor as is comfortable for you. With your arms in this position, lift and lower your head. Pause between each repetition, lowering your elbows to the floor and resting your head fully on the floor for a moment before repeating the movement. Can you make the lifting and lowering continuous?

Go slowly enough to notice any glitches in the movement so that you can smooth them out. The way to make any uneven spots smooth is simply to go through them very slowly and gently. Take your time and move without rushing or forcing. Which is the easiest way to lift your head: With your elbows pointing to the side? With your elbows making a 45° angle? With your elbows pointing toward the ceiling?

Stop lifting your head. A Comfortable Back I

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9 Bring your arms to your sides. Rest and notice how you make contact with the floor now.

If you are feeling any strain or discomfort, do evenlesswhen you return to moving. It is common for people to move very easily until they get to the last part of the movement, when they push, struggle, and strain to get a little further. This is wasted effort. You can improve without forcing yourself to go further and without trying to stretch, so please move only as far as is easy for you.

10 Interlace your fingers and place your hands behind your head again. Lift and lower your head, coordinating the movement with your breathing now. Breathe normally and move at the rate of your breathing. Many people find it most natural to exhale while lifting and inhale while lowering. Try it the opposite way-inhaling while lifting and exhaling while lowering--to find out which feels most comfortable for you.

11 Now repeat the movement, holding your breath as you move. How does holding your breath change the way you

move7

Move very gently so that you can sense how holding your breath interferes with your movement.

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A Comfortable Back I

12 Pause for a few moments. Return to slowly lifting and lowering your head with your hands interlaced behind your head. Can you breathe

as you move'?What difference does breathing make'?

13 Begin gently moving your right elbow toward your left knee as you lift your head. Don't even try to touch your knee. Just make sure you are pointing your right elbow in the direction of your left knee. Return to the floor and repeat the movement many times. As you lift your head, both elbows will come forward, with your right elbow moving in the direction of your left knee, which makes your arms and upper back turn a bit to the left. Repeat this movement many times very slowly. Are you remembering to breathe as you move'?Can you feel the your upper back with the floor changing'? Are you rolling a little le~ or your right side as you Ii~ your head'?

contact of onto your

14 Stop. Bring your arms to your sides and rest a moment. If you like, you can let your legs straighten out.

15 Interlace your hands and place them on your belly. Undo them. Interlace them again. Undo them. Repeat this motion a few more times. Do you realize that you are doing the

movementthe same way each time'?

Notice how the same thumb is always on top and how you repeatedly weave your fingers together in the same way each time you interlace them. This is a habit, something that you do without thinking about how you do it. It is not the only way to perform this movement but, because it's a habit, you do not even consider the other possibilities. A Comfortable Back I

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16 Interlace your hands the other way with the other thumb on top and all your fingers shifted over. How does it feel to interlace your fingers the non-habitual way'?

Even though this is just another way ofinterlacing your fingers, it usually feels strange or uncomfortable. That's how powerful habits are.

17 Put your hands behind your head, with your fingers interlaced the nonhabitual way. If you straightened your legs, please bend them again. Slowly lift your head, this time bringing your left elbow toward your right knee. Gently lower your head and repeat this motion many times. As you lift your head, both elbows come forward, with your left elbow moving in the direction of your right knee, which makes your arms and upper back turn a bit to the right. Remember to let your head be the passenger. Take your time. Let your arms lift your head. Notice how your contact with the floor changes. Can you feel how your

torso is moving'?

Remember to breathe.

18 Stop for a few moments.

19 If you put your arms down, interlace your fingers again and replace them behind your head. Point your elbows at the ceiling; with your arms as close to 90° from the floor as is comfortable for you, lift and lower your head. Repeat this movement several times, lifting your head with both elbows moving more or less symmetrically. Has this movement becomeany easier'? Has the amount of movement you can do increased'? Most important, has the quality of the movement improved'?

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A Comfortable Back I

20 Stop and rest with your arms at your sides. Notice how you are making contact with the floor. Is more, the same amount, or less of your back resting on the floor now?

21 Interlace your fingers however you wish and place your hands behind your head . Begin lifting and lowering your head again. This time notice how your contact with the floor changes as you lift your head. Do you notice how the point of contact rolls along your back as you move? How does your point of contact change? Do you notice how your contact point rolls from the top of your back down a little toward your pelvis? As you lower your head back to the floor, can you feel how your spine rolls back to the floor and you make more contact with the floor?

22 Stop. Bring your arms to your sides and rest. What parts of your back are touching the floor now?

23 Keeping your arms at your sides, slowly lift your head off the floor a few times. Has the movement changed? Does your head feel heavier or lighter?

Notice how the rest of your body participates in this movement. Do your upper back and chest assist in the movement of your head now?

Stop and rest. Take a few moments to think back through the movements you did in this lesson. How do they relate to everyday movements, such as putting your shoes on?

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24 Slowly roll to one side and sit up. Taking as much time as you need, come to standing. Walk around and notice how you feel. This concludes the first lesson.

A Comfortable Back I

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A Comfortable

Back II

Lie on your back with your knees bent and your feet shoulder-width apart. Rest your arms alongside your torso. You can rest your hands on the floor or on your belly, whichever is more comfortable. Notice how your feet are making contact with the floor. Which foot feels flatter'? Which foot is resting more fully on the floor'? Where are your toes pointing'? Where is your le~ knee pointing'? How about your right knee'?Are your knees closer together than your feet, farther apart than your feet, or exactly over your feet'? How is your pelvis resting on the floor'? Which buttock rests more fully on the floor, the right or the Im'? Is your tailbone resting on the floor'? Is your sacrum-the bone above your tailbone and between your hips-touching the floor'? How much of your spine is touching the floor'? How much room is

A Comfortable Back II

under your lower back'?What areas of your mid-back make contact with the floor'? Does your spine between your shoulders touch the floor'? How do your shoulder blades rest on the floor'? How does your right arm rest on the floor'? How does your I~ arm rest on the floor'? How much space is there underneath your neck'? Do you feel as if you are resting on the center of the back of your head-or is your head rolled a little to the right or the I~'?

Notice all the places where you make contact with the floor. What overall impression do you get'?

Takea moment to notice your breathing. Do you breathe in through your mouth or through your nose'?As you breathe in, where do you feel movement'? In your belly'?In your solar plexus'?In your chest'? Along your sides'? In your back'?Where do you move when you breathe out'?

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Slowly lift your head off the floor. Use minimal effort so that you lift the weight of your head just barely off the floor. Repeat this movement a few times, noticing how the rest of your body participates in it. Did you learn anything in the previou5 le550n that make5 thi5 movement ea5ier7

In this lesson, you will learn more about how your whole body participates in the movement of lifting your head. When every part of you cooperates in rounding your back and lifting your head, the movement becomes easier and more efficient. Before we begin to explore new movements, let's review some of the movements from the last lesson.

3 Interlace your fingers and put your hands behind your head. Remember to make sure that your hands are behind your head, not in back of your neck. Using your arms and torso to do the work, lift your head very slowly and then put it back down. As you repeat this movement many times, explore the effects of breathing in time with the movement, then of holding your breath as you move. Are you letting your head be the pa55enger7

4 Take a few moments to explore the various ways of lifting your head that we investigated during the previous lesson: lifting your head symmetrically and asymmetrically, and noticing how your point of contact rolls down your back. Repeat each variation a few times. Pause whenever you would like. Take a few moments to investigate these movements. Take your time; move slowly and gently.

5 After you have explored the different movements, stop and rest. As we begin the new movements for this lesson, remember to take it easy.The FeldenkraisMethod is a "no-pain, more-gain"approach. Do only the movements that are comfortable for you.

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A Comfortable Back II

6 With your legs bent, your feet flat on the floor, and your knees pointing to the ceiling, slowly arch your lower back a little, increasing the space between your · back and the floor. Keep your pelvis on the floor. Can you feel the point of contact between your pelvis and the floor roll toward your tailbone7 Can you let your belly relax as you arch your lower back and move your pelvis7

Return to the home position and repeat this small motion several times. Can you breathe

as you continue to move7

Move as slowly as if you were moving in slow motion-that's prove. Do less than you know you can.

the way to im-

7 Rest a moment.

8 Now slowly move your lower back toward the floor to gently flatten the curve of your lower back. This is the motion of rounding your back. Stay in your comfort zone, moving gently, without force or pressure. Return to your home position and repeat this movement many times . Can you feel your pelvic point of contact roll slightly toward your head7 What happens at your hip joints, where your legs attach to your pelvis7 Do your abdominal muscles contract as your lower back comes toward the floor7

9 Combine the arching and rounding movements, so that you slowly roll the point of contact up and down along the back of your pelvis. Allow your back to move along with your pelvis, making sure that you continue to do small movements. Notice how the space under your lower back alternately increases and decreases. Stop and rest.

A Comfortable Back II

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10 Interlace your fingers and put your hands behind your head. Lift and lower your head with your arms a few times. What does your lower back do7 Can you roll your pelvis so that the point of contact rolls toward your head and your lower back moves slightly toward the floor as you Ii~ your head?

Repeat this several times, coordinating the gentle rounding of your lower back with lifting your head. Rather than doing one part of the movement and then the other, can you make this one movement?

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Stop. Bring your arms to your sides and rest.

12 Interlace your fingers and put your hands behind your head. Can you roll your pelvis so that the point of contact rolls toward your tailbone and your lower back moves slightly away from the floor at the same time that you Ii~ your head?

Repeat this movement a few times, gently archingyour lower back as you lift your head. Can you make these movements into one coordinated action?

Continue to lift your head a few more times, but keep your pelvis and lower back still now. Notice how your movement changes .

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13 Which variation is easier for you: keeping still, arching, or rounding?

Repeat whichever movement felt easier a few more times. Move slowly. Pause again. Bring your arms to rest where they feel most comfortable. Take a few moments to notice your contact with the floor. Can you discern any changes?

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A Comfortable Back II

14 Close your eyes. Keeping your eyes closed, slowly move your eyeballs as if to look down toward your feet. Then slowly move your eyes back to home as if to look directly forward again. Repeat this movement: rolling your eyes down, straight in front, and then down again. Feel your eyeballs move in their sockets. Go very slowly. Notice any uneven places, any little stops and starts in the movement. Can you make your eyefJmove fJmoothly'? Do you notice any refJponfJein your neck mufJclefJ'?lfJyour head moving with your eyefJ'?If fJO,can you keep your head fJtill while continuing to moveyour eyefJ'?

15 Stop a moment. Keeping your eyes closed, slowly move your eyes up toward your forehead, then bring them back as if to look straight in front. Repeat this movement many times. Go very slowly. Notice any unevenness in your movement, any little stops and starts. Can you fJmooth out the movement of your eyefJ'?Can you keep your head fJtill while continuing to moveyour eyefJ'?

16 Combine the looking up and looking down movements to increase the range of this motion. Breathe. Continue to move your eyes slowly and smoothly. Keep your head still. After many repetitions, please pause. Rest a moment.

17 Gently nod your head a little, bringing your chin closer to your chest. Keep the back of your head on the floor throughout this small movement, moving your head just at the top of your neck. Return to home position and repeat several times. Can you feel the back of your head fJlide on the floor'?

If you like, you can slip one hand behind your neck to make sure you are moving only at the top of your neck. You should feel active movement only at your little finger. After you have refined the movement, bring your arm down and repeat the nodding several more times gently. Do you notice your eyefJparticipating A Comfortable Back II

in thifJ movement'?

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18 Begin to nod in the other direction, tilting your chin away from your chest and sliding the back of your head on the floor. Keep the back of your head resting on the floor throughout the movement. Return to home position and repeat several times. Can you move your head at the top of your spine, rocking your skull only at the top of your neck'?

19 Increase the range of this movement, allowing your head to slowly rock as you move your chin toward and away from your chest. Notice your breathing as you continue to move.

20 Coordinate the movement of your eyes with the movement of your head. As you look down, your chin moves toward your chest. As you look up, your chin moves away from your chest. Can you make this a smooth movement'? Is your head leading the movement or are your eyes leading'?

21 Stop moving. Open your eyes and focus on a point on the ceiling. Keeping your eyes focused on that point, nod your head up and down again. Move your chin toward your chest and away, slowly rocking your head many times and making the movement a little easier each time. Remember, this is a small movement. Keep your eyes focused on the same spot on the ceiling and slowly nod your head. Do you notice how your eyes move in relationship to your head'?

Pause and rest for a moment.

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A Comfortable Back II

22 Close your eyes again. Can you moveyour head and eyes in opposite directions so that you look up as you bring your chin down? How about looking down while bringing your chin up?

This is an unfamiliar movement for most of us. Initially, it is often easiest to move your eyes first and then your head. Do the movements separately a few times to get the feel of them. As you become more familiar with this, can you make the two movements into one coordinated motion so that your eyes and head move in opposite directions at the same time? Stop and rest. How are you resting on the floor now?

23 If you straightened your legs, bend your knees again. Interlace your fingers, put your hands behind your head, and lift your head a few times. Has the ous?

movementchanged? Is the motion smoother, morecontinu-

How does your chin moveat the beginning of the movement? Can you allow your eyes to begin the motion? Can you allow your head and chin to follow? Can you complete these movements before beginning to Ii~ your head?

To refine the sequence, repeat the movement a

few more times. Pause for a moment. When you return to lifting your head, begin to coordinate your eyes and head with your pelvis and lower back. Which combination of movements is easiest? What can you pelvis and lower back to help you Ii~ your head?

do with your

24 Rest. Bring your arms down to rest along your sides. Notice how you make contact with the floor. How are your feet resting? Where are your knees pointing? How does your pelvis rest? Which parts of your spine are touching the floor now? How is your head resting on the floor now?

A Comfortable Back II

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25 Lift your head without using your arms. Has this movement changed?

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Can you apply what you learned about your eyes, neck, chest, and lower back to make li~ing your head easier7 Can you find a way to have all of your body participate in this actlon7

Stop and rest. Take a few moments to think back through the movements you did in this lesson. Can you think of a time when you can explore these movements again7

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26 Slowly roll to one side and sit up. Notice how you feel. Taking as much time as you need, come to standing. Walk around a bit, noticing how your back and neck feel now. This concludes the second lesson.

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A Comfortable Back II

Turning with Ease I

Lie on your back with your knees bent and your feet flat on the floor. Rest your arms at your sides. Notice how your back makes contact with the surface you are lying on. How doee; your right foot touch the floor? Your left? Doee;one foot ree;t more fully on the floor? Are your feet cloe;er together than your kneee;7 Or are your kneee; cloe;er together than your feet? How doee; your right buttock touch7Your left? le; one e;ide making more contact than the other? Doee;your tailbone ree;t on the floor? How much e;pace ie;there under your lower back? How do the right and left e;idee;of your upper back touch? Doee;one e;houlder make more contact with the floor than the other? How much of your back between your buttocke; and your e;houldere;ie; ree;ting on the floor?

Turning with Ease I

le;your right ear cloe;er to your right e;houlder than your left ear ie;to your left e;houlder7 Vice vere;a7 Or ie;your head exactly in the center? Where ie;the back of your head touching the floor: exactly in the center? Or ie;your head rolled e;lightlyto the right or the left? What parte; of your chee;t move ae;you inhale? Ae;you exhale? Doee;one e;ide of your chee;t move more eae;ilythan the other? How doee; your breathing change the contact between your back and the floor?

Take a moment to notice how all these areas make contact with the floor. What overall pattern do you notice? Doee;one e;ide ofyour body make more contact than the other? Or do one e;houlder and the oppoe;ite hip make more contact?

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In this lesson and the next one you will learn how your spine is made for turning. As you lie on the floor, take a moment to consider how your back moves when you turn. Where do you think the most rotation occurs-in your neck, in your mid-back and chest, or in your lowerback'? How does your belief affect the way you move'?How could changing your ideas improve the way you move'?

3 Still lying on your back, cross your left leg over your right so that the back of your left knee rests on the part of your right thigh just above your knee. Let your left foot hang to the right of your right leg. Rest your arms on the floor alongside your torso.

4 Slowly let your legs sink slightly to the left, lowering your knees ever so slightly toward the floor. Keep your right foot on the floor as your legs gently move together to the left. Keep the movement of your legs small. Pause.

5 Bring your legs back to home position. Pause.

6 Let your legs sink to the left again, making sure that you keep your right foot flat on the floor. Without forcing the motion, repeat the movement many times.

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Turning with Ease I

7 As you continue to allow your knees to slowly move to the left and return, notice the point of contact rolling across the back of your buttocks. Can you feel your weight roll onto your left buttock the left?

as your legs sink to

Let the weight of your legs sink to the left, causing your pelvis and lower back to roll with them. Make sure you are using the weight of your legs to gently roll off your right hip and onto your left hip. How does your lower back movewhen it

followsyour legs and pelvis?

8 Notice how your legs are moving. Is the movement smooth and continuous or uneven and jumpy, with small stops and starts along the way? Can you make the movement smooth and even? Are you breathing as you move?Is it easier to exhale as your legs drop to the Im and inhale as they return to the center? Or vice versa?

Repeat the movement, exploring both ways of coordinating your breathing. Which feels

easier to you? Is it what you expected?

9 Notice how you bring your legs back home. Where does the movementstart? Can you initiate this movement from your pelvis, moving your right buttock back toward the floor and allowing your legs to follow? Can you keep your legs relaxed and allow them to come along for the ride?

This is not a typical movement for most people. You may require a few attempts to figure out how to move your pelvis so that the point of contact rolls smoothly across your buttocks. Do the movement enough times so you can figure out how to start the movement from your pelvis.

10 Continue alternating these movements, letting your crossed legs sink to the left and return back to home position. As you repeat the

movement,can you allow the range to increase?

Remember to have your whole right foot stay flat on the floor.

Turning with

Ease I

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11 Stop. Uncross your legs and rest a moment. How Is the back of your pelvis making contact with the floor7 Which foot Is making more contact with the floor7Your left or your rlght7

12 Cross your left leg over your right and let your legs sink to the left again. How has the movement changed since the first time you tried it7 As you repeat this movement,how does your back's contact with the floor change7

13 Repeat this movement again, allowing your right foot to roll so that the outside of your foot leaves the floor slightly. Notice how this affects the movement. Continue repeating the movement, letting the weight of your legs carry your knees to the left and using your pelvis to bring your legs back home (to the center).

14 With your legs crossed, your legs and pelvis move together as one unit. That means your spine must rotate when your legs sink to the left. Where does this

movement happen7

Because of the shape of the bones in your lower back (the lumbar vertebrae) and the configuration of the joints there, very little rotation can occur in your lower back. Yet this is the place where most of us think we can twist. Gently place your palms on the bottom of your rib cage with your hands turned so that your thumbs point toward your navel and your fingers reach around your sides, toward your back. Can you rest your elbows on the floor7

Let your legs sink to the left again. Can you feel how your rib

cage moves underyour hands7

The left side of your rib cage lowers toward the floor and your right side lifts from the floor as your spine turns where those ribs attach. Repeat the movement a few times.

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Turning with Ease I

15 Bring your arms back to your sides, resting your hands on the floor or on your belly. Let your knees and legs sink to the left and return a few more times. What happens between your shoulder blades and your pelvis? Can you feel how the contact of your chest with the floor changes as you move?

Notice how the right side of your lower rib cage lifts slightly and the left side rolls toward the floor. What happens between your shoulders?

16 Stop. Uncross your legs. Take a moment to notice your contact with the floor.

17 Cross your right arm over your chest and rest your right hand under your left armpit, pointing all of your fingers toward your left shoulder blade. Keep your fingers and thumb together. Allow your elbow and arm to rest on your chest as comfortably as possible. Cross your left arm over your right, reaching around the outside of your right shoulder toward your back. Rest your left elbow on the right one.

18 Using your left hand to help, gently lift your right shoulder slightly off the floor, then return it slowly to the floor. Breathe as you move. Repeat this movement several times, making it smooth and continuous. Can you sense how the point of contact rolls across your upper back?

Each time you return your shoulder to the floor, lower it slowly and gently. Stop. Uncross your arms and return them to your sides.

19 Cross your left leg over your right and let your legs sink to the left again. Repeat this movement a few times. How has the movement changed since you last did it7 Can you feel the movement in your chest and mid-back more clearly? Do you notice how your rib cage participates in the movement?

Turning with Ease I

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20 Stop. Uncross your legs and rest. Notice how your back is resting on the floor now. Do you feel a difference between how your right and left sides contact with the floor? Which hip rests more fully on the floor shoulder makes more contact'?

are making now'?Which

Take a few moments to think back through this lesson.

Haveyou changed your ideas about how your back turns'?

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21 Slowly roll to one side and sit up. Notice how you feel as you move. Taking as much time as you need, come to standing. Walk around a bit. Try turning your head to the left and right and turning your whole body to the left and right. Notice how these movements feel. This concludes the lesson.

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Turning with Ease I

Turning with Ease II

Lie on your back with your knees bent and your feet flat on the floor. Rest your arms alongside your body. Notice how your back makes contact with the floor.

How does your left buttock rest on the floor'?Your right'? Is one side making more contact than the other'? Does your tailbone rest on the floor'?

Because we cannot see our backs, we do not develop a three-dimensional awareness of our movements. But by paying attention to the way your back contacts the floor and noticing how this contact changes, you can learn how your back participates in your movements. Like a mirror, the floor reflects your position and helps you fill in your image of yoursel£

How much space is there under your lower back'? How do the left and right sides of your upper back touch'? Does one shoulder make more contact with the floor than the other'?

How does your left foot touch the floor'? Your right'? Does one foot rest more fully on the floor'?

Now think about your head position. Is your left ear closer to your left shoulder than your right ear is to your right shoulder'? Vice versa'? Or is your head exactly in the center'? Where is the back of your head touching'? Exactly in the center'? Or is your head rolled slightly to the left or the right'?

Are your feet closer together than your knees'? Or vice versa'?

How does your breathing change the way your back contacts the floor'?

Turning with Ease II

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2 Cross your left leg over the right one so that the back of your left knee rests on your right thigh. Let your left foot hang to the right of your right leg. Keeping your arms on the floor alongside your torso, slowly let your legs sink to the left, lowering your knees ever so slightly toward the floor. Let the weight of your legs pull them to the left, allowing your pelvis to follow. Bring your legs back to home position by rolling your pelvis until the right side touches the floor again, allowing your legs to follow. Without forcing the motion, repeat it many times. Keep the movement small. Is your movement smooth and continuous'? Is it as easy as it was in the last lesson'? Can you make It smooth and even'?

3 Uncross your legs and rest a moment. In the last lesson you learned about how your rib cage and mid-back participate in this movement. How can you continue

to improve your ability to turn'?

In this lesson, you will learn how your upper back participates in turning and twisting movements.

4 Cross your right leg over the left. Keeping your left foot flat on the floor, gently let your legs descend a little to the right. Return to home position, then slowly lower your legs slightly to the right again. Repeat this movement many times. Even though you have already done the same movement going to your left side, don't get carried away. Make sure you keep this new movement small.

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Turning with Ease II

5 As you continue to allow your legs to sink gently to the right and return, notice how your point of contact with the floor rolls across the back of your buttocks. Can you feel your weight roll to your right'? Can you make the smooth and continuous'? Are you breathing as you move'?

movement

How does moving your legs to the right compare with moving them to the left'? Where do you start the movement of bringing your legs back to the center'?

Initiate the movement of coming home with your pelvis, moving your left buttock back toward the floor and allowing your legs to follow.

6 Let your legs sink a little more to the right as you continue to repeat the movement. While keeping your whole left foot in contact with the floor, how close to the floor can you let your knees descend? Continue the sinking movement, but now allow the outside of your left foot to leave the floor so that you roll onto the inside of your foot. Notice how this changes the movement. Repeat the movement, using the weight of your legs to carry your knees to the right and using your pelvis to bring your legs back home. Can you feel the rotation of your spine in your mid-back (thoracic vertebrae) as you let your legs sink to the right and return'? Can you allowthe movementof your legs and pelvis to initiate the sequential turning in your spine'?

7 Stop. Uncross your legs and rest. Notice how your back is resting on the floor now. Do you feel how your right and left sides are making contact with the floor'? Has the space under your lower back increased or decreased'? How does your breathing change the way your back touches the floor now'?

Turning with Ease II

31

8 Cross your left arm over your chest. Reach your left hand under your right armpit and around your right side. Allow your left elbow and arm to rest on your chest as comfortably as possible. Now cross your right arm on top of the left one, reaching around your left arm and around and under your left shoulder. Rest your right elbow on the left one. Using your right hand to help, gently lift your left shoulder slightly off the floor, then lower your shoulder slowly to the floor. Repeat this movement several times, making it smooth and continuous. Can you notice how the point of contact rolls across your upper back7

Stop and rest in this position for a moment.

9 Using your left hand to help, gently lift your right shoulder slightly off the floor, then lower it slowly to the floor. Repeat this movement several times, making it smooth and continuous. As you lift your right shoulder, notice how the point of contact rolls from the center of your back toward the left shoulder and how it returns to the center of your back as your right shoulder returns to the floor. Repeat the movement a few more times, making it easier and smoother each time.

?

10 Stop. Uncross your arms and return them to your sides. How is your back making contact with the floor now7

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Turningwith Ease II

11 Cross your right arm over your chest, reaching your right hand under your left armpit and around your left side. Keep your fingers and thumb together. Cross your left arm over the right one and reach around the outside of your right shoulder. Rest your left elbow on the right one. Using your left hand to help, gently lift your right shoulder slightly off the floor. Notice how the point of contact between your upper back and the floor now rolls to the left. Return your shoulder slowly to the floor.

12 Now, using your right hand to help, gently lift your left shoulder slightly off the floor, noticing how the point of contact rolls to the right. Return your shoulder slowly to the floor. Repeat the movement of slowly lifting one shoulder and replacing it several times. Then gently lift the other shoulder and replace it several times. Combine these movements, alternately lifting one shoulder and then the other. Make them into one smooth action, so that you begin to lift one shoulder as the other is returning to the floor. Notice how the point of contact rolls across your upper back. Make the contact point roll gently from one shoulder to the other.

13 Is your head moving as you roll from one shoulder to the other7

Allow your head to roll with your shoulders so that your head rolls to the right as you lift your left shoulder, back to the center as your left shoulder returns to the floor, and then to your left as your right shoulder lifts. Let your head follow the rolling of your upper back and shoulders. Are you breathing as you move7Can you feel how your upper back and rib cage move now'?Repeat the movement a few more times.

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14 Stop. Uncross your arms and rest a moment. Which parts of your spine are resting on the floor now7 Has this changed since the beginning of this lesson7 Are you making more contact with the

floor now'?

Turning with

Ease II

33

15 Close your eyes. Slowly move your eyeballs to look to your left. Now slowly move your eyes back to home position (looking straight ahead). Repeat this movement: looking to the left, looking straight in front, and looking to the left again.

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Can you feel your eyeballe; movein their e;ockete;7

Move very slowly,going only as far as you can easily move. Can you make thie; e;mall movementof your eyee;e;mooth7 Doee;the back of your head roll on the floor7 If e;o,can you moveyour eyee;without rolling your head?

Stop and rest a moment.

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16 Slowly move your eyes to your right, then back to home position (looking straight in front). Repeat this movement many times: looking right, looking straight in front, and then right again. Do you notice any uneven placee;, any little hee;itatione;7 Can you go e;fowly enough to e;mooth out the movement of your eyee;7Can you moveyour eyee;without rolling your head7

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17 Combine these two movements, alternately moving your eyes slowly to the right and left. Move only as far as you can without straining, and make the movement smooth and easy. Are you breathing ae;you roll your eyee;left and right7 Can you more e;lowly,feeling the movemente; of your eyeballe;?

moveeven

After many repetitions, please pause.

18 Cross your right arm over your chest once again, reaching your right hand under your left armpit and around your left side. Cross your left arm over the right one, reaching around the outside of your right shoulder and resting your left elbow on the right one. Return to alternately lifting one shoulder and then the other, rolling the contact point across your upper back.

•••••••

34

Notice how your head moves as you roll from one shoulder to the other. Turn your eyes to look away from the shoulder that is lifting, allowing your head to roll with your shoulders. Thus, your eyes look to your right and your head rolls to your right as you lift your left shoulder, and vice versa. Allow yourself to breathe easily. Let the movement of your eyes become part of the rolling of your upper back and shoulders. Turning with Ease II

19 Stop, uncross your arms, and rest a moment.

20 Cross your left arm over your chest and tuck your hand under your right armpit as before. Allow your left elbow and arm to rest on your chest as comfortably as possible. Cross your right arm over the left one, reaching around your left shoulder. Rest your right elbow on the left one.

•••••••

Gently lift your left shoulder slightly off the floor. Slowly turn your eyes and head to the left. Move your head and neck very slowly and gently because your neck and upper back are now turning in opposite directions. Return to home position-both shoulders on the floor and your head and eyes facing straight ahead. Now lift your right shoulder as you gently turn your eyes and head to the right. Now combine the movements to the left and right-turning your eyes and head to the right as you lift your right shoulder, back to the center as you return your right shoulder to the floor, and then to your left as you lift your left shoulder. Keep your chin comfortably close to your chest. Allow your eyes to participate in the movement, moving as if to look over the shoulder that is lifting. As you continue these movements, try to move continuously and easily.

21 Stop and rest a moment with your arms crossed over your chest.

22 Keeping your head still now, lift one shoulder and then the other shoulder, feeling the point of contact roll across your back again. Make your movements smooth and continuous. In order for your head to remain stationary, the rolling movement of your upper back and shoulders will probably have to be much smaller than before. Can you keep your head still without clenching your jaw, stiffening your neck, or holding your breath? Can you feel your upper back and chest moveas you breathe?

Stop. Uncross your arms and return them to your sides.

Turning with Ease II

35

23 Cross your right leg over the left one and let your legs sink to the right again. Repeat this movement a few times. How has the movement changed since you last did it'? Can you now feel the movement in your thoracic spine (the vertebrae in your chest region) more easily'?

Cross your legs the other way (with the left leg over the right) and explore letting your legs sink to the left a few times.

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24 Stop. Uncross your legs and rest. How are you reeting on the floor now'?Hae the curve of your lower back changed'? Hae your contact with the floor changed'? Are you more aware of how your back allowe you to twiet and turn'?

0

25 Slowly roll to one side and sit up. Taking as much time as you need, return to standing. Walk a bit, noticing how you walk now. This concludes the lesson.

36

Turning with Ease II

Shoulder and Hip Circles I

Lie on your back with your knees bent. Notice how your right foot rests on the floor. How is the sole of your right foot making contact with the floor'? Is your weight resting mostly on the inside or mostly on the outside of your foot'? Is your right knee pointing straight up toward the ceiling, pointing out to the right, or in toward your left knee'? How does your right buttock make contact with the floor'? Does the right side of your rib cage rest on the floor'? How does your right shoulder blade rest on the floor'? How Is your right arm resting on the floor'?

Compare your right side with your left. Notice how your left foot rests on the floor. How is the sole of your left foot making contact with the floor'? Is your weight resting mostly on the inside or mostly on the outside of your foot'?

Shoulder and Hip Circles I

Is your left knee pointing straight up toward the ceiling, pointing out to the left, or in toward your right knee'?

How does your left buttock make contact with the floor'? Does the left side of your rib cage rest on the floor7 How does your left shoulder blade rest on the floor? How is your left arm resting on the floor'? Is your right ear closer to your right shoulder than your left ear is to your left shoulder'?Vice versa7 Is your head rolled a little to the right or to the left'?

Do you sense any differences in your breathing on your right and left sides'? Can you sense a difference in how your right and left sides rest on the floor'? Which side makes more contact'? Does one side feel flatter or heavier'?

37

2 Roll onto your left side. Rest your head on your left arm. Your arm can be straight or bent, whichever is more comfortable for you. Make sure you are on your side, rather than rolled slightly to your front or back. Bend your knees and hips as close to 90° angles as is comfortable for you. (This is the same angle as the comer of a table.) Rest your right knee on top of the left knee and your right foot on top of the left. Place your right hand in front of your neck or upper chest, wherever it is comfortable for you.

3 Very gently, without forcing, lift your head. Repeat this movement a few times.

t

How does the rest of you moveas you lift your head'?Do you hold your breath'? What happens with your neck'?With your right ehoulder'? Your upper back'?Your lower back'? Do you uee your whole body to lift your head'?Do you etrain your neck'?

If the muscles in your chest, back, and belly are busy contracting to hold you up or hold you still, they cannot help you move. Muscles that are constantly tight cannot contract strongly, so they are actually weak. In this lesson, you will learn to increase your strength by improving your flexibility.

4 Still lying on your left side, bend your right arm, as if to push yourself up, so that your elbow makes a 90° angle and your fingers are parallel to your body. Your elbow points forward. Rest your hand comfortably in this position. Make sure you are in the correct position or as close to it as is comfortable for you. Otherwise, the following instructions might not make sense.

5 Slowly move your elbow slightly forward and away from you just about onequarter to one-half inch. Keep your right hand in place. Return your elbow to its home position and repeat the movement of inching forward and returning several times. Can you allow your elbow to moveaway from you without rolling your upper body'?

6 Notice what happens to your shoulder blade. When your elbow moves forward, your shoulder blade glides over your ribs as it slides away from your spine. Repeat this movement many times, allowing yourself to breathe and move at the same time. Does this movement of your arm and ehoulder affect your cheet and hips'?

38

Shoulder and Hip Circles I

7 Stop and rest on your left side. Can you feel where your right ehoulder blade ie'?

8 Keeping your right hand in one place on the floor, move your right elbow closer to your chest without rolling your upper back or pelvis backwards. Can you feel how your right ehoulder blade elidee cloeer to your epine ae your elbow moveetoward you'?

Gently return to home position. Repeat this movement slowly many times, making it a little smoother each time.

9 Combine the two movements, so that your right elbow slides alternately forward and back. Notice how your shoulder blade follows this movement, sliding away from your spine as your elbow moves forward and toward your spine as your elbow comes back. Notice how you are breathing. Try holding your breath and repeating this movement. Doee holding your breath help'?

Return to breathing as you move. Continue the movement, but shift your attention to your shoulder. Make your shoulder initiate each movement and let your elbow follow. How doee thle change the way you

move'?

10 Stop and roll onto your back. Rest. Do you notice any differencee in how your right and le~ ehoulders make contact with the floor'? Do you notice any other changes'?

Shoulder and Hip Circles I

39

11 Roll onto your left side, with your hips, knees, and right arm bent at 90° angles as before. Let your right arm rest comfortably in front of your body. Slowly slide your right shoulder up toward your right ear and then back to home position. Repeat this movement many times, moving very gently. Do you notice how your shoulder glides over your back and ribs?

Notice how your shoulder is moving. Is the movement jerky or even? Can you smooth out this movement?

12 Now slowly do the opposite movement, sliding your right shoulder down toward your right hip, and then back home. Repeat this movement many times, making the movement a little easier, a little smoother each time. Go only as far as you can easily, without forcing or struggling. Notice what is happening in your chest and back.

13 Combine these two movements, alternately sliding your right shoulder up toward your head, then down toward your hip. Repeat many times. Decrease your speed so you are moving a bit more slowly than before. Are you remembering to breathe as you move? Can you make this movement smooth, without any hitches?

14 Stop. Rest on your left side. Notice your breathing. How does the right side of your chest move as you inhale and exhale? How does this compare with the way the le~ side of your chest moves as you breathe?

Slowly move your right shoulder as if you were tracing the outline of a box-forward, then down, then backward, and finally, up. Continue this series of motions, moving slowly and gently.

40

Shoulder and Hip Circles I

15 Now make this motion circular and smooth. Notice where there are rough patches or corners. Can you make the movement round'?

You can make a small circle the size of quarter, or even smaller-the nickel or penny. Repeat many times.

size of a

Pause for a moment. Now reverse directions: slowlymove your shoulder in a counterclockwise circleforward, up, backward, down, and then forward again. Continue in this direction for several revolutions, making the movement as round and as smooth as you can. Take your time.

16 Stop. Let your arm rest in front of you, wherever it is comfortable. Lift your head a few times, testing to see whether the movement has changed. Stop and roll onto your back. Do you notice any differences between your right and left sides in how they make contact with the floor'? Is your right ear closer to your right shoulder than your left ear is to your left shoulder'? Vice versa'?Or is your head exactly in the middle'?

17 Roll onto your left side again. You can rest your right foot on the floor in front of your left, if that is comfortable. Slowly slide your right knee forward. Keeping your legs parallel, allow your right leg to glide over your left leg. Return to home position and repeat many times. Notice how your right hip moves forward as your right knee and hip move forward and then return home. Can you feel your pelvis roll forward a little on the floor as your leg slides forward'? In which direction does your pelvic point of contact roll'? Can you repeat this motion without rolling your upper back or moving your right shoulder'? Without moving your right foot'?

Continue to explore this movement very slowly. Do you notice how your rib cage is moving'?

If your pelvis is rolling and your shoulder is relatively still, you must be turning somewhere in your back. Can you sense which parts of your spine moveto make this turning possible'?

Pause. Rest on your left side for a few moments.

Shoulder and Hip Circles I

41

18 Now move your right knee backwards. Allow your right leg to glide over your left and your pelvis to roll back slightly. Remember, this is a small movement. Return to home position and repeat many times. Notice how the left side of your pelvis rocks so that the point of contact with the floor moves a little backward. Can you keep your shoulders and head relatively still as you do this movement?Can you do this movementwhile breathing easily and continuously?

19 Combine this movement with the previous one, allowing your right knee and pelvis to slowly glide backward and forward. Repeat this alternating movement several times. Stop moving, roll onto your back, and rest.

20 Return to lying on your side. Slowly move the right side of your pelvis toward your right shoulder. To allow your pelvis to move with greater ease, let the left side of your waist sink toward the floor as you move your pelvis toward your shoulder. Notice how the point of contact between the left side of your pelvis and the floor rolls slightly toward your head. Return to home position and repeat the movement several times.

Try holding your breath for a while. Does that make the movementany easier?

After exploring the movement, pause for a moment.

21 Gently lower the right side of your pelvis away from your right shoulder. Do you notice how the pelvic point of contact rolls away from your head? Can you let the left side of your waist Ii~ slightly as the right side of your pelvis moves?

Return to home position and repeat this movement many times. Combine the two movements, slowly moving the right side of your pelvis up and down and gently rolling on your left hip. Can you breathe and

moveat the same time?

Stop and rest on your side.

42

Shoulder and Hip Circles I

22 Now we are going to combine all these pelvic movements: start by slowly rolling the right side of your pelvis forward. Then gently roll it down, back, up toward your shoulder, and finally forward again. Allow your pelvis to move easily as you make these movements, letting your right leg glide over your left. As you continue, begin to make the movement circular. Go very slowly,allowing yourself to breathe and making the movement smooth and continuous. Notice where there are rough patches or comers. You can make a small circle the size of a quarter-or even smaller, the size of a nickel or penny. Can you make thle; movement round?

Pause for a moment. Now reverse the circle: moving your right hip forward, up, back, down, and forward again. Continue making gentle hip circles, rounding out the movement of your pelvis.

23 Stop. Roll over onto your back and rest. Notice how your body contacts the floor now. Can you e;ene;ea difference between your right and left e;ides7 Does one side make more contact than the other? Which e;ide feele; more relaxed?

Sometimes people feel as if their left side has tightened up. In fact, it hasn't. What they sense is the difference between how the left side normally feels and how the right side now feels.

24 Roll onto your left side again. Test the motion of lifting your head off the floor again, repeating the movement a few times. What changes do you notice?

0

25 Slowly roll to one side and sit up. Notice how you feel. Taking as much time as you need, come to standing. Walk around a bit, noticing whether you sense a difference between your left and right legs. This concludes the lesson.

Shoulder and Hip Circles I

43

Shoulder and Hip Circles II

Lie on your back with your knees bent. Notice how your feet rest on the floor. What kind of footprint does your right foot make'? What kind of footprint does your left foot make'? How does your pelvis rest on the floor'? What shape is the contact area under your left buttock'? How about under your right buttock'? Does your tail bone touch the floor'? How does your sacrumthe flat bone between your hips-touch the floor'? Which areas of your back make contact with the floor'? How much space is underneath your lower back'?Do your lower ribs touch the floor or are they lifted from the floor'? Does the middle of your back touch the floor or is it lifted off the floor'? Does your spine between your shoulders rest on the floor or not'? How does the contact between your back and the floor change as you breathe in and out'?

Shoulder and Hip Circles II

How much of your right shoulder blade make5 contact with the floor? Your left shoulder blade? Is one shoulder resting more fully on the floor than the other'? Which part5 of your left arm are touching the floor'? How does your right arm rest on the floor? How does the back of your head rest on the floor'? What part of the back of your head is resting on the floor'?

Notice all the places where your body rests on the floor. What kind of "body print" do you make'?Is your contact symmetrical?

45

Roll onto your left side. Rest your head on your left arm. Your arm can be straight or bent, whichever is more comfortable for you. Make sure you are on your side, rather than rolled slightly to your front or back. Bend your knees and hips as close to 90° angles as is comfortable for you. (This is the same angle as the corner of a table.) Rest your right knee on top of the left one and your right foot on top of your left. Place your right hand in front of your neck or upper chest at a place that is comfor .:ablefor you.

3 Lift your head very gently, without forcing. Repeat this movement a few times.

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Is lifting your head easier now than it was at the beginning of the previous lesson? How does the rest of you move as you lift your head? How can you build on what you learned in the last lesson? Now that you have learned to free the movements of your shoulder and hip, how can you bring them into the action of lifting your head to the side?

Let's take a few moments to review the movements we explored in the previous lesson, beginning with the shoulder movements.

4 Slowly slide your right shoulder up and down several times, being sure to keep your hand in the same place on the floor as your shoulder moves. Is this movement as smooth now as it was during the last lesson?

Go slowly, allowing yourself the opportunity to improve the quality of the movement. Pause for a few moments.

5 Starting with a very small movement, begin to slide your shoulder forward and back. Repeat this motion several times. Feel how your shoulder blade slides away from your spine and then back toward it. Go very slowly, staying within your range of comfort and letting the movement increase only as it gets easier. Pause a moment. Slowly, move your right shoulder forward, down, back, and then up. Continue this motion, remembering to breathe. Can you move your shoulder in smooth, round circles?

Pause, then reverse direction: slowly move your right shoulder forward, up, back, down, and then forward again. Continue making small circles in this direction with your shoulder for several revolutions, making the movement as round as you can. Take your time.

46

Shoulder and Hip Circles II

Stop and rest again.

7 Now take a few moments to revisit the pelvic movements. Begin by rolling your pelvis forward and back, sliding your right knee forward and back. Can you find a way to moveyour pelvie without moving your head and ehoulder7 Can you movewithout interfering with your breathing? How doee thie movement affect your left eide7

Pause for a moment.

8

1

Rock your pelvis so that your right hipbone-the right side of your pelvismoves up toward your head, and then down away from your head. Notice how the left side of your pelvis rolls slightly on the floor. Make this movement slow and gentle, taking enough time to make it smoother and easier each time you do it. Are you breathing ae you move?Do you notice how your left eide participatee in theee actionef'Your waiet movee cloeerto the floor ae your right hip moveetoward your head and then moveeaway from the floor ae your hip moveeaway from your head.

Pause.

Shoulder and Hip Circles II

47

9 Now combine these movements to move your pelvis slowly forward, down, back, up, and then forward again. Continue to move in a clockwise circle, making the movement small and slow. Remember to breathe continuously. Pause a moment.

Move your pelvis slowly in a counterclockwise direction: forward, up, back, down, and then forward again. Can you move smoothly and continuously'? What do you e;ene;eon your left e;ide'?

Stop.

10 Lift your head again a few times.

t

le; it any easier'?

Roll on your back and rest. How are you making contact with the floor now'?

Think back over the movements you just reviewed. Were they easier thie; time around'? Do you have a better idea of how your shoulder girdle and pelvic girdle can move'?

11 Roll onto your left side again. Now we are going to explore combinations of these shoulder and hip movements. Slowly move your right shoulder forward as you move your right hip backward. Keep this a small movement. Does your shoulder movefirst or does your pelvis begin the movement'?

Gently return to home position. Repeat this movement several times. Each time you move your shoulder forward and your hip back, try to make the movement a little smoother and easier. Can you breathe ae;you move'?

Move slowly as if you are moving in slow motion. Can you coordinate your pelvis and shoulder so that they move simultaneously'?

48

Shoulder and Hip Circles II

12 Stop and rest a moment.

13 Now do the opposite combination: gently move your right shoulder back and your right hip forward. Use minimal effort, keeping the movement small. Return to home position and repeat. Can you move your pelvis forward and shoulder backward at

the same time?

14 Stop. Rest on your side.

15 Move your shoulder forward and your hip back. Return to home position, then move your shoulder back and your hip forward. Now combine these alternating movements. Move through home without stopping. As your hip moves forward, your shoulder moves back and vice versa. Notice how the contact of your left side changes as you move. Move slowly and continuously.

Shoulder and Hip Circles II

49

16 Stop and rest a moment.

17 Now move your right hip up toward your right shoulder as you slide your shoulder down toward your hip. Smoothly return to home position and repeat several times slowly. Do you notice how bringing your right hip and shoulder closer together changes the way your left side contacts the floor7 Can you sense how bringing your shoulder and pelvis together shortens your right side and lengthens your left side7

Stop and rest a moment.

19 Slide your right shoulder up (toward your head) and your hip down (away from your shoulder). Can you feel the left side of your waist lift from the floor slightly?

Return to home position and repeat many times gently and smoothly. Does your waist lift from the floor as your hip and shoulder move away from each another? Or does your waist lift from the floor as you return to home position?

20 Combine these movements into one continuous motion so that you slowly alternate bringing your right shoulder and hip together and then apart. When do you feel your left side lift away from the floor, and when does it press into the floor7

50

Shoulder and Hip Circles II

21 Roll onto your back and rest. How has the contact between your body and the floor changed? How is your left side making contact with the floor7Your right side? Does one side feel heavier? Larger? Warmer?

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Roll onto your left side again. Test the motion of lifting your head. What chane•• do you notlce7

22 Bring your right arm over your head. Rest your upper arm against the right side of your head. Can you rest your arm on your right ear?

Bring your forearm to touch the top of your head. Reach your right hand around to the left side of your head, relaxing your wrist and gently touching your fingers to your left ear, jaw, or cheek.

23 Lift your head and arm together, keeping your upper arm in contact with your ear or temple. Move slowly.Without straining and without holding your breath, lower your head. As you repeat this motion many times, can you notice how your left side moves?

Keepthe left side of your waist raised off the floor and lift your head. Does this make lifting your head easier or more difficult?

Now press the left side of your waist into the floor as you lift your head. How does this affect the movement of lifting your head?

Stop and rest on your back or on your side for a few moments.

24 If you rested on your back, roll onto your left side again. Bring your right arm over and around your head as before. Again lift your right arm and head together. Keep your head raised off the ground and slowly make a small circle with your elbow. Keep the circle small, about the size of a quarter or even smaller. Make your elbow motion as round and as smooth as you possibly can. Stop, lower your head and arm, and rest for a moment. Lift your right arm and head together one more time. Keep your upper arm in contact with the side of your head as you make a small, smooth circle going in the other direction. Make several revolutions, but stop before you get tired. Shoulder and Hip Circles II

51

25 Stop and rest on your side. Bring your right arm down and rest your hand on the floor in front of you.

26

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Test the motion of lifting your head again. What changee; do you notice? How doee;your chee;t moveae; you Ii~ your head? To make li~ing your head even eae;ier, can you bring together all the micro-movemente; that you've learned? Doee;your hip moveup? Your e;houlder e;lide down? Doee;your right e;ide e;horten? Doee;your I~ e;ide lengthen and pree;e;into the floor?

27 Stop moving. Roll onto your back and rest. Do you notice a difference between how you werelying on your back at the beginning of the lee;e;onand how you are lying now? How hae; the contact you make with the floor changed?

Take a few moments to think back through the movements you did in this lesson. How do they relate to everydaymovemente;e;uch ae; reaching for e;omething on a high e;helf?

0

28 Slowly roll to your side, then sit up. Take as much time as you need to come to standing. Walk around a bit, feeling the difference between one side and the other. That concludes this lesson.

52

Shoulder and Hip Circles II

Cat and Camel-Theme

Lie on your back with your knees bent. Notice how your feet rest on the floor. How doe5 your left foot make contact? 15there more contact under your right foot or under your left7 Where l5 your right knee pointing7Your left kneel How doe5 the po5ition of each knee relate to where your foot make5 contact with the floor? Are your knee5 clo5er together than your feet, farther apart than your feet, or the 5ame di5tance apart a5 your feet7 How doe5 your pelvi5 re5t on the floor? 15there

more contact under your left buttock or your right? 15your tailbone touching the floor? How much 5pace i5 under your lower back? What i5 the 5hape of the 5pace under your lower back? How far up your 5pine doe5 that 5pace extend?

Cat and Camel-Theme

What part5 of your rib cage make contact with the floor? How doe5 your right 5houlder blade re5t on the floor7Your left 5houlder blade7 l5 one 5houlder re5ting more fully on the floor than the other? Doe5 your 5pine between your 5houlder5 touch the floor? 15your right ear clo5er to your right 5houlder than your left ear i5 to your left 5houlder7 Vice ver5a7 Or i5 your head exactly in the middle?

Take a moment to notice how all the different areas of your body make contact with the floor. What kind of impre55ion would you leave if you were lying on the 5and at the beach? Where would the deepe5t valley5 be7 Where would the highe5t hill5 be7

And now notice how your breathing moves your back along the floor. Where do you feel the mo5t movement?

53

2 Roll onto one side. Slowly come to your hands and knees so that you are in a "table" position, with your back relatively flat and as parallel with the floor as is comfortable for you. Notice how you are supporting the weight of your head and torso. Are your hande; directly under your e;houldere;7 Are your kneee;under your pelvie;7

Take a few moments to explore this stance. Make small changes, moving each hand and knee a little forward and back and to the left and right, until you find a comfortable position.

3 Slowly hollow out your back, allowing yourself to become swaybacked. Move only as far as is comfortable. Notice which parts of your spine move. le;your lower back hollowed7 Do your abdominal mue;clee;participate in thie; motion7 Do your chee;t and mid-back move7What about your head and neck7

Return to the table position. Repeat the hollowing movement a few times. Where doee; the movement begin7 How are you breathing7

Pause. How did your e;pine move7

Our spines are designed for both support and mobility. Do you make ue;eof your e;pine'e;inherent capabilitiee;7

Now slowly round your back several times, moving your back toward the ceiling. How le;your e;pine moving7 Do your lower back and pelvie; move7 Do your abdominal mue;clee;participate in thie; motion7 Are your chee;t and mid-back moving7 Do your head and neck move7

Return to the table position. Gently and slowly repeat the rounding movement a few more times.

0

Doee;the rounding movement begin at the e;ame place ae; the hollowing movement did7

5 Stop and sit on the floor to rest for a minute.

If your wrists start to get tired or begin to feel strained at any time during the following movements, stop and rest. If you have difficulty maintaining the table position, you can place a folded towel under the heels of your hands to decrease the angle and pressure at your wrists. Also, if your knees are sensitive to pressure, you can place a foam pad or a towel under them for additional support and padding. Be sure to stop and rest before your knees or hands begin to feel uncomfortable. You can rest whenever you like.

54

Cat and Camel-Theme

6 Return to the table position. Round your spine, beginning the movement by lowering your head at the top of your neck. Slowly lower your head, letting your neck round. Then round your back, starting with the top of your upper back and moving sequentially to your lower back and pelvis. Return to the table position and repeat the rounding movement many times, starting with your head each time.

7 Notice how your pelvis moves as you round your back. As you round your back, are you sliding your buttocks back toward your heels, as if to sit back on your heels7 If so, can you keep your pelvis overyour knees when you round your lower backf'

Do the movement a few more times.

0

8 Stop and sit on the floor to rest a moment.

9 Return to the table position. This time, begin the movement of rounding your spine by moving your tailbone and pelvis. Let your lower back round, moving sequentially from your lower spine to your upper back. Finally, round your neck and let your head slowly lower. Return to the table position and slowly repeat the rounding movement many times, starting with your pelvis and lower back each time. Can you continue

to breathe as you move7

Take your time. Move sequentially.

Cat and Camel-Theme

55

0

10 Stop. Sit in a comfortable position and rest a moment.

11 Return to the table position . Now try the opposite movement of rounding. Slowly curve your back in the hollowing movement, beginning with your pelvis and lower back. Remember to breathe as you move. Let the curve gradually move up your spine to your neck and your head. Move very slowly. Return to the table position. Gently repeat the hollowing movement several times . Start with your pelvis each time and move sequentially up your spine. Make the movement a little easier, a little smoother each time.

0

12 Stop. Sit in a comfortable position and rest a moment.

13 Return to the table position. Hollow out your back again, this time beginning the movement with your head and neck. Remember to breathe as you move. Let the curve gradually move down your spine from your head to your lower back and pelvis. Move slowly. Return to the table position. Repeat the hollowing movement slowly several times. Start with lifting your head and extending your neck each time. Make the movement a little easier, a little smoother each time. Pause for a moment. Sit back if you need to rest your hands or your knees.

56

Cat and Camel-Theme

,,

14 Slowly repeat the hollowing movement again several times, starting the movement wherever you wish and moving with minimal effort. Notice how your back moves. Can you compare the way you are moving now with how you hollowed your back initially'? What differences do you notice'?

15 Stop. First, sit down, then lie on the floor. Roll onto your back. Bend your legs, pointing your knees at the ceiling and resting your feet on the floor. How is your back resting on the floor now'?

,

16

...- ...... ,

Roll to your side, sit up, and move onto your hands and knees again.

\

/

I

I , II

,_.,..,.

---------

Begin the hollowing movement from your pelvis, allowing the curve to move along your spine to your neck and head. Once you have arched your back as much as you comfortably can, start to round your back by lowering your head and neck. Let the rounding motion move down your spine to your lower back and pelvis.

, ...--

..

Repeat this movement many times, hollowing your back from your pelvis up, and then rounding your back from your head down.

17 The next time you do the hollowing movement, notice what happens in your abdominal muscles. Do your abdominal muscles participate in this movement'? Do you hold your belly in'? If so, can you allow your belly to relax'?

Ever so gently, push your lower abdomen out a bit as you hollow your back. This means that the part of your belly below your navel will sink toward the floor as you begin to curve your lower back. How does this change your movement'?

Slowly repeat the sequential hollowing and rounding movements a few more times.

Cat and Camel-Theme

57

0

18 Stop moving. Sit. Rest a moment.

I

,,

...-

- ..'

\

I

,, I

'

I

19

'

I

- -- --------- -...

Return to the table position. Now try curving your back in the opposite way. Begin to round your back from your lower back and pelvis, allowing the movement to move up your spine to your head and neck. Once you have rounded as much as you comfortably can, start to lift your head and curve your neck. Let the curve move sequentially down your spine to your lower back and pelvis. Repeat this movement many times, beginning the rounding from your pelvis and the hollowing from your head.

20 The next time you do the hollowing movement, notice what happens with your head and neck. How is the shape of your neck changing as you Ii~ your head'? Are you scrunching the back of your neck as you continue the curving movement'? Is the back of your head on top of or close to your back'? Can you allow the back of your neck to lengthen as you Ii~ your head7 It may help to sense your head as it movesthrough space: are you pushing the back of your head backwards? In which direction is the top of your head moving'?Can you Ii~ your head up rather than back7

58

Cat and Camel-Theme

21 As you continue to hollow and round your back, do you notice how your rib cage and mid-back move'?Can you feel the front of your rib cage and your breastbone participate in this movement'?

Allow the front of your chest to gently lift the next time you do the hollowing movement. Does this slight Ii~ ae;e;ie;tin lengthening your neck'?

Pause a moment.

I

,

-- ...,

,,...

'I

------------

22 Hollow and round your back easily a few times. Compare this movement with the way you moved at the beginning of the lesson. Do you notice what hae;changed'? Which parte; of your back are moving now'?

- -...

...

23 Stop and lie on your back to rest, taking an opportunity to notice how your back is making contact with the floor now. Notice any changes in the size and distribution of areas of contact. How doee;your contact with the floor now compare with the contact you made with the floor at the beginning of thi5 le55on'?

0

24 Slowly roll to one side and sit up. Taking as much time as you need, come to standing. Walk around a bit, noticing how your pelvis, back, and shoulders move now. That concludes this lesson.

Cat and Camel-Theme

59

Cat and Camel-Variations

Lie on your back with your knees bent and your feet shoulder-width apart. Rest your arms alongside your torso. You can rest your hands on the floor or on your belly, whichever is more comfortable.

touching the floor? How much space is under your lower back? What areas of your mid-back make contact with the floor? Does your spine touch the floor between your shoulder blades?

Notice how your body is making contact with the floor.

How do your shoulder blades rest on the floor? Does one rest more fully or feel heavier than the other? How does each arm rest on the floor? Which elbow ie closer to your body? How much space is under each wrist? How does each

Which parts of the sole of your right foot are resting on the floor? Is the Inside or outside of your foot making more contact? Is the heel or the ball more fully on the floor? How about your left foot? How does it rest on the floor? Compare your right and left feet . Which foot rests more fully on the floor? Where is your left knee pointing-directly at the ceiling, in toward your right knee,or out to the side? How about your right knee?How does the position of each knee relate to the placement of your feet? How does your pelvis rest on the floor? Which side of your pelvis rests more fully on the floor, your right or left? Is your tail bone resting on the floor? How about your sacrum (the bone above your tailbone and between your hipe)7 How much of your spine le

Cat and Camel-Variations

hand touch? How much space is underneath your neck? What part of the back of your head is touching the floor? How does your breathing move your back along the floor? Where do you feel movement when you inhale and exhale? What is your overall impression of how you make contact with the floor'? Are you resting on stilts, with small areas of contact in different places, or are you resting on wide, continuous patches of support'?

61

2 --------

Roll onto one side. Slowly come to your hands and knees so that you are in a "table" position, with your back relatively flat and as parallel to the floor as is comfortable for you.

---

Slowly begin to alternately hollow and round your back several times, moving with minimal effort. Make your movements small and gentle so you can notice where and how you move.

..- - ..

Wheredo you 6tart the movement: with your head or with your hip6'? Notice which part6 of your 6pine participate in the movement now. What happene; between your e;houlder bladee;'?

Stop, sit back, and rest a moment. In this lesson, we will explore different positions to allow you to find out how to bring different parts of your body into this movement.

3 Return to the table position. Slowly move your shoulder blades toward each other, gliding them toward your spine. Allow your back and chest to sink slightly toward the floor as your shoulders gently approach one another in back. Go only as far as you can move easily, and then return to home position. Repeat this movement many times. Then combine moving your shoulders together with hollowing your spine (making your back swaybacked). Pause.

4 Now separate your shoulders and lift your spine toward the ceiling. Allow your chest to rise slightly away from the floor as your shoulders move apart. Stop and return to the home position. Repeat this movement many times. le; it eae;ierto do thie; movementae;you inhale or ae;you exhale'? Gently explore different waye;of coordinating your breathing with the movement6of your 6houlder blade6.

0

62

Combine the shoulder movements so that you alternately glide your shoulder blades together and then apart, noticing how your chest slowly rises and falls. Repeat these movements a few more times.

5 Stop and rest in a sitting position.

Cat and Camel-Variations

, I

6 Return to the table position. Slowly do the hollowing movement several times, moving with minimal effort.

'

How doee; your back curve now'? How hae; thle; movement changed'? Do you e;enee what happene; between your ehouldere; ae;you curve your back'? le; it eaeier to curve your back when you eimultaneouely bring your ehouldere together'? Or ie; it eaeier when you keep your e;houldere; apart'? Trythe movement both waye; to find out which one ie eaeier.

Pause a moment.

, I

7 Round your back several times.

'

How does your back round now? How has this movement changed? Do you notice what happens between your shoulders as you round your back? How do your rib cage and upper back move? Is it easier to round your back when you simultaneously slide your shoulders together? Or is it easier to move your shoulders apart and keep them apart as you round your back? Stop and sit to rest a moment.

8 Return to the table position. Slowly slide your right hand forward, bringing your right elbow to the floor and allowing your right shoulder to drop. Your right elbow should rest on the floor where your right hand was, and your forearm should extend in front of it, with your right hand palm down on the floor. Without locking the elbow, keep your left arm as straight as you comfortably can.

9 In this asymmetrical position, slowly do the hollowing movement. Move from the middle of your spine, allowing your pelvis and head to follow. Let your chest sink toward the floor as your head and pelvis rise toward the ceiling. Doee;thie; movement encourage any new movemente; in your rib cage and between your ehouldere;'?

Move gently and easily, doing less than you know you can.

Cat and Camel-Variations

63

----

10 Now slowly round your back, moving from the middle of your spine and allowing your head and pelvis to follow.

11 Now try alternately hollowing and rounding your back. How does your upper back and chest move in this asymmetrical position?

Continue to slowly arch and round your back, keeping your right elbow resting on the floor and your left arm as straight as you comfortably can. Breathe as you move, allowing the movement to become smoother and easier each time you repeat it.

0

12 Stop and rest a moment. You can sit or, if you prefer, you can rest on your back.

13 Return to the table position. Slowly slide your left hand forward, lowering your left elbow to the floor and dropping your left shoulder. Your left elbow should rest on the floor where your left hand was and your left forearm should extend in front of you on the floor. Rest your left hand palm down in a comfortable position. Without locking the elbow, keep your right arm as straight as you comfortably can.

64

Cat and Camel-Variations

14 Using minimal effort, hollow and round your back in this position. Is it easier to curve your back with your left elbow or your right elbow on the floor7

Can you feel a slight twist in your upper back as you keep moving?

15 ...............--------..........

'\

Stop. Straighten your left elbow and return to the table position. Gently hollow and round your back a few times.

' '

'

' ' '

Do you notice any change in the range of motion of your back7 Can you feel how your spine is moving now7

.....- - ..-

16 Stop. Lie down and roll onto your back. Rest. How are you making contact with the floor now7 Do you notice any changes in how your breathing movesyour back along the floor7

Cat and Camel-Variations

65

17 Slowly return to the table position. Lift your left leg off the floor and cross it behind and over your right leg. Place your left knee on the floor to the right of your right leg. Slide your feet a little closer together and then a little farther apart until you find a comfortable place to rest them.

18 In this position, hollow and round your back, starting the movement in each direction with your head and neck. Notice how this position encourages your back to move asymmetrically, turning in a slightly different place than it did when you had one elbow on the floor. Each of these asymmetrical positions is designed to assist you in finding more movement in different regions of your spine. Can you feel how the movement change6 in thi6 po6ition7

66

Cat and Camel-Var iations

Continue to initiate the hollowing and rounding movements from your head and neck. Notice how your eyes are moving. Are your eye6 participating

in the movement7

Are you 6Crunching the back of your neck or are you remembering

to allow your neck to lengthen a6 you lift your head7 Repeat these movements a few more times.

Uncross your legs. Rest a moment in whatever position is most comfortable for you. Slowly return to the table position.

21 Now cross your right leg behind your left. Place your right knee on the floor to the left of your left leg. Find a comfortable place for your feet to rest.

22 In this configuration, hollow and round your back. This time, start the movement in each direction with your lower back. Notice how this position encourages your back to twist in a different place than the previous position did. Can you feel how your movement i6 different when you are in thi6 po6ition7

Cat and Camel-Variations

67

23 Notice how your lower back moves as you continue the hollowing and rounding movement. How is your tailbone moving as you round your back7 Your pelvis tilts as you round your back. Canyou feel the lowest part of your spine moveas your back begins to round7 How does your tailbone movewhen you hollow out your back7 What happens at the very bottom of your spine when you are swaybacked7 Are you remembering to allow your abdominal muscles participate in this movement7

to

24 Uncross your legs. Rest a moment if you like.

In the table position, repeat the hollowing and rounding movement several times. Notice how your back moves now. Has the amount of motion increased7 Has your ease of motion increased7 Canyou feel where the movement has become easier and greater7 Where do you start the hollowing movement7The rounding ment7 Where do you notice the most change7

move-

25 Stop moving, roll onto your back, and rest. Notice how you are making contact with the floor. What changes

do you notice since the beginning of this lesson7

How does your contact with the floor now compare with the contact you made at the beginning of the first lesson7 At the end of the first lesson7

0

26 Slowly roll to one side and sit up. Taking as much time as you need, come to standing. Walk around, noticing how this lesson has affected your movement. That concludes this lesson.

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Cat and Camel-Variations

Arching Your Back I

Lie on your back with your knees bent and your feet shoulder-width apart. Notice how your right foot is making contact with the floor. Which parts of your foot do not rest on the floor? How about your left foot7 Which parts do not touch the floor? How much space Is under your left knee and legf' How about under your right knee and legf' How is your pelvis resting on the floor? Which side of your pelvis rests more fully on the floor, the right or the left? How much space is under your lower back? How far up your back does that space

Arching Your Back I

extend? Does your mid-back make contact with the floor? Does your spine between your shoulder blades touch the floor? How much space is underneath your wristef' How much epace is under the back of your neck? le the epace under your neck larger than the one under your lower back? What is your overall impression of the places where you do not make contact with the floor? How do the spaces where you don't make contact define the places where you do?

Take a moment to notice how your breathing moves your back along the floor.

69

2 Turn over. Lie face down with your forehead on the floor or with your head turned to one side, whichever is more comfortable. Place your arms on the floor on either side of your head with your elbows bent. Allow your legs to stretch out.

3 Gently lift your head, letting the rest of your body move along with it. Allow your arms to rest without using them to push yourself up. Repeat this movement a few times. Breathe as you move, and make the movement slow and comfortable. le; it eae;y'?Can you make thie; movement e;mooth and continuous'? How far can you lift your head without straining'?

4 Rest lying face down. How did you lift your head'? Which parte; of your spine and chest helped with the movement'? Which parte; hindered it'? Did your pelvie;and lower back participate in thie; movement'?Did you feel any strain when lifting your head'?

In this lesson you will learn how your back can play an important role in the movement of lifting your head while lying face down.

5 Bend your elbows more so you can bring your hands together under your head. Rest one hand on top of the other, palms down. Turn your head to the right so that your left ear rests on the back of your top hand.

6 Hook your right foot over the back of your left ankle . The front of your right shin should cross the back of your left calf, and your right foot should hang to the left of your left ankle.

7 Very slowly lift your right knee off the floor, allowing your leg to straighten. Don't raise your ankle off your left leg. Notice how your right foot moves. How doee;your right heel moveae;your right knee rle;ee;from the floor'? How doee;your pelvis respond to thie; movement'?

Slowly repeat this movement several times. Make the movement as fluid and easy as you can.

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Arching Your Back I

t

8 Stop and rest a moment. Without raising your knee, lift your right hip, slowly rolling your pelvis to the left. Move very gently. Return your pelvis to home position. Repeat this movement several times, keeping your right knee on the floor. Make this motion a little smoother and a little easier each time. Do less than you know you can, moving only in a range that is easy. How do your back and pelvie moveae you Ii~ your right hip'?

9 Stop and rest. Rest in the prone position only ifit continues to be comfortable. If you would prefer, you can rest on your back or on your side.

10 If you have changed position, return to lying on your front with your right ankle hooked over the left.

In this position, lift your right knee and right hip together. Your pelvis will roll slightly to the left as your right hip rises a little. What movementdo you notice in your back'? Which li~e firet: your knee or your pelvie'?Can your knee and pelvie moveeimultaneouely'?

Slowly repeat this combined motion many times, working to make the hip and knee lift at the same time. Take your time, especially in returning to home position.

11 Stop and rest.

12 Move your right arm into a pushup position, with your hand palm down and your elbow in the air at more or less a right angle. Allow your right shoulder to lift a bit from the floor. Lift your right knee and hip simultaneously while you push gently with your right hand. Without straining, press down with your right hand to help you roll onto your left hip as you straighten your right knee. Slowly return to lying on the floor. Repeat the movement of your knee and hip a few more times, allowing your arm to assist. Arching Your Back I

71

13 Rest your right arm on the floor again and slowly repeat the movement of lifting your right leg and hip. Hae thie movement become any eaeier7 How did ueing your arm clarify thie movement?

14 Stop, roll slowly onto your back, and rest. Notice how you are lying on the floor now. Hae the ehape of the epace under your lower back changed?

15 Roll onto your front. Let your legs straighten out and your arms rest on either side of your head. As you lift your head again, ask yourself how this movement occurs now. How doee your back move when you lift your head? Do you notice your pelvie participating in the movement of lifting your head?

Bring your head down and pause for a moment.

16 Bring your hands together, resting one hand on the other with palms down. Turn your head to the left so your right ear rests on the back of the top hand.

17 Hook your left foot over the back of your right ankle so that the front of your left shin rests across the back of your right calf. Your left foot hangs to the right of your right ankle.

18 Slowly lift your left knee off the floor, allowing your left leg to straighten. Notice how your left heel moves. How doee your left foot move ae your knee rieee from the floor? Do you feel your pelvie moving ae well'?Doee your left leg move more eaeily than the right leg?

Bring your knee back to the floor. Repeat this movement several times, lifting your knee as smoothly and easily as you can. Remember to move slowly. Pause for a few seconds.

72

Arching Your Back I

19 Now lift your left hip, allowing your pelvis to roll to the right.

t

Can you keep your knee on the floor while lifting your left hip?

Repeat this movement several times, rolling the weight of your pelvis toward your right hip. Make the motion smooth and continuous. How does your back moveae;your I~ hip lifts? Does your lower back arch or flatten?

Stop and rest.

20 Now combine these movements so you lift your left knee and left hip together. Do your knee and hip move in unison? le;your knee leading the movement? Or ie;your hip leading the movement?

As you repeat this motion, let your hip initiate the movement a few times. Notice how that feels. Now let your knee initiate a few times. Once again, move your hip and knee together. Can you make your knee and hip move simultaneously rather than sequentially? Repeat the combined movement a few more times.

21 Stop moving. Rest in whatever position is most comfortable for you.

22 If you changed position to rest, lie on your stomach again. Fold your hands one on top of the other, turn your head to one side, and rest it on your hands. Slowly raise your pelvis to hollow your lower back a little and lift your tailbone ever so slightly in the air. Increase the space underneath the crease of your hips a little bit. Gently return to home position. Repeat this motion several times. Can you allow your lower belly to push gently into the floor ae;you hollow your lower back just a little and increase the space under your hips? Are you breathing ae;you move?

Stop.

Arching Your Back I

73

23 Separate your hands so that they rest on either side of your head and rest your head comfortably on the floor. Lift your head a few times. Hae;the movement changed'? How do your lower back and pelvis participate in thie; movement now'?

24 Stop, roll slowly onto your back, and rest. How are you making contact with the floor now'? Has the space under your lower back decreased or increased since the beginning of this lesson'?How does your breathing moveyour back along the floor'?

0

25 Slowly roll to one side and sit up. Taking as much time as you need, come to standing. Stand up and walk around, noticing how this lesson has affected you. That concludes this lesson.

74

Arching Your Back I

Arching Your Back II

Lie on your back with your knees bent and your arms resting alongside your torso. Notice your contact with the floor. What i6 the fir6t thing that come6 to your awarene66'?What overall impre66ion do you get'? Notice how your feet are making contact with the floor . Which foot feel6 flatter'? Which foot i6 re6ting more fully on the floor'? Where i6 your le~ knee pointing'? How about your right knee'?Are your knee6 clo5er together than your feet, farther apart than your feet, or exactly over your feet'? How i6 your pelvi6 re6ting on the floor'? Which buttock re6t6 more fully on the floor, right or I~'? 16your tail bone resting on the floor'? How is your sacrum (the bone above your tail bone and between your hips) touching the floor'? How much of your

Arching Your Back II

!Spineis touching the floor'? How much room is under your lower back'?What areas of your midback make contact with the floor'? Does your spine betweenyour !Shoulderblade6 touch the floor'? How do your shoulder blade6 rest on the floor'? How does your right arm rest on the floor'? Your I~ arm'? How much space is underneath your neck'?Do you feel that you are re6ting on the center of the back of your head'?Or are you rolled a little to the right or I~'? Notice all the place6 where you make contact with the floor .

Takea moment to notice how you are breathing. Do you breathe in through your mouth or through your nose'?A6 you breathe in, where do you feel movement'? In your belly'?In your solar plexus'? In your chest'? Along your !Sides'?In your back'?How about when you breathe out'? Where do you move'?

75

2 Roll over to lie face down with your forehead on the floor or with your head turned to one side, whichever is more comfortable. Extend your arms on either side of your head. Allow your legs to stretch out.

3 Gently lift your head, letting the rest of your body move with it. Allow your arms to remain relaxed rather than pushing them into the floor. Repeat this movement a few times, going only as far as is comfortable. Breathe as you move, making the movement slow and easy. Did you learn 5omething in the previou5 le55on that help5 you make thi5 movement any ea5ler7 How far can you lift your head without 5training7 Can you make lifting your head 5mooth and continuou57

4 Rest lying on your belly. How did you lift your head? What part5 of your 5pine and che5t helped with the movement? What part5 hindered it?

In this lesson we will continue to improve the movement of arching your back to make lifting your head easier.

5 Turn your head to the right. Place your hands palm down under your head with your right hand on top of your left hand. Rest your left ear on your right hand.

6 Raise your right arm and your head together. As you repeat this motion slowly many times, make sure you are raising your right hand, forearm, and elbow together. Your entire arm should be lifting off the floor with your head. Do less than you know you can. Make the movement smooth. Pause for a moment.

76

Arching Your Back II

7 Turn your head to the left so that your right ear is now resting on your right hand. Raise your head together with your right hand, forearm, and elbow. Be sure to lift your whole arm off the floor as your head lifts. Decrease the amount of your effort and repeat this movement many times. Go only as far as you can easily. Stop.

8 Slowly switch your hands around so your left hand covers your right hand. Rest your right ear on the back of your left hand. Lift your left arm and head together. Is this movement easier with your left arm than it was with your right'? Are you lifting your elbow off the floor along with your head and forearm'? Are you keepingthe movement small and using the least possible amount of effort'?

Repeat a few more times.

9 Stop. Return to resting your arms alongside your head. Once again, gently lift your head. Notice how the movement of your head and back has changed.

10 Stop moving. Rest. You can lie on your front or roll onto your back, whichever you prefer.

11 If you changed your position, roll back onto your belly. Put your hands palm down on the floor with your left hand on top of your right. Rest your left ear on your left hand . (Your head is turned to the right.)

Arching Your Back II

77

12 Raise your left hand and head together, keeping your left elbow on the floor this time. Repeat this movement slowly a few times. Stop. Now lift your head off the floor using your whole arm. Move slowly and gently. Repeat, taking your time. Pause a moment.

13 Slowly switch your hands around so your right hand is on top of your left. Rest your left ear on the back of your right hand. Lift your right arm and head many times, moving with minimal effort. Make sure you are lifting your elbow off the floor along with your head and forearm. Are you breathing as you move7Notice how the contact between your chest and the floor changes as you lift your arm and head.

Take your time.

14 Stop. Bring your arms to rest on either side of your head. Once again, gently lift your head a few times. Allow your arms to rest on the floor rather than pushing with them.

Has the movement of lifting your head changed at all7 How Is your back participating in the movement now7 Cease the movement and rest. You can roll onto your back if you like.

15 If you rolled onto your back to rest, roll over onto your front again. Turn your head to the left. Put your hands palm down under your head with your left hand on top of your right. Rest your right ear on the back of your left hand. Cross your left ankle over the right one. Slowly lift your left knee several times, allowing your leg to straighten slightly each time you lift your knee. How does your Im heel moveas you lift your knee7 How does your pelvis move7

Repeat this movement slowly. Bring your knee gently back to the floor each time. Make the movements as fluid and effortless as you can.

78

Arching Your Back II

t

16 Lift your left hip a few times, leaving your knee on the floor. How doeBthe hip movementaffect how your back moveB'? How doeBthe contact betweenyour cheBt and the floor change'?

Now lift your knee and hip together a few times. Remember to breathe as you move. Stop and rest a moment.

17 Without straining, lift your head and left arm along with your left knee and hip.

moveyour head, arm, hip, and leg at the Bametime'?Can you remember to Btay wellwithin your range of comfortable movement'?IB thiB movement more difficult than lifting either your hip and leg or your arm and head alone'?Or iB thiB movement eaBier'? Can you

Rest your head on your hands and pause.

18 Turn your head to the right. Slip your right hand out from under your left palm and move it on top of your left hand. Your left ear will now be resting on the back of your right hand. Keep your left ankle hooked over the right one. Gently and slowly lift your right arm and head along with your left knee and hip. Your head is now lifting while facing the opposite direction from the knee that is lifting. Do not force this movement. Can you moveyour arm, head, hip, and leg at the Bametime'? IB lifting your hip and leg more difficult when your head iB facing the oppoBite way'? Or iB thiB movementeaBier'? Can you feel a

gentle turning in your Bpine and cheBt'?

19 Roll onto your back and rest. How did theBe movementBaffect you'? Notice how you are making contact with the floor now. Are you making more or leBBcontact with the floor than you did at the beginning of thiB leBBon'? How doeByour back movealong the floor aB you inhale and exhale'?

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79

20 Roll back onto your front again. Rest your right hand palm down on the floor and place your left hand on top of it. Find a comfortable way to rest your forehead or chin on your hands. With your eyes closed, slowly move your eyes as if to look down toward the floor and perhaps even a little farther toward your feet. Slowly move your eyes back to home position. Repeat this eye movement many times: down, forward, and then down again.

Canyou slowly smooth out any uneven places, any little stops and starts, in the movement of your eyes'?

21 Pause. With your eyes still closed, begin to move your eyes slowly upward toward your forehead or the ceiling. Then gradually roll them back to the front. Repeat this movement many times, rolling your eyes forward, up, and then forward again. Increase the range of this motion so you are rolling your eyes both up and down. Continue to move slowly enough to smooth out any glitches you may notice. Feel your eyeballs move in their sockets. Pause. If you are still comfortable, rest a moment on your belly. If this prone position is starting to become uncomfortable, roll onto your back for a moment.

22 Once again, lie on your belly and gently lift your head. Are your eyes participating in this

movement'?

Rest your chin or mouth on the back of your hands. With your eyes open, slowly let your gaze travel along the floor to where it joins the wall, then move your focus back to a point in front of you. Repeat this eye movement a few times, making it as smooth and continuous as you can. Notice whether your head begins to move. Pause.

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23 Increase the range of your movement, letting your gaze travel along the floor to the wall and then begin to creep up the wall.

.-·:·::: ~:::... •·:.... ···•·....

Can you coordinate the movement of your eyes with the movement of your head'?

·•••·•··· ······· ·

..·.......,'

..

·•.

i

Let your head follow the movement of your eyes. Continue to raise your eyes and lift your head. Without forcing the movement, move your gaze a little farther up the wall each time. Are you scrunching the back of your neck as you lift your head'?Can you allow the back of your neck to stay extended as you lift your head'? Can you use any of the movements you tried earlier in this lesson to make lifting your head easier: can you allow your lower back to hollow and your lower abdomen to press gently into the floor as you lift your head'? Can you allow the crease in front of your hips to increase'?

24 Stop. Roll onto your back and rest. Notice how your body is making contact with the floor now. How much of your spine is touching'? Has the space under your lower back increased or decreased'?

25 In order to release some of the contraction you may have built up in your back muscles, please bend your knees and repeat the following movements from the first lesson: Interlace your fingers and put your hands behind your head. Make your arms and chest do the work of lifting your head. Move very slowly. Gently put your head back down, resting the weight of your head fully on the floor. Repeat this movement several times, making it a little less effortful each time and coordinating the movement with your breathing . Do less than you know you can. Pause.

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26 Now begin moving your right elbow toward your left knee as you lift your head. Return your head to the floor and repeat this movement several times. Both elbows come forward as your right elbow points toward your left knee.

27 Pause. Use your arms to lift your head again, this time bringing your left elbow toward your right knee as you lift your head. Slowly lower your head. Both elbows come forward, but your left elbow moves farther forward toward your right knee. Repeat this movement several times.

28 Pause. Lift your head again, bringing your arms forward symmetrically this time. Repeat a few times, moving gently.

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Arching Your Back II

29 Stop moving. Bring your arms to your sides. Rest. Notice how your body is making contact with the floor now. How much of your spine is touching'? Has the space under your lower back increased or decreased a~er the last few movements'?

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Arching Your Back II

30 Slowly roll to one side. Sit up. Slowly stand up and notice how you are standing. Take a few steps to sense the way you move. That concludes this lesson.

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The Pelvic Compass I

Lie on your back with your knees bent and your feet shoulder-width apart. Rest your arms alongside your torso. You can rest your hands on the floor or on your belly, whichever you prefer.

contact with the floor? Doe6 your 6pine between your shoulder blade6 touch the floor?

Notice how your feet are making contact with the floor.

How much 6pace 16underneath your neck'?Do you feel that you are re6ting on the center of the back of your head? Or are you rolled a little to the right or left?

Which foot feel6 flatter? Which foot 16re6ting more fully on the floor? Where are your toe6 pointing? Where i6 your left kneepointing? Your right knee? Are your knee6 clo6er together than your feet, farther apart than your feet, or exactly over your feet? How i6 your peivi6 re6ting on the floor? Which buttock re6t6 more fully on the floor?

16your tailbone touching the floor? 16your 6acrum (the bone above your tailbone and between your hip6) resting on the floor? How much of your 6pine touche6 the floor? How much room 16under your lower back? Which area6 of your mid-back make

The Pelvic Compass I

How do your shoulder6 re6t on the floor? How does your right arm re6t on the floor7Your left arm?

Take a moment to notice how you are breathing . Do you breathe in through your mouth or through your no6e7 As you breathe in, where do you feel movement? In your belly? In your solar plexu67 In your che6t7 Along your 6lde67 In your back? How about when you breathe out?

As you inhale and exhale, notice how your breathing moves your back along the floor. Can you 6en6e how 6ome of the area6 of your back that make contact move 61ightly a6 you inhale and exhale?

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2 Very gently, without forcing, tilt your pelvis slightly so as to increase the space underneath your lower back. Keep your buttocks on the floor and allow your pelvis to roll a little. Stay within your range of comfort. Return to home position and gently repeat this movement many times. A,a you arch your back, can you feel the point of contact roll along the back of your pelvi,atoward your tailbone'? What happen,a with your abdominal mu,acle,aa,ayou tilt your pelvi,aand increa,ae the ,apace under your lower back'?

Stop and rest a moment.

3 Slowly tilt your pelvis in the other direction to decrease the space under your lower back. Again, keep your buttocks on the floor. Return to home position and gently repeat this movement many times. Can you feel the contact point roll up the back of your pelvi,atoward the top of your ,aacrum and your lower back'? What happen,a in your abdominal mu,acle,aa,ayou tilt your pelvi,ato decrea,ae the ,apace under your lower back'?

4 Stop and rest. Notice how your pelvis is resting on the floor now. Ha5 the ,apace under your lower back changed'? Do you have a clearer ,aen5eof your pelvi,aand lower back'?

5 Imagine, if you will, the face of a compass. The compass has been removed from its casing so that all you have is a flat circle with all the relevant markings on it. The needle has also been removed. The face of this compass is small enough to fit in the palm of your hand.

6 Imagine that the compass face is underneath your pelvis. Once again, move your pelvis to decrease the space under your lower back, rolling the point of contact up toward your lower back. The contact point is rolling to the north on your imaginary compass. Now move your pelvis to increase the space under your lower back. Notice how the contact point is rolling down toward your tailbone, toward south on the compass. Using minimal effort, roll the contact point under your pelvis from north to south and back to north again. Repeat this movement many times, keeping it small.

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The Pelvic Compass I

7 Are you breathing a6 you move from north to 6outh and back?

Continue this movement, inhaling as you roll north and exhaling as you roll south. Move your pelvis with the natural rate of breathing. Malec sure the movement starts from your pelvis rather than from your mid-back or rib cage. Repeat the movement a few more times. Stop and rest a moment.

8 Return to the movement, this time inhaling as you move south and exhaling as you move north. Move your pelvis at the rate of your breathing. Which breathing pattern feels more natural to you? Does the contact point move In a smooth, 6traight line between north and south? Or doe6 your pelv16wobble a little, making a line that meanders?

9 Stop to rest and notice how you are making contact with the floor now.

10 Move your right knee to the left, allowing your leg to sink toward your left knee. If you can, keep the sole of your right foot in contact with the floor, allowing the movement to occur in your right ankle and in your right hip. Malce sure your legs are far enough apart so that your leg has room to move. Bring your right knee home and let it slowly move to the left again. Repeat this movement many times, going only as far as your hip will allow your leg to move without engaging your pelvis. Make sure your pelvis doesn't roll to either side. Can you feel how the pres6ure change6 along the bottom of your right foot?

Pause. Rest a moment.

The Pelvic Compass I

87

..

11 Move your right knee to the right, allowing your leg to slowly sink as far as it comfortably can without rolling your pelvis. Keep your right foot fully on the floor. Return your right knee to home position, then let it slowly move to the right again. Repeat this movement slowly many times. Remember to breathe as you move. la the movement of your knee to the right larger than it was to the left or vice veraa7Can you make this movement smooth and continuous?

Pause a moment.

12 Allow your right leg to move slowly to the right. Return to home position. Now allow your leg to move to the left. Continue moving your right knee to the right and left many times. Notice how your pelvis remains still while your leg moves at the hip joint. Where la your hip Joint?

13 Stop. Rest. Notice how you are making contact with the floor now. la there a difference between how your left foot rests on the floor and how your right foot rests on the floor? Can you feel a difference between your right leg and left leg? Which buttock la resting more fully or more firmly on the floor?

14 Move your left knee to the right, allowing your leg to sink a bit toward your right knee. Move your leg only as far as your hip allows without engaging your pelvis and without breaking the contact your left foot is making with the floor. Return your left knee to home position, then let it slowly move to the right again. Repeat this movement many times. Take your time. Pause. Move your left knee to the left, allowing your leg to move without rolling your pelvis. Keep the left foot fully on the floor. Return your left knee to the center, then let it slowly move to the left again. Repeat this movement slowly many times, making the movement smooth and Pause. Now combine these movements, moving your left leg to the right, to the center, and then to the left. Continue moving your left knee right and left many times. Can you keep your left foot flat on the floor aa you repeat this movement? Can you keep your pelvis still and allow your leg to move at the hip joint?

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The Pelvic Compass I

15 Stop. Rest. Notice how your body makes contact with the floor.

16 Slowly roll the contact point underneath your pelvis from north to south and back again. Repeat this movement several times. Ha5 thi5 motion changed following the movement!':>you ju5t performed with your leg5'?Remember how a few moment!':>ago you were moving your leg5 and keeping your pelvi5 relatively 5till'? Nowyou have rever5ed the 5ituation: with the north-5outh movement your pelvi5 is moving and your leg5 are still.

17 What happens in the muscles of your abdomen and your back when you roll your pelvis toward north on your imaginary compas5'? Can you feel your abdominal muscles contract and your lower back muscles release as you move your pelvis north'? Notice how your front shorten!':>a5 your pubic bone and brea5tbone slide toward each other.

18 What happen!':>in your abdominal muscles when you move toward the south'? Can you allowyour lower abdomen below your belly button to relax and push out !':>lightly'?Notice how this facilitates the movement of your pelvis. Can you feel your lower back mu5cle5

contract as you make this motion'?

19 Combine these two movements, slowly moving your pelvis between north and south. Feel your abdominal muscles participate in the movement and feel the contact point roll along the back of your pelvis. How doe5 your pelvis move in relationship What do you sense at your hip joint5'?

The Pelvic Compass I

to your legs now'?

89

20 Rest a moment.

21 Gently, without straining, roll your pelvis ever so slightly to your left. Notice that the point of contact moves toward the east on your imaginary compass. Return your pelvis to home position. Repeat this movement a few times, slowly moving your pelvis from the center slightly to the east and back home.

22 Pause for a moment.

23 Gently, without strain, roll your pelvis to the right, slowly rolling your point of contact to the west and then back home. Repeat this movement a few times.

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The Pelvic Compass I

24 Combine these two movements, rolling your pelvis just a little to the east and then a little to the west-left and right-a few times. Keep the movement small. Do your lege move when your pelvie rolle like thief' What are you doing to roll your pelvic contact eaet (to the left)? Where doee the movement etart? In your pelvie? In your lower ribe? Doee one of your lege move to the le~? Are both of your lege moving? How about when you roll to the weet (right)? What happem; then?

Return to home position and pause. How can you Improve theee eaet-weet movemente? What movemente would help you underetand thie better?

In the next lesson, you will learn some ways to improve this movement.

25 Once again, repeat the north-south movement a few times. Even though you have explored thie movement before, can you go elowly enough to notice how you move now? How hae thie movement changed? le it clearer? le it eaeier?

.------~---26

Stop and rest. How are you making contact with the floor now? How doee your breathing move your back along the floor?

0

27 Slowly roll to one side and sit up. Taking as much time as you need, please stand up. Walle around and notice how your hips, pelvis, and back feel. That concludes this lesson.

The Pelvic Compass I

91

The Pelvic Compass II

Lie on your back with your knees bent and your feet shoulder-width apart. Notice how your right foot is making contact with the floor. What pa rte; of the e;ole of your right foot are ree;ting on the floor7 le;the ine;ide or oute;ide of your foot making more contact7 le;the heel or the ball more fully on the floor7 How about your left foot-how doee; it ree;t on the floor7 Compare your right and left feet. Where are your toee; pointing7 Where ie;your left knee pointing7 Directly toward the ceiling7 In toward the right knee or out to the left7 How about your right knee7 How doee; the poe;ition of each knee relate to where the weight ie; on each foot7 How ie;your pelvie;ree;ting on the floor? Which e;ide of your pelvie;ree;te; more fully on the floor, the right or left7 le;your tailbone ree;ting on the floor7 fe;your e;acrum touching the floor7 How much of your e;pine is touching the floor7 How much e;paceie; under

The Pelvic Compass II

your lower back7 (If you like, you can ue;eyour hand to feel under your lower back.) Which areae; of your mid-back make contact with the floor7 Doee;your e;pine between your e;houlder bladee; touch the floor7 How do your e;houldere;ree;t on the floor7 Doee; one ree;t more fully or feel heavier than the other7 How doee; each arm ree;t on the floor7 Which elbow ie;cloe;er to your body7 What part of the back of your head ie;touching the floor7

What ie;your overall impree;e;ionof how you make contact with the floor7

Take a moment to notice how your breathing moves your back along the floor. Where do you e;ene;emovement when you inhale and exhale7

93

2 Remind yourself of the imaginary compass we used in the previous lesson. The face of the compass is underneath your sacrum (the flat bone at the bottom of your spine between your hips). North is pointing toward your head and south ·· toward your feet; east is to your left and west is to your right. Very gently, without force or strain, roll the contact point alternately down toward your tailbone and up toward the top of your pelvis. You are rolling your pelvic contact point north and south. Can you make this movement effortless? Can you breathe as you move?

3 Stop and rest a moment.

4 Gently, without straining, roll your pelvis ever so slightly to your left. Notice that your contact point moves toward the east on your imaginary compass. Return your pelvis to home position. Repeat this movement a few times, moving your pelvis from the center slightly to the east and back home. Pause a moment.

5 Gently, without strain, roll your pelvis to the right (rolling your contact point west), and then back home. Repeat this movement a few times. Combine these two directions, rolling your pelvis a little to the east and then a little to the west-left and right-a few times. Keep the movements small. Do your legs move when you roll your pelvis? What are you doing to move your contact point east (to the left)? Where does the movement start? In your pelvis'? In your lower ribs? Does one of your legs move to the left'? Are both of your legs moving? How about when you roll to the west (right)'? What happens in your pelvis? In your back'? In your legs?

Return to home position and pause.

6 Explore the different ways your legs can move to assist your pelvis in rolling to the left: First, allow your left leg to sink a little to the left, moving only as far as is comfortable and easy. Now let your right leg sink toward your left leg, noticing how this causes your right hip to lift slightly and your pelvis to roll to the left. Return your right knee to home position first, then bring your left knee back. Repeat this sequential movement several times, allowing yourself to breathe as you move. Pause for a few moments.

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The Pelvic

CompassII

7 Second, without forcing, allow your right knee to sink a little to the left. Now let your left knee sink to the left, noticing how your right hip lifts slightly and how your pelvis rolls to the left. Return your left leg to home position and then bring your right leg back. Repeat this sequential movement several times. Pause a moment.

8 Finally, move both your legs to the left at the same time, rolling your pelvis to the east. Notice that you can initiate this movement in at least two different ways: you can begin the movement with your legs, allowing the weight of your legs to roll your pelvis to the left, or you can begin by lifting your right buttock slightly so that your pelvis moves first and your legs follow. Do the movement a few times one way and then switch to the other way. Take your time.

9 Stop and rest a moment.

10 Can you roll the point of contact to the east without dropping either leg to the left7 What has to happen with your legs for you to be able to do this?

Slide your right knee forward just a little, pressing your foot lightly into the floor. (Don't move your foot as you do this.) Notice how your left knee slides toward you as your right knee slides away from you. This leg movement facilitates lifting your right hip, allowing you to easily roll the contact point to the east. Return your knees to home position as you roll your pelvis back to center. Repeat this movement many times. As you continue to move, figure out how you can initiate the movement with your pelvis. Move slowly, breathing as you move.

11 Stop and rest. Notice how your pelvis is resting on the floor now. Is one buttock making heavier contact than the other? Has the shape of your lower back changed? How? The Pelvic Compass II

95

12 Move your pelvis so that the contact point rolls across the back of your buttocks to the west. What happens to your legs as your pelvis rolls to the right?

Explore the different ways your legs can participate in rolling your pelvis to the west: (1) your right leg can initiate by moving to the right with your left leg following, or (2) your left leg can begin by swaying to the right, or (3) both of your legs can sway to the right at the same time. You can also explore initiating the movement from your pelvis by lifting your left buttock slightly and letting your legs follow. Try each variation a few times, taking your time. Remember to breathe as you move.

13 Now,can you figure out how to roll your pelvis to the west without letting either knee drop to the right?

To do this, move your left knee forward just a little bit so that your knee moves over your left foot and your left foot presses lightly into the floor. Notice how your right knee slides toward you as your left knee moves away from you. This movement of your legs makes it possible to lift your left hip, allowing you to easily roll the contact point to the west. Return your knees to home position as you roll your pelvis back to center. Repeat this movement many times, breathing easily. As you continue to move, initiate the movement with your pelvis.

14 Stop and rest for a moment.

15 Roll your pelvis from east to west, rolling the point of contact from right to left and back again. Make this a smooth, continuous movement that follows a line across the back of your pelvis. Let your knees shift forward and back so they do not have to move from side to side. le the contact point rolling directly across the back of your pelvis? le your moving contact point drawing a straight line from one hip to the other and back again?

As much as you can without discomfort, make sure your contact is not deviating north or south as you roll from side to side. Let the movement begin with your pelvis, and allow your rib cage to follow the pelvis.

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The Pelvic CompassII

16 Stop and rest. Notice how your pelvis is resting on the floor now. Ha5 your contact with the floor changed7

17 Slowly roll the contact point under your pelvis from north to south and back again. Repeat this movement several times. Hae;thie; movement changed following the eae;t-wee;t movement57

18 Move your pelvis so that your pelvic contact moves north. From here, roll your contact point around the border of the compass to the east and then back to the north. Slowly move the point of contact along an arc describing a quarter circle. Notice how the contact your feet make with the floor changes as you repeat this movement. Make the movement progressively smaller, decreasing the length of the arc and converging on northeast, that is, a point halfway between north and east.

19 Now move your contact point diagonally across the face of the compass from northeast to southwest. Go very gently without forcing. Return from southwest to northeast. Repeat these movements many times, rolling the contact point gently and slowly across the back of your pelvis along a line between these two points. Pause and rest a moment.

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97

20 Move your pelvis so that the contact point moves to the south. Roll your contact point around the edge of the compass to the east, then back to the south. Slowly move your contact point around an arc describing a quarter circle. Notice how your legs move as you repeat this movement several times. Find southeast, pausing at a point about halfway between south and east. Now roll the contact point diagonally across the compass from southeast to northwest. Go very gently, without forcing the movement. Return from northwest to southeast. Repeat these movements many times, rolling the contact point gently along a line between these points. Take your time.

21 Stop and rest. Notice how your breathing moves your back against the floor now. How do the areas of contact change as you inhale and exhale'?

22 Slowly roll your pelvic contact point from north to south and back again. Repeat this movement a few times. How has this movement changed'? Can you make the movement easier and smoother'?

23 Begin to move your pelvis again, bringing the contact point north. Slowly roll your contact point from north to northeast and then back to north again. Can you make the line curved rather than straight'? Is the movement smooth or jerky'? Can you moveslowly enough to be able to smooth out any uneven places'?

Hold your breath for a few movements. Notice how this changes the movement. Return to breathing and moving at the same time. Is It easier

to breathe as you move'?

Stop moving and rest a moment.

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The Pelvic Compass II

24 Move your pelvis so that your contact point rolls toward the northeast. Slowly roll your contact point from northeast to east and then back again to northeast. Move your contact point along a curved line, as if following the rim of the compass back and forth between east and northeast.

25 Slowly lengthen the path of movement from east to northeast to north, and then back around to east. Continue to move in this arc, tracing a quarter circle with the contact point behind your pelvis. Move over northeast without stopping so the movement continues uninterrupted between east and north. Can you make thi6 movement 6mooth and continuou6, without any jagged edge6 or 6harp turn6?

Come to a full stop and rest a moment.

26 Now move the contact point to the south and from here slowly begin to trace a circle. Roll your contact point to the right over southwest. Slowly continue to roll around the rim of the compass in tiny increments from west to northwest. Continue to roll your contact point slowly around the compass, making sure you connect each point on the compass to make a smooth curve. At first, most of us move straight from one direction on the compass to the next. A6 you continue to move,can you begin to make thi6 a continuou6 circle around the rim of the compa66? Can you make the movement round, rolling over each point without 6topping? Can you continue thi6 movement while breathing ea6ily and continuou6ly? How doe6 thi6 movement around the rim of the compa66 reflect or echo in the re6t of your body?

27 Stop a moment. Slowly begin to roll your contact point in the other direction around the compass. Breathe as you move. Continue in that direction, moving your pelvis to roll the contact point around the entire compass. Connect each point on the compass into a smooth continuous circle. Perhaps it will help if you visualize how a coin moves after spinning on its side and just before it wobbles to a stop. Can you 6ee a coin rolling around in 6low motion, turning around it6 edge and making the 6ame kind of circle you are tracing around the rim of your compa66? The Pelvic Compass II

99

28 Stop and rest. Notice how the back of your body from your head to your feet is making contact with the floor. What has changed since you started this lesson'? How is your pelvis touching the floor'? How much space is underneath your lower back'? What parts of your spine are touching the floor'?

29 Once again, repeat the north-south movement a few times. How has this movement changed'?

0

30 Stop moving. Roll to one side and slowly sit up. Slowly come to standing. Notice how you stand. Take a few steps; walk slowly and notice how your pelvis moves as you walk. That concludes the last lesson in the Back into Action series.

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The Pelvic Compass II

Bibliography The following annotated list of books supplements the information presented in Back into Action: Alexander, F. M. 1984. The use of the self Downey, CA: Centerline Press. Though written in a somewhat dated style, still rich in insight. From the pen of the originator of the Alexander Technique. Alexander, G. 1985. Eutony. New York: Felix Morrow. From the founder of one of Europe's best respected awareness-based educational approaches. Alon, R. 1990. Mindful spontaneity.Garden City Park, NY: Avery Publishing Group. A set of movement lessons by one of the first teachers trained by Feldenkrais. , Bateson, G. 1979. Mind and nature. New York: Dutton. Batcson's best writing about the biology of "the pattern that connects." Bertherat, T., and C. Bernstein. 1977. The bodyhas its reasons. New York: Pantheon. A detailed description of awareness exercises developed in France. A good read. Feldenkrais, M. 1950. The body and mature behavior. New York: International Universities Press. Discussion of the biological and physical bases of the approach. Fairly technical but excellent.

___ .1972.AwarenessthoughmO'lJement. NewYork:Harper &Row. A nontechnical introductory text that includes scripts for 12 movement lessons. Highly recommended. ___ . 1977. The caseof Nora. New York: Harper & Row. Step-by-step description of a patient's case. The best exposition of Feldenkrais's thinking. ___ . 1981. The elusiveobvious.Cupertino, CA: Meta Publications. A rambling overview of the theoretical basis of the FeldenkraisMethod. ___ . 1984. The mastermoves.Cupertino, CA: Meta Publications. Edited transcript of a workshop, including 12 movement lessons. Very useful.

Hanna, T.1980. The bodyof life. NcwYork:Alfred A. Knop£ The basic ideas of the somatic approach clarified historically and in case studies. ___ . 1988. Somatics.Reading, MA: Addison-Wesley. An explanation of somatic amnesia and its role in chronic pain and movement restrictions. Heggie,}. 1987. Running with the whole body. Emmaus, PA: Rodale Press. Fcldcnkrais lessons for the runner. A useful, accessible book. Maturana, H. R., and F. J. Varela. 1987. The tree of knowledge.Boston: New Science Library. An introduction to the biological roots of knowledge and cognition. The most accessible work by these challenging-to-read authors. Powers, W. T. 1973. Behavior:The controlofperception.Chicago: Aldine. A great introduction to an important concept: we control what we perceive, not what exists nor what we do. Explains why changing perception is necessary. Rywcrant, Y. 1983. The FeldenkraisMethod.·Teachingby handling. New York: Harper & Row. The hands-on aspect of the method from the perspective of another of the first teachers trained by Fcldenkrais. Todd, M. E. 1978. The thinking body. 2d. ed., 6th printing. New York: Dance Horizons Press. A guide to seeing the body in motion and understanding the use of visualization in teaching. Anatomical and detailed. Gratifying. von Foerster, H. 1981. Observing systems. Seaside: lntersystems Press. A collection of articles about the nature of perception and self-regulation by one of the founders of cybernetics and systems theory. Highly recommended. Zemach-Bersin, D., K. Zemach-Bcrsin, and M. Reese. 1990. Relaxercise.New York: Harper & Row. Excellent collection of illustrated movement lessons. Simple and direct.

___ . 1985. Thepotent self New York: Harper & Row. Feldenkrais's thinking about the psycho-emotional aspects of movement habits. Goldfarb, L. 1990. Articulating changes.Berkeley: Feldenkrais Resources. A clear presentation of the theoretical basis of the method from a systems theory point of view. Bibliography

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