Eutony and Relaxation: The Release of Physical and Mental Tension 9780954891008, 0954891007

Citation preview

EUTONY GERDA ALEXANDER ®

Release of Physical and Mental Tension

GUNNA BRIEGHEL-MULLER

Translated from the French by Joan Deedes

Illustrations by Jacques Savary

© Original title: Eutonie et Relaxation Editions Delachaux et Niestle S.A., Lonay (Switzerland) 1972, 1979, 1986 Translated from the 3rd French Edition by Joan Deedes 2005

All rights reserved. No part of the English text may be reproduced in any form or by any electronic or mechanical means including information storage and retrieval systems, without permission from the author.

Published by and available in Great Britain from GBM Editions, 43 Fieldway Crescent, London NS IPU Available in Switzerland from GBM Editions, Place des Eaux-Vives 2, 1207 Geneve

ISBN 0-9548910-0-7

Printed by Imprimerie Offset A venir 8, quai de la fontaine, 30900 Nimes - France +33 (0)4 66 67 00 22 offset.avenir @wanadoo.fr

CONTENTS

FOREWORD

p.7

INTRODUCTION

p.8

CHAPTER I

Rest, Passivity

p.10

General Remarks ............. .......... ................. ........................................ ........... .............. .p. 10 Global Passivity .............................. ........ ............................ .................. ........................ p . 11 Immobility ............. ............. ..................... ................. ........................................ ............ p. 14 Inner Move1nents .......................................................... ................ ................................ p. 15 Basic Exercises for Global Relaxation ............. .................. .......................... ............ .... p. 16 Bodily Sensations ........ ............. .............................. ...................... ............. ................... p. 16 When to Relax and for How Long ........ ......... ....................... ................. ................... ...p . 17 Active -Passive Movements ............. ........... ........................................... ............... ........ p. 18 Partial Passivity, Dissociation between Different Parts of the Body ........... .............. .. p . 24 Leaming a New Technique ............... ....... ........... ......................................................... p . 29 Mastering the Technique of Relaxation ......................... ............................ ........... ....... p. 30 Exercises for Two .......... .......................... .......... ............ ...... ........ ........ ......................... p. 31

CHAPTER II

Control Positions

p.34

The Ten Main Control Positions .............. ........ ............................. ........................ .......p. Progressive Study of the Control Positions ...................................... ......... .......... .........p. Direct Study of the Control Positions ................................... ............................... ....... .p. Preliminary Positions ............................................ ................................ ....................... p. How to Exercise these Positions ...................... ................... .............. ...........................p. Series of Positions ................................. ......... ........ ......... ............ ..................... ............ p.

CHAPTER III Techniques of Concentration, 'Contact' and 'Current'

34 45 52 52 68 70

p.81

General Principles ................... ........... ................................ ...................... ............... ..... p. Concentration Applied to Relaxation ..................... .......................... ....................... .....p. In the Event of Illness or Accident ....... ................ ............. ................................. .......... p. Methods of Concentration for General and Local Eutonisation ........ ................ ..........p. Objective Examination of Various Types of Sensations .......... .................. ..................p. Weight ............. .............. ................... ....... ............. .......... ...... ........... ............................. p. Body Texture ......................................................... ................ ............................... ........ p. Temperature ............ ..................................... ...................... .......................................... p. Activity, Passivity (Contraction - Decontraction) .................... .................... ............... p. Other Sensations ...... ............................. ............... ........ ........................... ............... ....... p. Shape and Volume (Lines and Space) ........... ................................................... ............p.

81 82 83 84 84 84 85 85 86 87 87

CHAPTER III Cont. 'Contact' and 'Current' ................ ........................................................ ...........................p. Exercises of 'Contact' ......................... ................................. .......................... ...............p. Exercises of 'Current' ...................... ..................................... .................... ..................... p. Summary ......................................................................... ..................... .............. .......... p.

CHAPTER IV Eutony in Movement

87 88 92 99

p.101

Organic Movement (Eutonic) .......................... ....................................................... ......p . 101 Instinctive Stretching ........................................ .......................... ................................. .p. 1O1 Yawning ........................................ ............... ....................... ................................... ......p. 102 Voluntary Stretching ................... ................................................ ............................ .....p. 103 Voluntary Yawning ..................................................... ...................................... ...........p. 103 Continuous Stretching ................. ........................................................ ......................... p. 103 Free Movements ................... ..................... ................................................................... p. 104 Control Movements .............................. .............................. ...................... .................... p. 106 The Principal Control Movements ........... .................................................................... p. 107 'Light' Movements (Outlining Movements) ......................... ....................................... p. 116 Exercises of 'Lig ht' Movements ................................................................................ ..p . 117 Resistant Force Movements (Exercises of'Repousser' and 'Transport') ...................... p. 122 Exercises with Resistant Force ......................................... ............................................p . 122 Swinging Movements ............ ........................ ............. .................................... ..............p. 125 Exercise for Swinging of the Arms ........... ................................................................ ...p. 126 Exercises of Swinging Movements ................. .......................... ...................................p. 127 Remarks concerning Muscular Force .......................................... ................................. p. 128

CHAPTER V

Posture, Manner of Walking, Daily Movements, Movements at Work

p.129

General Principles of Posture .......... .............................................................................p. Placing of Weight ............... .................. ................ ........................................................p. Straightening up of the Body, 'Transport' ......................... ...........................................p. Posture Made Easier ........................................... ........................ .................................. p. Relationship between Head and Spine ............................................................. ............p. Correction of Posture by Free Movements ................................................................ ..p. Exercises for Posture ................ ............................. .......................................................p. Walking ......................................... ........... ............... .................................... ................ p. Movements at Work ............................. .......... ............................................... ........... ....p. Summary ................... .......................................... ......................................... ................ p.

CHAPTER VI Breathing

129 129 131 131 133 133 134 140 145 150

p. 151

First Rule ....................... .............................................................................................. p. 151 Second Rule ........................................................... ............ ......................................... ..p. 152

CHAPTER VI Cont. Exercises of Passive Breathing .......... ...................................................................... ....p. Breathing Observed during Rest .................................................. ................................p. Breathing Observed during Activity ................................................................ ............p. Breathing Observed during the Passage from Passivity to Activity and Vice Versa ................... .................................... ..................... p. Breathing Observed in Control Positions ........... ........................................................ ..p. Exercises of Active or Voluntary Breathing ............... .............. ................ ................... p. Free Movements with Free Breathing ................................................................ ..........p. Alternating Active and Passive Breathing ...................................... ......................... ....p. Voice in Speech and Song, Noises and Articulated Sounds ........................................ p.

CHAPTER VII Psychological Causes of Tension, Possibilities and Techniques for Inner Research

152 153 154 155 158 158 159 160 161

p. 163

Why are we Tense? ........................ ............................................. .................. ............... p. Inner Research ................................ ....................................... ............... ........................p. Fear , the Origin of Tension .............. ................... ............ .................................... ......... p. Necessary Freedom of Mind ................................ ........................................................p. Practical Procedure ........................ ................................................ ......................... ......p. Fear of Suffocation .................. ................ .................................. ............ ....................... p. Feeling of Shame .................. ...................................................... ............................... ...p. Absence of Sensations .................. ................ ............................ .................................... p. Body Awareness ............................................................. ................................ .............. p. Unnoticed Sensory Factors (Unconscious Sensations) ........................... ..................... p. Development of Bodily Awareness on an Emotional Level ........................................ p. Second Process of Introspection ..................... ........................................ .....................p. Third Process of Introspection (Free Movements) ................................. ............... .......p.

163 164 164 165 166 167 168 168 169 171 172 173 174

CONCLUSION

p. 176

USEFUL INFORMATION

p. 177

BIBLIOGRAPHY

p.178

-7-

FOREWORD by Gerda Alexander, Creator of the Method.

It is with joy that I support this book with my best wishes and it is my hope that it will draw attention to the rich possibilities open to those who wish to acquire a deeper knowledge of their bodies. For more than fifty years Eutony has been used in various fields, both in education and therapy. As a pedagogy, it is used in kindergartens, in schools for normal children and for children who are handicapped physically or mentally, as a training technique for sports, for teachers of physical education, eurythmics , music and dance, in drama schools and as a preparation for childbirth . Therapeutically, Eutony can be applied in psychosomatic medicine and for certain psychiatric disorders. Its role is considerable in the sphere of rehabilitation following trauma and it is also beneficial in orthopaedics and neurology. The professional training of Eutonists which covers all aspects of Eutony, is less well-known. In essence, it leads to the experience and knowledge of the individual's psychosomatic unity by developing an awareness of regions or functions of the body which otherwise remain partially or totally unconscious. The conscious work of balancing of tensions, a balance which is constantly renewed in contact with ourselves and our surroundings, has the effect of liberating and maturing each pupil's personality . This is why, in spite of the entirely objective character of Eutony , its teaching and realization will always bear the mark of the personality of the Eutonist and of his or her particular aptitudes. After training, the development of a Eutonist's experience depends on the fields in which he or she works. This book is the result of many years of practice and experience in varying spheres of activity. With its very complete collection of practical exercises, it will be a great help to pupils as well as to those who are interested in Eutony but do not have the opportunity to work personally with a Eutony teacher. Moreover, it will be a valuable resource for teachers who make use of specific branches of Eutony and finally, for professional Eutonists.

Gerda Alexander

-8-

INTRODUCTION

The word relaxation has been used for many years and refers to any approach to unwind, physically or mentally. For the sake of clarity, the word relaxation is used throughout this book with the specific meaning of muscular release . The term Eutony1 was devised by Gerda Alexander to emphasize that relaxation alone is not sufficient to reach a satisfactory mastering of the body. A good tonus is just as necessary , that is to say, the capacity to influence muscular tonus in order to adapt harmoniously to the varied circumstances of life. Eutony is a state in which every movement is carried out with the minimum of energy and the maximum of efficiency, allowing the vital functions to proceed normally . The movements should not obstruct the circulation nor the breathing, nor the other functions which are dependent upon the autonomic nervous system. Movements performed in Eutony are sometimes called organic movements. In this terminology, the word organic indicates that all the organs are working harmoniously and that the entire organism is functioning as a unified whole. Eutony and relaxation are techniques which are useful in the most diverse situations in life. They provide the means whereby physical and mental forces can be set free and thus maintain health or rapidly restore it, should the balance have been momentarily disturbed. These techniques are effective in preventing and in curing the state of general stress which is so common in our age, when mechanization and the high-speed rhythm of machines seem to be imposed on human life in an increasingly negative manner. Numerous causes of tiredness, bodily discomfort and illness can be eliminated by Eutony. Furthermore, Eutony leads to self-knowlege and helps to develop a person's whole personality. This book has been written in order to help those persons who wish to achieve greater mastery of their physical and mental faculties. Those who have already studied with a Eutony teacher may use it to refer to and I hope be inspired to continue to practice at home. Those who have no experience of Eutony may safely base their studies on this manual. Each chapter deals with particular aspects of the physical work but all the principles may be used in one single exercise. Therefore it is recommended to read the main text relating to each chapter before starting on the practical exercises.

Lit. eu - from the Greek meaning good or harmonious and tonus - the basic neuromuscular tension always present in the living organism, even at rest.

-9-

As a former pupil of Gerda Alexander, I wish to express my profound gratitude for her teaching on which my own experience on the subject is based . I hope that this book will also be a help for those whose vocation it is to teach the art of relaxation and Eutony. I would like to express my heartfelt thanks to friends whose support and encouragement helped me to complete this book, especially Marguerite Muller for the editing of the French text as well as to Joan Deedes and Therese Melville for the English translation. Gunna Brieghel-Mtiller Geneva

- 10 -

CHAPTER I

REST, PASSIVITY

General Remarks

In order to relax, in the sense of releasing muscular tension, we have to learn how to be passive. Passivity, the state of non-action is rest and indispensable to the organism. It regenerates and repairs tissues which become tired and used from constant action. Without rest the body's strength is soon exhausted. To have complete mastery over your body it is necessary to know how to be active and passive at will. Passivity must not be confused with an abandonment of will; it is a state of inaction chosen and maintained voluntarily. Muscular relaxation, understood properly, reinforces the will rather than weakens it. Relaxation is a technique of intentional release of muscular tension. Passivity, achieved by weakening your will, by suggestion, hypnosis, medicine or simply by sleep, is not relaxation but an involuntary release of tension . Sometimes, of course, this is perfectly desirable (as release of tension in sleep), but it is essential in the study of relaxation to learn to distinguish between the two passive states, unconscious passivity which is unintentional and conscious passivity which is intentional. In the exercises which follow, the object is, without exception, to achieve conscious and intended passivity. 1 Passivity, in other words muscular repose, is the natural remedy against fatigue and can be employed in all cases where weakness or pain is provoked by tiredness and overwork, giving rise to stiffness, contracture, myosis, cramp, tendonitis, neuritis, lumbago, etc. Moreover, passivity assures a more rapid recovery in all pathological states where the circulation is slowed down by unnecessary tension. This is the case in a large majority of ailments, so much so that it is impossible to enumerate the number of circumstances to which passivity can benefically be applied, but some examples are: Headaches provoked by muscular contractions (of the forehead, the eyes or the neck), sore throats accompanied by contractions of the pharynx or larynx, sprains, contusions, wounds, bums, after-effects of fractures, ankylosis, sciatica, rheumatism, asthma, angina pectoris, bowel or stomach-ache, etc.

Four different states of passivity can be distinguished. (1) An unconscious and unintended passive state: Total unconsciousness during sleep , during a fainting fit, the state of hypotonic flaccid muscles . (2) A conscious but unintended passive state: Extreme fatigue, partial paralysis. (3) An unconscious passive state, intended or freely accepted: Hypnosis, narcosis, anaesthesia. (4) A conscious and intended passive state: Relaxation. This subdivision is, however , of no great practical value and will not be applied in the following chapters.

- 11 -

Passivity must alternate with activity. This rule assures optimum functioning of the body and results in easy movements. Work of every nature, if accomplished in a natural rhythm by muscles which have been trained to alternate easily between activity and passivity, will reach the maximum of efficiency in minimum time and with minimum effort. Relaxation is an excellent prophylaxis and when put into practice helps to avoid feeling run-down or falling ill. When learning a new technique, no matter in what sphere, the conscious recourse to passivity will permit quicker advancement and greater competency. It must be cultivated before starting a movement and just after it has been completed. (We are talking here of passivity of a limb or a certain part of the body, while the person is active.) Thus, the right movement is repeated correctly from the start and the action very rapidly becomes automatic. The number of unnecessary movements is reduced and the formidable obstacle, the so-called 'parasitic automatism', is avoided . For the same reason, passivity is a great help when a routine to which we have become accustomed has to be changed. The rapid acquisition of a new technique and the facility to modify our habits are signs of intelligence. Relaxation increases these faculties, leading us to believe it is a factor of the development of our intelligence. Many pupils have noticed that work controlled in this way was easier, as much from a physical as from a mental point of view. A quicker awareness of what is important develops and out of this springs better organization of work. An increase in intelligence per se is not probable, but we notice that relaxation does permit a more judicious use of our mental resources. While the advantages of a voluntary passive state are easily demonstrated, global passivity is difficult to arrive at. It is curious that to do nothing is, in fact, difficult and that the conscious passive state is little known and practically non-existent in modem life. Discovering the passive state can be a real adventure and may feel, for the first time like an extraordinary experience. From then on, the ability to provoke this state can be acquired with ever greater ease and its beneficial character become even more effective. In conclusion, it must be admitted that it is a serious and lengthy enterprise to reach this stage of conscious and intended passivity. Nevertheless, the preliminary stages constitute in themselves a progressive relaxation, 1 which ensure appreciable results a long time before the ideal stage is reached. In the following paragraphs a detailed explanation is given on the exercises that gradually lead to passivity.

Global Passivity First of all, a posture must be chosen in which all parts of your body are well positioned and supported, making it possible to really let go of your weight. For a person of normal health and constitution, to lie flat on his back is undoubtedly the best position. In a room where tranquillity is

This expression is used in a slightly different sense by E.Jacobson to denote his method of relaxation . See Bibliography.

- 12 -

assured and the temperature agreeable, lie down on a blanket spread on the floor with your arms alongside your body (fig. l ).

fig.l For this exercise, there is no need to be dressed in a particular way. It is only necessary to remove your shoes and possibility loosen your belt or tie. It is important not to feel cold. Your arms are normally placed to the side, hands half open, palms facing in, your legs slightly apart and your feet turned outwards . You need not feel bound to copy this position exactly , for it may be necessary to make small modifications before finding a position in which you are really able to let yourself go and feel a sensation of complete repose. Many people prefer to place their arms closer to their body with palms of the hands facing down, while others place their arms further away from their body with palms of the hands facing up . If rest cannot be found in one of these positions, your forearms can be placed on a cushion or on your body itself. With regard to your legs , you may find it preferable to put two cushions or a bolster under your knees to lessen the arch of your back. If you have a slightly hunched back you can avoid your head from dropping backwards by placing beneath it something of sufficient thickness to give support such as a book, a folded blanket or a firm flat cushion (fig .2).

fig.2 Finally, for a very arched back, you should lie near an arm-chair or sofa on which to rest your legs. Your calves and feet will feel agreeably relaxed with the support at the correct height. In this position your back remains flat and the arching is reduced without effort (fig.3).

fig.3

- 13 -

The same effect for your back can be obtained by placing your heels against a wall with your legs stretched out to form an angle with the floor of 45-65 degrees (fig.4).

fig.4

Relaxation is generally easier and more profound on a hard surface and it is for this reason that the floor or a hard bed is recommended. A bed which is too soft is unsuitable for rest and it is advisable to place a board underneath the mattress in order to give a firm and horizontal support to the spinal column. In individual cases, when the necessity arises, it is possible to relax on a bed or in an armchair. There are special chairs made for relaxation but an ordinary arm-chair will suffice so long as your head is supported on leaning back, or is relaxed when dropped forwards. It is recommended to lift your legs onto the seat of a chair or a stool (fig.5).

fig.5

- 14 -

Positions on your stomach and on your side are equally good provided you feel at ease. A person in good health relaxes easily in all these positions. Certain tensions and muscular contractions may, however , hinder repose and therefore before beginning the exercise it is important to find a position in which you feel the most comfortable. As you learn to relax, difficult positions become easier. 1

Immobility When you have chosen a position and closed your eyes, the next step is to make certain all the muscles in your body are well relaxed . What do you do in order to control your muscles? There is nothing to do. This is where the first difficulty lies for the person who wants to relax. When endeavouring to control the relaxation there is often a tendency to move either a limb or your head. It is clear that any such movement betrays a muscular action, an active state, and not the sought after passive state. Passivity is controlled not by a movement but by the awareness of the internal sensation , which when observed in detail, conveys to us the exact state of the muscles. Therefore , the first rule for being passive is to do nothing. This would seem to be quite simple, but it is interesting to note how long it is possible for anyone to remain really immobile. A balanced person in good health and without worries will have no difficulty in lying still and will probably fall asleep quickly and awaken refreshed. On the other hand, if there are tensions, there can be diverse reactions: 1

You are able to eliminate tensions, little by little, by consciously letting go.

2

Inspite of being aware of tensions, you may have the impression of being unable to eliminate them by will alone. If this is the case, remain immobile and consciously dwell upon the weight of your body and upon the floor supporting it. Feel your relationship with the floor (bed or chair) and feel the support it gives. This will gradually bring about relaxation.

3

Aware of tensions, you try to do away with them by moving. This is a mistake since all movement must be avoided. It is imperative to understand the absolute necessity of immobility and to make it a fundamental rule. Inspite of the desire to move, you will slowly be aware that it was, in fact, a disagreeable sensation, until then unperceived, that caused this desire and provoked a movement without you realizing it. Once this is understood , you will be able to eliminate these movements and reach a state of immobility and passivity. You will accept the disagreeable sensation you had unconsciously tried to avoid by moving . If this acceptance cannot be achieved, then it is better to change position. 2

1

2

For further instructions , see Chapter II. Immobility is necessary for profound relaxation but it is also possible to partially relax by movement. See Chapter IV .

- 15 -

Should an exercise become too difficult for one reason or another, it is advisable to discontinue by stretching or modifying the position. Obviously, immobility in itself is not the aim and it would be useless to try and keep immobile like a statue for any length of time . Forced immobility, as this would be, produces, by the tensions it necessitates, a stiffness which goes against the passivity we look for. Conscious passivity is a state of inactivity of all voluntary muscles. This state gives the muscles and the nerves the rest and tranquillity which regenerate them. Consciously or unconsciously, passivity is often associated with death . Actually, the voluntary passive state has not the least resemblance to death. The conscious passive state is a living state and the more we relax the more we perceive the internal life of the body: respiration, 1 circulation , peristaltic movement, etc.

Inner Movements It is of prime importance from the very beginning to get into the habit of noticing and feeling all the inner movements without interfering in their working . The vital functions are perfectly regulated by the autonomic nervous system which ensures that the organs are maintained in the best possible condition. It is, for example, quite useless and at times even dangerous to 'correct' your breathing by a voluntary muscular action, whether it be by breathing in more deeply , by breathing in a different part of your body or by holding your breath, etc. Beginners are strongly advised against all these respiratory exercises. It is really a question of eliminating from your mind the idea itself, even if it seems natural and justifiable, that your breathing should be of a certain depth and regularity. It must be understood that for each individual and for every situation there is a particular respiration which only the autonomic nervous system can define. Our intellectual faculty cannot regulate to a fine enough degree the respiratory functioning of the body. Even if we knew the exact quantity of air that was necessary and the correct manner in which to breathe it, we would not be able to reach the ideal respiration by a voluntarily controlled act. The intellectual intervention is gross, compared to the spontaneous act which so subtley obeys the varied needs of the organism.2

The first relaxation exercise consists, therefore, of remaining in a position of agreeable repose, without moving, for one minute to half an hour or longer. To reach a true state of repose, your thoughts and attention should be turned towards something specific. This exercise can be done in greater detail and the following three methods allow you a choice.

2

Consequently , the author does not accept the term 'corpse posture' by which Yoga expresses relaxation and which gives, from the start, a false impression. Once you have reached the point of being aware of your breathing without exerting any influence over it, you may safely proceed to the respiratory exercises. See Chapter VI.

- 16 -

Basic Exercises for Global Relaxation First Choice: Choose a position in which to relax (see figs. 1-5 Global Passivity). Direct your attention to all the parts of your body which touch the ground or a support and be acutely conscious of the surfaces which carry you. Detail the size and shape of these surfaces. For each area, observe whether you have truly abandoned your weight and really feel a sensation of being carried. Proceed systematically by commencing at your heels and finishing at your head. This exercise must bring about a clear consciousness of the imprint of your body on the floor or other supporting objects as well as a positive feeling of rest. Second Choice: The 'Inventory'. Choose a position in which to relax. Be aware of each part of your body and of your body as a whole, taking care to relax throughout. Give yourself time to feel, inwardly, each part and to direct your attention successively to your toes, the soles of your feet, your heels, the joints of your feet, your ankles, calves, shins, knees, thighs, hip-joints, your legs in their entirety; your buttocks, the lower part of your back, your abdomen, waist, the upper part of your back, your diaphram, chest, your entire trunk; your collarbone, shoulder-blades, shoulders, upper arms, elbows, forearms, wrists, hands, fingers, your arms in their entirety; your neck , head, your entire body. Add if you wish, the features of your face, ears, scalp, etc. With only a little time at your disposal, the 'Inventory' may be shortened by taking into account only the essential parts of your body or limiting yourself to the detailed observation of a single part. If there is sufficient time, concentrate on the more important parts of your body first and then return in greater detail to any one part that needs special attention. Third Choice : Choose a position in which to relax. Once the decision has been made not to move, consciously accept all the sensations felt and at each moment. If there are several, occupy yourself with the one which is dominant and endeavour to accurately describe it to yourself. When the dominant sensation changes in nature or in locality be conscious of this process and aware of the subsequent dominant sensation. In this manner, allow your attention to move freely throughout your body and by doing so you will find relaxation becomes more and more profound.

Bodily Sensations Immobility can have different effects. At the start of the relaxation, bodily sensations very frequently disappear and it is not unusual for the beginner to no longer feel his body . In daily life, the great majority of bodily sensations come from exterior movements. With these eliminated , there is a possibility that the beginner will feel to be devoid of sensations, for it is not customary

- 17 -

for him to direct his attention to the interior of his body. Indeed, the difference between the sensations which are caused by outer movements and those which are more profound is very great.

It is therefore perfectly normal to pass through a stage where no sensations are felt and this need not be cause for worry. 1 Perseverance of the exercise will result in sensations breaking through to a conscious level. These perceptions are of great importance and form the basis of our neuro-muscular and psychic control. There can be three categories of sensations, agreeable, disagreeable, and neutral. It is clear 2 that the agreeable and neutral sensations do not, at first, present any obstacle to relaxation. On the other hand, a disagreeable sensation generally causes a contraction or a movement. These reactions must be eliminated and we can only do this firstly by becoming aware of them and secondly by endeavouring to relax the muscles which have contracted. To fully understand this it must be realized that the customary reaction to a disagreeable sensation is to make a movement or to contract immediately and quite often, unconsciously. This is a normal and instinctive reaction. For example, touching a hot object will make you instantly withdraw your hand and it is also the explanation of unconscious movements during sleep. These active responses are nonnal and beneficial to us in daily life and here it is solely a question of learning to eliminate them in conscious relaxation. If you are truly to relax, all sensations must be accepted without reaction.

When to Relax and for How Long The three methods indicated allow for a general relaxation. The time required to achieve this is very variable according to individual aptitudes and training. The greater the concentration, the more rapidly you will be able to relax and, as is often the case, drop off to sleep. If you have sufficient time at your disposal it is preferable to continue sleeping until you awaken spontaneously , otherwise, be awakened by someone or an alarm, so long as the ring is not too violent. A void an abrupt awakening. To take these precautions may seem trivial, but a profound relaxation is not possible if you are afraid of falling asleep or of not waking up at a certain time; whereas you can benefit from a single minute so long as you can concentrate totally upon relaxing.

After relaxing it is better not to get up abruptly but to stretch first. Stretching is the natural intermediary between rest and activity .3 Start by stretching your hands and feet, your arms and legs and then your whole body, passing from small gentle movements to the more ample and energetic ones, yawning and breathing freely. If the exercises are done in bed before sleeping, the stretching is unnecessary. It should be done the following morning.

2 3

With regard to the anxiety which may be caused by this lack of sensations, see Chapter VII. For the exceptions, see Chapter VII.

See Chapter IV.

- 18 -

People who are highly -strung or overworked do well to relax for three to five minutes at a time, not more, hourly or as often as possible. This can help to avoid nervous depression or pass over a period of strain, for even if you have not yet been aware of the sensation of relaxation, these few moments of rest can be sufficient to ward off the danger of becoming overtired. Once your general state of health improves, the periods of relaxation can be lengthened and more broadly spaced. A person in good health can fall into a deep sleep for five minutes and awaken instantly, refreshed and alert. He will also be able, if necessary, to remain relaxed for at least an hour without moving, after particularly hard work for instance, or before a performance. It can be said, that in general, beginners need a great deal of time to reach profound relaxation and equally as much time to return to a normal state of activity, whereas persons who are more advanced relax rapidly and profoundly, returning equally quickly to the normal active state. Persons who are very tired will find it in their interest to relax less profoundly but more often.

This first exercise of relaxation and total rest remains a basic one which is repeated in one form or another as often as you feel the need to be invigorated during the day. It is also recommended to be put into practice before going to sleep at night. Active-Passive Movements

The capacity to be voluntarily active or passive is essential for muscle control and consequently the passage from the active to the passive state and vice versa has to be mastered. The following exercises alternating passivity with activity aim at achieving such control. At the start of the training, the best position is to lie on your back but all the positions specified for the passive exercises are equally suitable for these active-passive exercises. They can be done with any part of your body starting with that which is the least difficult, working from the outer to the inner regions or choosing where you have the most need for relief. 1

Rest your hand on the side of your little finger for the start of the exercise, your elbow lying flat. This position allows for the simplest movements of the forearm. It is done in four phases. a) Slowly lift your wrist letting your hand hang limp (fig.6). b) Stop the movement at roughly 45 degrees and hold your wrist perfectely still. c) Let your hand, wrist and forearm fall loosely to the floor and d) Rest in this position for a few movements. The most important moments are the passages between the active state and the passive and vice versa. (If your hand falls in a different position do not alter it and simply lift your wrist from this new posture.)

fig.6

- 19 -

2

Make sure your legs are on a hard smooth surface in order to enable your heel to slide freely. With your heel resting on the floor, gently lift your knee until it is slightly flexed (fig.7).

fig.7 Energy must be sent to your knee and no further while the lower part of your leg remains passive. Hold this position and then let go . Your leg will fall by its own weight, sliding your foot forward. Rest for a few moments making certain your entire leg is passive from your hip downwards . Take care not stiffen your other leg or any other part of your body and neither to contract your stomach nor your back during the movement. The weight of the leg you bend will tilt your pelvis forward and cause your back to arch slightly . The moment you let your knee drop, your back returns to its initial position , the fall exerting a slight jolt to your entire body. Do not stiffen to avoid this but feel the jolt and the small vibrations which follow, paying particular attention not to stiffen your neck. Wait for the vibrations to completely disappear before lifting your knee again. (A stone thrown into water will cause circles to form on the surface. Try to liken the vibrations to these circles, recommencing only when your whole body has become calm again). 3

Instead of lifting your wrist or knee, lift your elbow and let it fall, activating your entire arm (fig.8), your ankle, which necessitates lifting your entire leg (fig.9), your shoulder (fig.I 0) and your hip (fig.11), both of which are barely lifted from the floor.

fig.8

fig.9

~~ ~ ~Cl

fig. I 0

fig. 11

- 20 -

4

5

6

7

Instead of lifting and letting go, a contrary movement can be made by pushing down and then letting go. This is psychologically interesting as it shows that passivity and letting go is not synonymous with falling but can also bring about a feeling of lightness and even result in an upward going passive movement. 1 Lying on your back, roll your head from side to side taking note of the amount of energy that is needed. Stop at intervals to allow your head to be passive wherever it tends to rest naturally. These positions of repose vary with each individual according to the form of the head and muscles of the neck. It is matter of determining the weight of your head and the direction in which it tends to roll. The same exercise with the head but more delicately done, in four phases: the active movement, the active hold, the letting go and repose. Starting from the centre make a very small sideways movement. Actively hold your head in this position, then let go, completely relaxed. Pay particular attention at the moment of letting go, for according to the shape of your skull, your head may roll to the right or to the left or remain in place. If the latter, this is not a passive movement but a loosening in position. The exercise is correctly done only when the subject clearly feels the four phases, even without the passive movement. The active hold and the letting go must be clearly decided upon and felt. Instead of moving your head to the side, make the movement forwards and backwards without lifting it from the floor (figs.12 & 13) and feel each point of contact.

fig.12

fig.13

These last three exercises are particularly indicated to ease the neck of painful tensions and are also useful in cases of insomnia. The exercises may seem simple, but they demand a very developed awareness to be done correctly. The object is to acquire control of the muscles in all four phases of the exercise; the active movement (lifting, rolling or pushing down), the active hold (holding in position), the decision to stop holding and the passive position (repose after letting go). The common errors are as follows:

1

See also Chapter VII.

- 21 -

a)

Your arm will not fall; 1 it does not obey your orders. This refusal shows not only that passivity has not been reached, but also that the foregoing activity was led unconsciously. An action thus brought about cannot be eliminated consciously. The action has to be a conscious one. To correct this error, recommence the active movement , lifting your arm very slowly to allow as much time as possible in which to follow the movement through in detail. Feel the weight of your arm, realize the amount of energy required to lift it and where this energy lies. Once this perception is clear, energy can be reduced and your arm allowed to fall.

b)

Instead of letting your arm fall, you throw it down. This mistake comes from an unconscious reaction. Being unable to let the arm fall naturally , you try to do so artificially by giving it the initial impulse. If the moment of passage between the active and passive states is studied in detail it is apparent that this has happened in a moment of unawareness. Failure to relax lies in this moment of unawareness and to correct this, the procedure is as before. Pay particular attention to the start of the lifiing which must be done with no jerking whatsoever. (See following paragraph).

c)

The active movement is perfonned with jerks instead of with fluency, unbroken from the start to the finish . To succeed at this , the movement must be exceedingly slow (likened to the pace of a snail or the hands of a clock) and the extent of the movement reduced to as little as only a few millimetres. Above all, the beginning of the exercise must be so gentle that your wrist does not make a sudden movement on being lifted. You must have the impression of sending a very small amount of energy as far as your wrist -bone and no further, then increasing it gradually and just sufficiently to induce a very slight lift. This may seem impossible to achieve, but by studying the movement minutely it can be seen that the jerking results from an incorrectly proportioned amount of energy . Do not lift higher than to the level of the first jerk. Once you have learnt to anticipate this jerk as well as to realize that there is resistance from other muscles which have to be relaxed, a continuous movement will eventually be possible.

d)

It is very likely that when doing this exercise in detail, you will be aware that even though your arm is relaxed to the maximum there may still be tensions . If this is the case, do not lift your wrist again but instead mentally trace the tensions to their source while still perceptible. 2 At this point return to the first exercise on relaxation.

Done in this manner , the active-pa ssive exercise brings about a profound relaxation but it also calls for a faculty of mental concentration which is very rare among beginners. Guard against too great a desire for perfection at the start. Even if the exercise is not as successful as you would have liked it to be, it will not have been done in vain nor will it be without effect.

2

The ann is chosen as an example to facilitate the explanation. The errors and corrections are typical and concern any part of the body. See Immobility, page 14.

- 22 -

Relaxation can be realized in successive stages and this is why series of active-passive movements are given which, by the systematic order in which they follow on, considerably facilitate the concentration needed. In these series, you need not linger over details, but link up the movements in two phases instead of four (lift and let fall). You may vary the rythm and the height of the movements , repeating each movement several times. 1st Series of Active-Passive Movements Lift and let fall at least three times: Right wrist Left wrist Right knee Left knee Both wrists Both knees Wrists and knees at the same time. 2nd Series of Active-Passive Movements Lift and let fall at least three times: Right wrist Left wrist Right knee Left knee Both wrists Both knees Right wrist and knee Left wrist and knee Right wrist and left knee Left wrist and right knee Both wrists and right knee Both wrists and left knee Both knees and right wrist Both knees and left wrist Wrists and knees at the same time Instead of wrist and knee, this series of exercises can be done with hand and foot (fig. 14), elbow and ankle (figs. 8 & 9) and shoulder and hip (figs. 10 & 11).

fig.14

- 23 -

Instead of lying on your back you can lie on your stomach and put the same kind of exercise into practice with your elbows, shoulders, hands, knees, ankles and hips. Maintaining the same order in the series, push down and then relax instead of lifting and letting go. Always keep to the same order as it facilitates concentration and increases coordination between the right side and the left and between upper and lower parts of the body, thus balancing the nervous system.

Your trunk must be kept passive throughout the exercises and by remaining conscious of touching the ground, it will become apparent how the different movements alter the distribution of weight. 3rd Series of Active-Passive Movements Roll your head several times from side to side: To the left and let go To the right and let go Flex your head several times backwards and forwards in small movements: Backwards and let go Forwards and let go Repeat this sequence two or three times. 4th Series of Active-Passive Movements Push your lumbar vertebrae towards the floor and let go (fig.13). Push your cervical vertebrae towards the floor and let go (fig.12). It must be noted that the cervical vertebrae cannot touch the floor; the exercise simply straightens the curve of the neck. The complementary passive movements in the cervical or lumbar column and in the limbs should not be hindered. 1 It is clear that each person may find for himself a different series, choosing the parts of the body which have the most need of rest and regeneration. The principle remains the same throughout, that is to say the following order must conscientiously be maintained: contraction, active hold , letting go and repose .

1

Exercise of Rosalia Chladek. See Bibliography.

- 24 -

Partial Passivity Dissociation between Different Parts of the Body Partial passivity is when you are able to relax a part of your body while at the same time maintaining activity in another. You should be able to direct energy to wherever you wish without involving other muscles in needless activity. It is evident that this is of the greatest importance. Firstly, there is economy of energy.

Secondly, work is carried out in an easier manner. Efficiency of the muscles is improved and there are not the unnecessary tensions which can produce a paralysing stiffness. Your ability to dissociate increases and consequently you become more skilful. For example , concentrating without contracting your forehead, brushing your teeth without lifting your shoulder, using a pair of scissors without moving your jaws , working with the right hand without contracting the left, telephoning without scribbling on a piece of paper , and so on. In the majority of professions the dissociation between eyes and hands, between right hand and left hand is important, often between one finger and another (typists and pianists) or between feet and hands (drivers and organists). The following exercises are of this nature and since the number is unlimited, only those which will be of general interest are given. The principle is easy to understand and each person can invent exercises adapted to his special needs. a)

Standing, lift your arms and let them fall (fig.15).

fig.15

- 25 -

Your upper limbs are passive while activity is maintained in your legs, trunk and neck (this is normal activity when standing). Be careful to maintain the same back posture when letting your arms fall to your side. They shou ld swing to a natural stop.

Always subdivide these exercises into four parts: contraction, active hold, passive movement of letting go and passive position. b)

Seated , with your back supported, lift the lower part of one leg and let it fall (fig.16).

fig.16

c)

Standing, with the weight of your body on one leg, lift the opposite knee and let it fall without tilting the pelvis (fig.17). If necessary support yourself against a wall with your hands.

fig.17

- 26 -

d)

Standing, hold a tennis ball, a cloth or some small object in your hand. Lift your arm and then let it fall without letting go of the object (fig.18). On letting go, your hand is active and your shoulder and elbow passive. Important in all manual techniques.

fig.18 e)

Standing, with legs slightly apart, shift your weight from one leg to the other, letting your arms swing freely and passively (fig.19) .

fig.19

- 27 -

These exercises , which can be varied endlessly, are of fundamental importance in daily work of every nature , for they assure the independence of limbs and especially of the hand in relationship to the body. It is, therefore, thoroughly recommended that these exercises are learnt and applied to one 's daily occupations. Passive movements of a part of the body , brought about by an active hand, belong to this category of exercises. There are only a few but they are very effective .

f)

Manipulate your hand or just the fingers with the other hand. Rest your hand passively on the table and with the other hand pull back each finger in tum, letting it fall back of its own accord . Then all the fingers together by pulling back the entire hand as far as the wrist (figs.20 & 21).

fig.20

g)

fig.21

Seated on the floor , manipulate your toes with your hands, pulling back each toe in tum (fig.22).

fig .22

- 28 -

h)

Sitting on a chair, bring your one foot across the other knee. Hold on to your ankle with one hand and with the other, pull each toe forwards, then all together, turning the whole foot at the ankle (fig.23).

fig.23

These exercises eliminate tiredness, cramp and tendonitis and help to strengthen hands and feet. i) j)

Manipulate your ears, scalp, hair and the muscles of your face. This is useful in the case of a cold, sinusitus or a headache brought on by muscular contractions. Manipulate your knees, elbows, etc., activating the joints with the help of your hands (fig.24).

fig.24

k)

The muscles of your calves, thighs and arms as well as your abdominal and side muscles can also be manipulated. Pinch up the skin and muscles between your fingers (fig.25).

fig.25

- 29 -

It is clear that with the aim being to attain passivity in the manipulated areas, all attention must be directed towards these parts of the body and not to the hand governing the movement. It is perfectly natural, when making a movement , to think of the limb that is active. However, these exercises will be ineffective if you do not have a clear-cut perception of the part manipulated and it's passivity. This gives a good example of the necessity of conscious passivity. To achieve this, the movements must be made slowly, stopping at intervals in order to get a better perception of the limb or region that is being manipulated.

Leaming a New Technique The learning of any technique, whether it be a sport, the playing of an instrument, the use of a machine, etc., demands the application of partial passivity. For what is flexibility and skill other than the ability to alternate action with relaxation at the right moment? The framework of this book does not allow us to enter into the details of a particular technique. We can only give the general rules , which are these: 1

Before making a gesture , relax the muscles which are to be used.

2

After a gesture , relax the muscles once more. Persevere in alternating action with passivity until it can be achieved with great rapidity. An excellent way in which to arrive at this is to count in the following manner : Active 1-2-3-4 Passive 1-2-3-4 Once you succeed in this , reduce the count to Active 1-2-3 Passive 1-2-3 and then to Active 1-2 Passive 1-2 Progressively reduce the time to a fraction of a second. This technique assures rapidity, flexibility and as a result, competency.

3

1

Do not act before visulizing the goal of the movement. Many typing errors , for example, arise from energy used blindly.'

See also The Princip le of Light Movements, Chapter IV .

- 30 -

4

Faced with a particularly difficult task, never throw yourself straight into action. The muscles which are to be implicated should first of all be relaxed. This also helps to give the necessary time to foresee the outline of the movement.

5

A void working when tired. Even if the feeling of tiredness is only partial, immediately relax the parts of your body concerned and if need be follow up with passive movements. In this way you will avoid stiffness, overtiredness, tendonitis, etc.

6

Be aware that only the necessary muscles work while good deportment of the rest of your body must not be forgotten. Never collapse. This is a misinterpretation of relaxation. 1

7

The active movements must be made with a definite feeling of 'contact' and 'current'. 2

Mastering the Technique of Relaxation In developing the ability to remain passive , you will realize little by little that the sensation of passivity and that of repose which follows passivity does not limit itself to the muscles alone but localizes itself in the bones as well. On lifting your wrist, you will be aware not only of the effort made in the biceps but also of the activation of the wrist itself where there are mostly bones. Likewise, on letting go, passivity is felt not only in the biceps but also in the wrist bones. Indeed, voluntary command localizes itself in the bones as much in passivity as in movement. In fact, it is the movement of the bones that enables us to perceive how the different parts of our body are positioned. The idea of relaxing a bone may seem strange, but if you consider this relaxation as ceasing to keep hold of the bone, it is understandable and perfectly feasible .3 It is therefore indispensable for relaxation as much as it is for movement to develop the consciousness of your bones. The same phenomenon takes place in the connective tissues (tendons, cartilages , etc.). On pulling the ear, for example, a feeling of letting go and of repose can be experienced, not only in the ear muscles situated on the cranium but also in the auricle of the ear and in the part of the lobe that is pulled. It is likewise the same for the tissues of the skin, nails, teeth and hair. Here again, it seems an impossibility . How can I 'relax' a nail? Yet the subjective sensation of rest is certainly possible and

must indeed be realized to obtain the full effectiveness.

2

3

See Chapter V. See Chapter III. Of special importance in the exercises of 'Current' and 'Contact'. See Chapter III.

- 31 -

There is, in principle, no limit to the sensation of relaxation. This is possible to experience 1 even at the level of the glands and digestive organs and other viscera as well as the sense organs. The physiological explanation of this phenomenon is simple. In wishing to relax a specific part of the body we are obliged to let go all the muscles which are concerned, large or small. This has an influence on the neuromuscular system, and the tonus changes. A fact of sufficient importance to explain, broadly, the effects obtained. There is an increase in the circulation (felt as heat, pulsations and prickling), which means a better irrigation of the tissues, better nutrition of the cells and more complete elimination of waste matter. This in turn results in a more profound regeneration, faster healing and a greater resistance to external influences.2

Exercises for Two These are exercises where one person controls the passivity of the other by making passive movements with their arms, legs, head and trunk, as well as with each detail of these parts of the body. (figs.26-29. See also figs.67-76)

fig.26

'The Art of Seeing' by Aldous Huxley. See Bibliography. 2

For a detailed explanation, refer to specialized works of physiology and in particular the influence of relaxation and Eutony on the autonomic, fusimotor and vasomotor systems.

- 32 -

fig .27

fig.28

fig .29

- 33 -

The general rule for the one controlling the movements is not to make a movement which will in any way startle their partner or cause any discomfort . The movements should be made gently, stopping every now and then to allow the other person to be aware of the position and of the points of support without which they would be unab le to let go. Do not allow the head to fall abruptly or an ann, nor shake any limb roughly . Avoid repeat ing movements mechanica lly and instead keep changing the position in different ways so that your partner is unable to anticipate the next move. These varied movements should be repeated with each limb , slowly and with frequent pauses. Passive movements for two are an excellent way of discovering tensions which were not yet apparent and eliminating them. In addition, consciousness of your body is considerably developed.' This particular means of achieving passivity is a necessary study too for all those who undertake to teach Eutony professionally . During this study an important detail must not be overlooked. As long as you feel that you must move a limb in order to feel its passivity, this is proof that your sensitivity is not fully developed. The active partner as well as the passive has to acquire a high degree of sensitivity to be able to determine relaxation both during a pause and during a movement. The sensation of passivity or activity should not be synonymous with immobility and movement respectively. Immobility can be active as well as passive and likewise movement can be passive as well as active. The sensation of passivity has to become very clearly defined. It is a positive sensation of repo se and letting go which can be apparent both during a movement and during a pause without movement. 2 Far more than exerc1smg control , these passive movements are a very effective way of eliminating tensions and when practised with another person can help to alleviate pain from overwork , a false movement or even an occasional headache. When done in detail , this particular study constitutes a very important therapy and is an essential part of the treatment professional Eutonists offer to help in the cure of many illnesses. 3 Without going to such lengths , it would be natural for a mother to relieve her children's minor pains in this way . Just as it would be normal for a teacher to show her pupils how to relax their arms and use a penci l without effort. Likewise, it would be good for a craftsman to show his apprentices how to work without making unnecessary movements. A lot of wasted energy and stress could thus be avoided.

2 3

The physical awareness and the psychological perception of the body. See Chapter VII. See also Chapter VII. See Conclusion.

- 34 -

CHAPTER II

CONTROL POSITIONS

The control positions enable us to know if the length of the muscle is sufficient and normal. Since the length of the muscles depends upon their state of tension, these positions are a gauge of muscular relaxation. A taut muscle is shortened and will stiffen the joint, a relaxed muscle is lengthened and will render the joint flexible . To assess the level of tension, the given positions must be taken up slowly, without any forcing and if the articulations are free, the positions can be held with ease. The slightest pain or discomfort indicates tension or a contracture 1 at the precise spot of the sensation . If this is the case, do not attempt to go further or even to hold the position; move out of it slowly and with care. If done in the manner prescribed, these postures exercise good control over the muscles. It is a subjective control in the sense that it is done by the person himself but at the same time is real, exact and detailed and reveals not only the presence of tensions but their degree and location. These positions also allow for visual control from outside. A person who is tense will not be able to take up a position correctly nor maintain it.

The Ten Main Control Positions It is important not to attempt these positions before reading the entire chapter. They should never be forced and it is advisable to discontinue at the first sign of discomfort or pain. The headings name the principle regions controlled; regions simultaneously controlled appear in brackets. Individuals differ greatly as to which part of their body is the most tense .

1

A contracture is a persistent change in the tissues created by insufficientblood flow following prolonged tension.

- 35 -

l

Control of the Toes (and knees) Kneeling, sit back on your heels with toes tucked in and your body erect (fig.30).

fig.30

Variations:

a) Place heels together with your weight mainly on your big toes (fig.31).

fig.31

b) Place heels apart with your weight distributed so as to include your little toes (fig.32) .

fig.32

- 36 -

2

Control of the Ankles (feet and knees) Kneeling , sit back on your heels with feet outstretched and your body erect (fig.33) .

fig.33

Variations:

a) Place heels together (fig.34).

0 L fig.34

b) Place heels in the normal position, slightly apart. Lean back on your hands, raising your knees (fig.35).

fig.35

- 37 -

3

Control of the Knees (ankles, hips and feet). Kneeling, sit back on the floor between feet outstretched and with your body erect (fig.36).

0

fig.36

Variations:

a) Part your knees with feet pointing outwards (fig.37) .

fig.37

b) Bend your trunk forwards from the hips (fig.38).

fig.38

- 38 -

c) Bend your trunk backwards to a lying position (fig.39).

fig.39 4

Control of the Hips (thighs and buttocks). Sitting cross -legged, place one knee over the other and draw your feet up to the side, taking hold of them with your hands (fig.40).

fig.40 Variations:

a) Lean forwards (fig.41) .

fig.41

- 39 -

b) Tum your trunk and take hold of your opposingly placed feet (fig.42). (Control of vertebral column and waist) .

fig.42

5

Control of the Hips (thighs and ankles) Sitting cross-legged , place one foot on top of the opposite thigh and your other foot beneath the other thigh (fig.43).

fig.43

Variations:

a) Place your feet on the floor, one in front of the other (fig.44).

fig.44

- 40 -

b) Place your feet on opposite thighs (fig.45) .

fig.45

c) Bend your trunk forwards and keeping your back straight, place your forehead on the floor (fig.46).

fig.46

d) Bend your trunk backwards to a lying position (fig.47).

fig.47

e) Lean from side to side. (Control of the vertebral column, rib cage and waist) (fig.99). f) Bend your trunk forwards, to the side and backwards with the varying positions of your feet.

- 41 -

6

Control of the Posterior Muscles (neck, back, thighs and legs) Sitting on the floor with legs outstretched in front, take hold of your feet and rest your head on your knees . Relax in this position (fig.48).

fig.48

Variations:

a) Bring up your knees; rest your forehead on them and fold your arms around (fig.49). (Control of the neck and upper part of the back).

fig.49

b) Pass your arms under your knees and take hold of your elbows . Let your feet slide forwards and without letting go of your elbows, bring your forearms to touch the floor (fig.50). (Control oflower back and thighs).

fig.50

c) With your legs stretched out as wide apart as possible recline your body forwards and rest your head and forearms on the floor (fig.51).

fig.51

- 42 -

7

Control of the Posterior Muscles (neck and back) Lying on your back with arms stretched upwards, bring your legs over your head and lower your knees to either side or further back according to the length of your thighs (fig.52). Return slowly from this position and rest with knees clasped to your chest.

fig.52 Variations:

a) Stretch your legs out as far as possible behind your head (fig.53).

_____ _ ----------

--.._..._

fig.53

b) Exercise these positions with your arms placed to the fore, palms of the hands face down. 8

Control of the Waist (shoulders, side muscles and hips) Lying on your back, join your hands beneath your head and bend your knees. Bring one knee over the other and lower both legs to the one side, the uppermost knee coming into contact with the floor. The pelvis rotates from the waist. Shoulders and elbows must not lift (fig.54).

fig.54

- 43 -

Variation:

With your arms stretched outwards and legs straight, cross one leg over the other and take hold of your foot with the opposite hand. Flex your knee to relax your leg. The opposite shoulder must not lift (fig.55).

fig.55 9

Control of the Shoulders (chest, waist and neck) Lying on your side with knees bent, bring the uppermost knee over in front of the other to touch the floor. Turn the upper part of your body so as to lie flat and stretch your upper arm out diagonally without lifting your knee (fig.56).

fig.56 Variation:

Lying on your side, stretch out your underneath arm at a right angle to your body and bend your head down beside it. Then turning your chest, let your upper arm drop to the back (fig 57). Your head should remain on the floor.

fig.57

- 44 -

10

Control of the Shoulder, Arm and Fing er Muscl es Lying on your back, spread your arms out and bending your elbows at right angles, as if to form a 'candelabra' bring your forearms, hands , wrists and fingers to the floor and relax . Your fingers will bend more or less according to the shortening of the muscles (fig.58). Then bring your forearms forwards and down without lifting your shoulders and place the palms of your hands flat on the floor. Stretch your fingers and then relax. Your wrists will lift according to the shortening of the muscles (fig.59).

?)-----fig.58

fig.59

These positions should be easy to take up and maintain for a person whose muscles are of normal length and elasticity. Such a person will experience a feeling of repose and in certain positions should even be able to fall asleep. It is important to note that age is of no consequence , only the state of tension . Thus, a young person who is nervous and tense would have difficulty performing these exercises, whereas an older but relaxed and balanced person should be able to perform them without effort. If these positions are not feasible because of tensions, it is logical that they can only be

improved upon by relaxing the muscles that are tensed. The following paragraphs explain how to go about this. The positions then cease to be merely those of control and become, in addition, exercises aimed at achieving both relaxation of the muscles and flexibility of the joints. To acquire suppleness is not a question of tedious effort; on the contrary, it merely demands the ability to relax in a given position. (This clearly distinguishes Eutony from ordinary gymnastics). From all this we can draw some simple but essential conclusions. Suppleness is not a matter of muscular force nor does it result from tiresome repetition of traction designed to lengthen the muscles. It depends upon the degree of tension of the muscles, and to relax is all that is needed to become supple. 1 Equally evident is the fact that suppleness is not a gift bestowed upon a priviledged few, but rather is a physical condition which is natural to a healthy body. Thus to exercise your flexibility should become as natural as it is to wash, morning and evening, and just as necessary. For if tensions remain beyond their wanted time (that is to say, after work), they will 1

The pathological state of bones, cartilages , ligaments or articular capsules can hinder the extent of movement but even in these cases, circulation stimulated by relaxation greatly improves the condition.

- 45 -

accumulate and create a progressive shortening of the muscles. This has an adverse effect on the circulation and predisposes the person to over-exertion and tiredness as well as to ailments such as cramp, tendinitis, etc. Moreover, it is certain that stiffness of the articulation of the joints renders a person more liable to accidents. There are, therefore, multiple reasons for wishing to be more supple, even for those who have no specific physical performance at which they wish to excel.

Progressive Study of the Control Positions The first step to take to prepare for a control position is to make passive movements with the limb concerned. This is a simple and very effective procedure. Take up a position to assess the level of tension; make the passive movements which apply and then try the position again. It is usually found that there is an improvement, i.e. less discomfort or pain, less tension and a more correct position attained. These passive movements must be performed not only with the greatest care but with extreme awareness, for the passivity of the limb is all important. There must be no jerking and they must not be done in a mechanical manner. If repeated unconsciously and mechanically, passive movements loose all value and become ineffectual. Passive Movements for the I st Position (fig.30) a)

Manipulate each toe in turn. Pull forwards and back as far as possible and then straighten out. Be sure to feel the passivity of each toe (fig.22).

b)

Repeat the same movements but with all your toes at the same time.

c)

Put your fingers between your toes as far down as they will go (fig.60). Your toes are bent forwards and backwards by your hand . This may hurt a little at first but by repeating the exercise over a period of time, not only is the control position improved but also the circulation in your feet. A person who tends to have cold feet or frequent cramp will benefit from this exercise. It helps to prevent deformation of the toes; corns and calluses are less likely to occur and walking is made easier. (Needless to say, it is important to wear good shoes).

fig.60

- 46 -

Passiv e Movements for the 2nd Position (fig.33) a)

Pull your toes towards the sole of your foot, first each in tum and then all together (fig.23).

b)

Holding your ankle securely with one hand, tum your foot with the other hand in as large a circle as possible and in both directions.

c)

Shake your foot by taking hold of your leg just above the ankle (fig.61).

fig.61 Passive Movements for the 3rd Position (fig.36) Begin by making the passive movements for the toes for the 2nd Position and then go on to make the following passive movements for the knees. a)

Sitting on the floor with your back against a wall, raise each knee with your hands and then let it fall. Your heel should slide on the floor (fig .24).

b)

With your legs straight but well relaxed, roll each knee inwards and outwards with your hands. (Relaxation of the hip joints).

c)

Lift a knee with the opposite hand and let the lower part of your leg hang loosely. With the corresponding hand raise your leg and let it fall back (fig.62).

fig.62

- 47 -

d)

With one leg extended forward, bend back the other and taking hold of your ankle, shake your foot. Lean sufficiently over to the other side, putting the weight on your hand , in order to be able to hold your ankle high enough to avoid your toes from touching the floor (fig.63).

fig.63

Keeping hold of your ankle, gently lower your foot and let it rest in whatever position it takes up, there being no active movement on the part of the foot or toes. Then with the same degree of passivity guide it with your hand to its final position. Your hip joint and knee should, at the same time, be totally relaxed . Passive Movements for the 4th Position (fig. 40) a)

Lying on your back, take hold of a knee with both hands and draw it down towards your body and then inwards, relaxing the articulation of your hip and all the muscles of your thigh (fig.64).

fig.64

b)

Take up the same position and pull your knee far enough inwards to tum your hip with it, then out again (fig.65) .

fig.65

- 48 -

Passive Movements for the 5th Position (fig. 43)

a)

Repeat the passive movements with your toes, feet, ankles and knees as described in Positions 1c, 2b, 3a and b.

b)

Sitting with your back against a wall, bend a knee and draw your heel in towards your pubic bone. Lift and lower your bent knee with your hand (fig.66).

fig.66

For the following four control positions, the exercises are done firstly alone and then with the help of another person. (See rules for passive movements, page 33).

Passive Movements for the 6th Position (fig. 49)

a)

Lying on your back, clasp your hands beneath your neck. Raise your elbows and gently lift your head as high as possible and then lower it to the floor. Throughout the exercise keep your head, neck and back relaxed (fig.175).

b)

Lying on your back, your partner cups his hands firmly under your head and slowly raises it up, lifting, if possible, the upper part of your back at the same time. He then lowers your head, equally slowly, to the floor (fig.28).

c)

Lying on your back, your partner raises your legs to a vertical position . He brings one leg up a short distance, cupping his hand beneath your heel, then your other leg.

- 49 -

Once both are vertical he holds them for a moment or two before lowering them to the floor (figs .67 & 68).

fig.67

fig.68 d)

Your partner raises your legs to beyond the vertical position when your knees will automatically bend and fall apart. He then pulls your legs forward when they will straighten out with their own weight (figs. 67 ,68 & 69).

fig.69

- 50 -

Passive Movements for the 7th Position (fig.52). a)

Repeat the passive movements for the 6th Position.

b)

Lying on your back, your partner raises your legs to beyond the vertical position. Then allowing your knees to sink of their own accord, he draws your feet over your head so that your knees approach the floor and your back is raised up (figs.70 & 71).

c)

Your partner lifts your head until your shoulders are raised up from the floor (figs.72,73 & 28).

fig.70

fig.71

fig.72

fig.73

- 51 -

Passive Movements for the 8th Position (fig.54)

a)

Repeat the passive movements for the 4th Position.

b)

Lying on your back, your partner takes hold of your leg at the ankle and moves it in a large circle until your pelvis turns and your foot can be brought to touch the floor (fig.74 & 75).

fig.74

fig.75

Passive Movements for the 9th Position (fig. 56)

a)

Exercise all the active-passive movements of the shoulder, lying on your back, your side and your stomach.

b)

Lying on your back, your partner lifts your arm and pulls it gently but firmly in all directions causing your shoulder and upper part of your back to lift (fig.76). This procedure is then repeated with the other arm.

fig.76

- 52 -

c)

Lying on your side, these movements are repeated to involve your upper arm and chest.

Passive Movements for the 10th Position (figs. 58 & 59) a)

Passive movements for the fingers and entire hand. Preferably sit with your forearm resting on a table. Pull each finger back while keeping the palm flat and then pull all back together. Pull each finger back, drawing your hand with it as far as the wrist and then repeat the same movement with all the fingers together (figs .20 & 21).

b)

All passive movements for the fingers, hand, forearm and shoulder can be exercised with the help of your partner.

Direct Study of the Control Positions The control positions may be studied directly by assuming a chosen position and trying to relax the muscles which are painful or contracted. To eliminate all tensions, one by one and with precision, concentration must be directed for as long as is necessary to the part of the body which is taut. When this relaxation is successful the position becomes easy, correct and comfortable. While this is a simple process and an efficient one, in many cases it is impracticable . Tensions can be severe, making positions difficult and relaxation impossible and it serves no purpose to maintain a position which is too uncomfortable as you are simply pulling mechanically on tissues that are already tight. It can, in fact, be harmful as tissues that are too weak can be strained and this is contrary to the objective. The mechanical extension of a muscle is, therefore, only acceptable if we can let go and by being conscious of the specific region in question, relax the muscles from within. For this same reason we are opposed to gymnastics to acquire suppleness. In most ordinary gymnastics the tightened muscles are lengthened by mechanically repeated tractions. The suppleness that results from this is often not only false and temporary but a useless waste of energy with subsequent 1 muscle soreness if not damage to the tissues.

Preliminary Positions If the control positions prove to be too difficult these series of preparatory positions are

1

In order to train and strengthen weak muscles, the appropriate gymnastics have to be exercised. This is a matter of muscular force and not of suppleness of the joints. It is also possible to release a tense muscle by an active movement but this must be the activity of the counteracting muscle and not of the muscle in question. This is the principle underlying the beneficial effect of stretching. See Chapter IV.

- 53 -

helpful. Remain in each position, relaxing at the point where the discomfort feels to be the most intense, until there is an improvement. Never continue if a position becomes too difficult to hold 1 and relaxation is impossible. Preliminaries for the 1st Position (fig. 30) a)

Any position in which your toes are kept bent and which will allow for the decontraction and elongation of the muscles through fixed attention and conscious relaxation. For example, bend a toe with your fingers and when tensions are felt, endeavour to relax them.

b)

Sitting on the floor with one leg outstretched in front , bend your other knee; bring your foot to the side of your hip and place it in an upright position with toes tucked in (fig.77).

fig.77 c)

Crouching, lean forward on your hands. Gradually bring your knees down towards the floor and by so doing increase the bend of your toes. Stop at the first sign of discomfort and remaining in this position endeavour to relax where the sensation is located (fig.78).

fig.78 1

See also How to Exercise these Positions , page 68.

- 54 -

d)

Lying on your back with knees bent and soles of your feet together , place your toes , turned outwards , against a wall (fig.79). This position also helps to relax the thighs. See the 5th Position.

fig.79

Preliminaries for the 2nd Position (fig.32)

Sitting on the floor with one leg outstretched in front, bend back the other leg bringing your heel to touch your buttocks. Lean to one side on the opposite arm and when a feeling of relaxation is reached , lean over your bent knee as far as possible lowering your head towards the floor (figs. 80 & 81).

fig.80

fig.81

- 55 -

Preliminaries for the 3rd Position (fig. 36) a)

Assume the same attitude as for the 2nd Position . There are two variations; firstly with foot outstretched alongside your buttock (fig.81) and secondly, with ankle bent and foot pointing outwards (fig.82).

fig.82 Exercise this position firstly as in fig.80 then as in figs. 81 and 82. Following this, exercise the position leaning backwards but only for as far as you are able to keep your knee relaxed on the floor (fig.83).

- fig.83 b)

Lying on your back with one knee bent inwards , take hold of your foot and bring it in to beside your hip, allowing your knee to fall forwards. Exercise this position with ankle bent and your foot turned outwards or with your foot outstretched. If the muscles are shortened your knee will not touch the floor. Don't force it down but relax in this position (figs.83 & 84).

fig.84

- 56 -

c)

Kneeling, in an all fours position with knees and feet apart, gradually allow your body to sink back and down, draw by its own weight. When your hip joints slacken and the muscles return to their normal length, your buttocks will come to rest on the floor between your feet (figs .85 & 38).

fig.85

Preliminaries for the 4th Position (fig. 40) a)

Lying on your back, cross a foot over the opposite thigh to touch the floor, keeping hold of it with your hand. Allow your knee to fall forwards, drawn by its own weight (fig.86) .

fig.86 b)

Lying on the floor, on your side, with one leg doubled up and your foot against the opposite thigh, lean over your bent knee. Both legs should be comfortably relaxed (fig.87).

fig.87 c)

Sitting on the floor, bend a knee and draw in your foot to beneath the opposite thigh . Bring the other leg over the bent knee and draw that foot by degrees towards your hip . In addition, exercise this position bending forwards (figs.88 & 41).

- 57 -

fig.88

Preliminaries for the 5th Position (fig. 43) a)

Lying on your back, bend a knee to the side and place the sole of your foot against the other leg (fig.89).

fig.89

b)

Assume the same position and place your foot beneath your other knee, then further, beneath your thigh and finally, beneath your buttock (figs.90 & 91).

fig.90 c)

fig.91

Assume the same position; bring your foot over onto the opposite thigh and take hold of it with your hand (fig.92).

fig.92

- 58 -

d)

Lying on your back, place the soles of your feet together (fig.93).

fig.93 e)

Lying on your back, draw your feet up, placing one foot in front of the other and in doing so, let your knees fall apart (fig.94).

fig .94 f)

Lying on your back, bring one foot to lie on the opposite groin; place the other foot beneath the opposite thigh and take hold of both feet with your hands (fig.95).

fig .95 g)

Lying on your back, draw your feet up and cross them over so that they rest on opposite thighs . You may take hold of your feet with your hands (fig.96).

fig.96

- 59 -

h)

Lying on your back with buttocks and legs up against a wall, let your knees drop down and fall apart (fig .97).

fig.97 i)

Exercise the same leg positions as in a) tog) but sitting erect, then leaning forwards (fig.98) .

fig.98 Exercise the 5th Position lying down , sitting, leaning forwards and then to each side with one arm raised (fig.99).

fig.99

- 60 -

Preliminaries for the 6th Position (fig. 48) a)

Sitting upright against a wall to which the base of your spine is in firm contact , bend your head and trunk forwards, relaxing progressively (fig.100).

fig.100 b)

Assume the same position but with legs apart (fig.101).

fig.101 c)

Lying on your back with buttocks and legs up against a wall, hold this position. Only the forefront muscles of your thighs must work; the back muscles and those of your legs must remain relaxed (fig. I 02).

~ fig.102

- 61 -

d)

Lying on your back, stretch your legs up against a wall to form an angle with the floor of 45-65 degrees . Your knees must remain straight but relaxed (fig.4).

e)

Sitting, bend up a knee and taking hold of your foot, let it slide forwards keeping your heel on the floor. Relax your knee in unbending and find a comfortable position for your other leg (fig.103).

fig.103 f)

Lying on your back with buttocks against a wall, spread your legs wide apart (fig.104). If this proves to be too difficult , place your legs less widely apart and allow your knees to bend.

fig.104 g)

Lying on your back and placing the soles of your feet against a wall, spread your legs wide apart (fig. 105).

fig.105

- 62 -

Preliminaries for the 7th Position (fig.52). a)

Lying on your back, rest your head up against a wall (fig. l 06)

fig.106 b)

Lying on your back with your buttocks against a wall and legs stretched up, press on your heels, thus raising your body and bringing the weight onto your shoulders (fig.107).

fig.107 c)

Supporting your hips with your hands, bring your legs over your head, one leg after the other and let your knees descend (figs.108,109 & 110). Slowly return through the same positions in reverse order.

fig.108

fig.109

- 63 -

fig.110

Preliminaries for the 8th Position (fig.54) a)

Lying on your back, take hold of a knee with both hands and draw it to your chest and inwards so that the outer muscles of your thigh and hip are stretched (figs.64 & 65).

b)

Lying on your back with buttocks against a wall, place your hands beneath your head. Relax your legs and bring both down to the same side without raising the opposite shoulder (fig.111).

fig.111

Preliminairies for the 9th Position (fig.56) a)

This position is exercised in stages. Lying on your side, bring your upper leg over the other. Tum your chest back as far as possible without lifting your knee and let your upper arm drop behind your back. Once you are relaxed in this position, extend your arm outwards with palm of your hand facing upwards (fig.112) .

___ ,:\'.:.--jl . _,____

fig.112 b)

Alternatively, start with your ann above your head and slowly bring it down until m a diagonal line with your body .

c)

Stretch your arm up vertically and then lower it to a diagonal position.

- 64 -

Preliminaries for the I 0th Position (fig. 58)

The following exercises are done lying on your back. a)

Stretch your arms above your head and then relax and remain relaxed in this position (fig.113).

fig.113 b)

With arms above your head, clasp your hands together and relax your elbows (fig.114 ).

fig.114 c)

With arms above your head, cross your wrists and placing palms together, interlace your fingers. Change over hands (fig.115).

fig.115

- 65 -

d)

Place your hands behind your head and interlace your fingers (fig.116).

fig.116 e)

Place your hands behind your neck and interlace your fingers (fig.117).

fig.117 f)

With arms above your head, bend back your elbows and place the palms of your hands flat against your shoulder-blades (fig.118) .

fig.118 g)

With arms above your head, bend back your elbows and crossing over your forearms place the palms of your hands flat against vour shoulder-blades (fig.119).

fig .119

- 66 -

h)

With arms to the back, place the palms of your hands facing outwards, belows your buttocks (fig.120).

Q fig.120 i)

With arms to the back and elbows bent, place the palms of your hands facing outwards, on the lower part of your back (fig.121) .

fig.121 j)

With arms to the back, place the palms of your hands facing outwards, one over the other, at waist level (fig.122).

~ fig.122

- 67 -

k)

With arms to the back, place the palms of your hands facing outwards, one over the other, just below your shoulder-blades (fig.123) .

fig.123 1)

With arms to the back, place the palms of your hands facing outwards, one between your shoulder-blades and the other just beneath it (fig. 124).

fig.124 m)

With arms to the back , place the palms of your hands facing outwards, one over the other, between your shoulder-blades (fig.125).

fig.125

- 68 -

n)

With one arm to the back , bend your other arm over the opposite shoulder and place the palms of your hands together between your shoulder -blades (fig.126).

fig.126

How to Exercise these Positions In order to be free of tension and subsequently attain suppleness , it is of utmost importance to master the art of concentration and to be able to direct your attention with precision . The first step to take is to choose a position in which only a single tension or pain is felt. If you are distracted by other tensions or painful areas once you have begun the exercise, you must ease the position in order to eliminate them and resume your concentration on just one. This might seem a step backwards but it is subsequently recompensed by greater progress. You will find that in adjusting a position, no matter how fractionally , it can be made easier or more difficult. It is preferable that tensions and painful areas be resolved in turn. Should there be several that cannot be reduced to one, concentration must be focused on the most troublesome. Relaxation is obtained by objectively examining a painful area and by specifically searching for the core. This objective observation is all that is needed. The explanation of this is that it demands a change in your internal attitude . In daily life, your consciousness instinctively withdraws from pain and seeks to overcome it by muscular contraction which in tum creates a certain degree of insensitivity. By carefully focusing your attention to a particular pain during an exercise of relaxation , this attitude of avoidance is replaced by one of interest. Where it was an enemy it now becomes an object of interest you are not seeking to avoid. What has happened is that the layer of tension which usually surrounds a source of pain disappears , allowing the blood to circulate more freely. Then by very precise observation you are able to find the core of the pain or tension and in doing so, gradually relax it. At this precise moment relief is felt; the tension and pain disappear. It is true to say that in order to obtain this result it is necessary to renew your concentration several times during the exercise. It is no exaggeration either to say that this concentration has to be as sharp and precise as say, a surgical instrument. But better still is the comparison to a microscope

- 69 -

where reinforced concentration acts as a lens through which the consciousness is defined to the minutest detail. When you have consciously penetrated into the most hidden comer , when youfeel present in the disagreeable sensation itself (pain, tension or such like) , contraction diminishes and disappears and circulation returns to normal. Moreover, the entire humoral system is made to function freely. This means that the fluids of the body are brought into motion , circulate and establish the necessary metabolism. All life within the body is thus stimulated. The effect of this conscious attention , this so called 'presence' in the body is what we call Eutonisation because it regulates the vital tonus. A profound and objective observation not only stimulates the circulation but regulates and has influence on the autonomic functioning of the body. This is the therapeutic effect of Eutonisation. 1 The following example done in the 5th Control Position , seated on the floor cross -legged , will help to clarify the procedure. Most frequently, pain is felt in the inner and outer parts of the hips and thighs , in the knees and in the bones of the feet which are against the floor. If the pain is felt in all these areas at the same time it means that the position is too difficult and must be eased by stretching out a leg thus reducing the discomfort in the knee and ankle bone. The pressure from the ankle bone on the floor can be eased by placing a flat cushion beneath your foot or by doubling up the blanket upon which you are sitting . When your hip and knee become more relaxed , your leg is brought into a more horizontal position which in turn eases the pressure. 1 With the pain in your foot eliminated, the pain in your knee has still to be dealt with. Concentrate on that area and endeavour to release the tension in the painful sensation itself. Observe the changes of sensation , for most of the time the pain will come and go due to fluctuations in your concentration. There may even be a moment when the pain seems to increase and should it become too severe , ease your position just sufficiently to be able to relax again. By repeating this procedure the pain should progressively diminish and disappear. You will notice that your knee will have descended of its own accord with the lengthening of the taut muscles: an outward sign of conscious relaxation . This may give rise to pulling on further muscles elsewhere causing renewed discomfort and again this requires to be analysed and relaxed. A position free of pain or tension can be achieved by repetition of this procedure as often as is necessary. It is vitally important to be consciously aware of your entire body, your position and the areas of contact your body has with the floor. Relaxation must be verified by determining which of these areas act as support. Taking one of the preliminary positions for the 6th Control Position (fig.103) for example , not only must you be aware of the tension felt behind your knee , calf and in your thigh but also in the areas of support from the floor under your heel and seat-bones. 2

2

For further details , see Chapter III. Pain or sensitivity of the bones is a sign of poor circulation and can be remedied by conscious relaxation. This verification of relaxation compels the mind to move between two supporting points. This can be developed in a special technique of concentration referred to as 'Current' . See Chapter III.

- 70 -

The time that has to be allowed to a control position varies greatly, according to the individual. Essentially, it depends upon your ability to focus your attention. As a general rule, you should persevere until a noticeable change occurs which can take up to three to five minutes or longer. It goes without saying that you can prolong the time for a more profound relaxation. As already mentioned, certain control positions allow for complete rest.

Series of Positions

These control positions together with their preliminaries can be grouped in series showing the positions in the order of progressive difficulties; a single series representing approximately a one hour programme of exercises. A tranquil and prolonged concentration should be given to each of the positions and it must be remembered that to truly relax, positions which are too difficult should never be forced or even attempted. Other series can be devised to suit individual needs . Change sides in all asymmetrical postions .

Each exercise in this chapter must be done with the technique of concentration described in Chapter III. Results will be more effective and more quickly reached.

In addition, if all the principles of Eutony concerning posture and movement are applied to the control positions they will become easier to do and greater will be their beneficial effect.

First Series (Suppleness of the legs) This series is done lying on your back. 1 Bend a knee to the side and place the sole of your foot against the other leg (fig.89). 2 Bend a knee inwards and turn your foot to point outwards. Let your knee fall forwards and if necessary allow it to stay suspended (fig.84). In order to find a position in which you can relax, move your foot down a little or bring your leg in closer to the other. 3 Bend a knee to the side and place your foot beneath the opposite thigh (fig.90). 4 Bend a knee inwards and turn your foot to point outwards. Take hold of your ankle with your hand and if necessary allow your knee to stay suspended (fig.84). 5 Bend a knee to the side and placing your foot beneath the opposite thigh, take hold of it with your hand (fig.91). 6 Bend a knee inwards and place your foot, outstretched, alongside your body. Allow your knee to stay suspended if necessary (fig.83). 7 Bend a knee to the side and crossing your foot over the opposite thigh, take hold of it with your hand (fig.86). 8 Bend a knee to the side and crossing your foot over onto the opposite thigh, take hold of it with your hand (fig.92). 9 Place the soles of your feet together (fig.93). 1O Bend your knees and place your feet sufficiently apart to cause your knees to fall forwards but not touch each other (fig.127).

- 71 -

fig.127 11 12 13 14

Bend your knees to either side and draw your feet up, placing one in front of the other (fig.94). Bend your knees inwards and place your feet, outstretched, alongside your buttocks (fig.39). Bend your knees to either side and bring one foot over onto the opposite groin; place your other foot beneath the opposite thigh and take hold of both feet with your hands (fig.95). Bend your knees to either side and taking hold of opposite feet with your hands, draw them up to lie across your thighs (fig.128).

fig.128

Second Series (Suppleness of the arms and shoulders) This series is done lying on your back. 1 Stretch your arms above your head and let them slide sufficiently apart for you to be able to relax in this position (fig.113). 2 Place your arms by your side, palms of your hands facing outwards and relax in this position. 3 Raise your arms above your head and clasp your hands together, interlacing your fingers. Relax your elbows (fig.114). 4 Place your hands, palms facing outwards, below your buttocks (fig.120) 5 Raise your arms above your head and crossing your wrists, place the palms of your hands together, interlacing your fingers (fig.115). 6 Place your hands, palms facing outwards, on the lower part of your back (fig.121). 7 Place your hands beneath your head with fingers interlaced (fig.116) 8 Place your hands one over the other, palms facing outwards, beneath your back at waist level (fig .122).

- 72 -

9 10 11 12 13 14

Clasp your hands behind your neck with fingers interlaced (fig.117). Bend your arms to the back and place your hands one over the other, palms facing outwards below your shoulder blades (fig.123). Raise your arms and bend back your elbows , bringing the palms of your hands to lie flat against your shoulder blades (fig.118). Bend your arms to the back and place your hands one over the other, palms facing outwards , between your shoulder blades (fig.125). Cross your arms behind your head and bending back your elbows, place the palms of your hands flat against your shoulder blades (fig.119). Bend one arm to the back and the other over the opposite shoulder, placing the palms of your hands together between your shoulder blades (fig.126).

Third Series (Suppleness of the legs)

This series is done sitting on the floor. A la) With your back against a wall and legs outstretched in front, bend a knee outwards and draw your heel in towards you . Relax both legs (fig.66). b) Lean forwards over your bent leg without flexing the other (fig.98). c) Lean forwards over your outstretched leg and progressively slide your hands down towards your foot until you are able to take hold of it (fig.129).

fig.129 2a)

With your back against a wall, place the soles of your feet together (fig. 130).

fig.130

- 73 -

b)

Lean forwards (fig.131).

fig.131 3a) b)

With your back against a wall, bend your knees to either side and place one foot in front of the other (fig.44). Lean forwards. To help keep the position lean on your hands (fig. 132).

fig.132 c) 4a) b) c) 5a) b) c) B

1 2

Lean to the side. Cross-legged, place one foot on top of the opposite thigh and your other foot beneath the other thigh (fig.43) . Lean forwards. Lean to the side. Place your feet on opposite thighs (fig.45) Lean forwards and place your forehead on the floor (fig.46) . Lean to the side. With legs outstretched in front, bend a knee to the side and place your foot beneath the other leg (fig.90) . Bend a knee and draw in your foot to beneath the opposite thigh. Bring your other leg over the bent knee and draw that foot by degrees towards your hip (fig.88).

- 74 -

3

4

Cross-legged , place one knee over the other and take hold of your feet with your hands. Lean forwards (figs.40 & 41). Another way in which to arrive at this position is to go down on all fours, cross your knees and then with your feet spaced as far apart as possible, sit back between them. With one knee over the other, tum your trunk so as to be able to touch your feet with your hands (fig.42).

Fourth Series (Suppleness of the legs) A

1

Lying on your stomach, bend a knee and take hold of your foot with the opposite hand (fig.133).

fig.133 2

Lying on your stomach, bend your knees with legs apart and crossing them over, take hold of both feet (fig.134).

fig.134 3

Lying on your stomach, bend a knee and take hold of a foot with the corresponding hand (fig. 135).

fig .135

- 75 -

4

Lying on your stomach, bend both knees and take hold of your feet with corresponding hands (fig.136).

fig.136

B

la)

b) c)

2 3 4 5

Sitting, bend a knee inwards and tum the sole of your foot to face outwards. Keep your other leg outstretched without stiffening and lean on the corresponding arm of your extended leg (fig.80). From the same position, lean forwards over your bent knee and incline your head in the same direction (fig .82) . From the same position, lean backwards, taking the weight onto your hands without lifting your knee. If possible, continue leaning backwards to a lying position without arching your back (fig.83). Kneeling, sit back on your heels with your feet outstretched (fig .33). Kneeling, sit back on the floor between feet outstretched (fig .36). Kneeling, sit back on the floor between feet pointing outwards and with ankles bent (fig.37). Kneeling, in an all fours position with knees and feet apart, gradually allow your body to sink back and down, drawn by its own weight, until your buttocks rest on the floor. At the same time bend your trunk forwards lowering your head and forearms to the floor (figs.85 & 38) .

Fifth Series (Suppleness of the back and legs) This series is done against a wall. 1 Sitting with your back against the wall to which the base of your spine is in contact, stretch your legs out in front. Let your head and spine relax forwards (fig. I 00). 2 Sitting with your back against the wall and with your legs apart, slowly let your head and spine relax forwards (fig. IO1). 3 Lying on your back with buttocks against the wall, stretch your legs up and actively hold this position . Relax your back (fig. I 02). 4 Assume the same position and relaxing your legs, allow your knees to part (fig.97). 5 Assume the same position but with legs straight and apart (fig.104). If this proves too difficult, spread your legs less widely apart and allow your knees to bend.

- 76 -

6

Lying on your back, place your heels against the wall with your legs stretched up to form an angle of 45-50 degrees (fig.4).

7

Lying on your back , spread your legs wide apart with the soles of your feet against the wall (fig. I 05).

8

Lying on your back with knees bent to either side and soles of your feet together , place your toes, turned outwards, against the wall (fig.79).

9

Lying on your back, place the soles of your feet against the wall with your knees bent to form a right angle (fig.137).

---fig.137 10

From the preceding position push on your heels so that you slide back a little, while still keeping them against the wall. Repeat the movement several times until your legs reach the floor. Relax in this position allowing your heels to part from the wall (fig.13 8).

fig.138 Sixth Series (Suppleness of the shoulders and neck)

1

Lying on your back, rest your head up against a wall. (Elongation of nape of neck) (fig.106) .

2

Assume the same position bringing your head down to the side (fig.139).

fig.139

- 77 -

3

After the preceding position lie in a straight line with the top of your head lightly touching a wall. Apply the technique of 'contact'. 1

4

Lying on your back with buttocks and legs against a wall, press on your heels until your back is raised up and your knees are at a right angle. Then supporting your hips with your hands, take one foot away from the wall, followed by the other and together , slowly relaxing, bring them over your head, letting your knees descend to the floor on either side. Relax and then slow ly return through the same position in reverse order (figs .102,107,108,109 & 110) .

5

Kneeling on parted knees, incline the upper part of your body to the floor at the same time as stretching one arm down between your legs and bending your head in the opposite direction. Place your other arm around your head, palm of hand turned upwards. Raise your pelvis to a level where an equilibrium is found between the points of support given by your knees, head and shoulder (fig.140). Return slowly to a kneeling position and rest your forehead on the floor.

fig.140 6

Kneeling on parted knees , incline the upper part of your body forwards and down and bring your forearms to rest on the floor. Lower your chest as far as possible, raising your pelvis (liken the position to a dog stretching). Find the equilibrium as before and relax, resting your head, turned to the side (fig.141) . Return slowly to a kneeling position with your forehead on the floor.

fig.141

See Chapter III.

- 78 -

7

Lying on your back with legs slightly apart, prop yourself up on your elbows and let your head hang back (fig.142) . Lift up your head again, lie full length and rest your head on the floor. Repeat the same exercise but instead of letting your head hang directly backwards, bring it to roll gently sideways over your shoulder muscles.

fig.142

Seventh Series (Torsion and suppleness of the trunk) A

1

2

3 4 5

B

1

Lying on your side, allow your upper arm to fall naturally behind your back. Then extend it to as high a position as possible, turning your chest but without lifting your knee. Palm of your hand turned facing upwards (fig.112). Lying on your side, stretch out your underneath arm at a right angle to your body and bend your head down beside it. Bring your other arm to the back, slightly turning the upper part of your body in doing so (fig.57). Assume the same position as for A 1 but with your upper arm extended to an even higher position. Your knee must not leave the floor. Lying on your side with your upper knee over in front of the other, stretch up your corresponding arm to lie beside your ear. Lying on your side with your upper knee over in front of the other, stretch your upper arm out diagonally behind your back (fig.56). If your arm does not touch the floor, do not force it and allow it to stay suspended. Your knee must not leave the floor. Lying on your back with knees flexed and the soles of your feet on the floor, lower both legs to the same side. Hold this position for a moment and then let go (fig.143).

fig.143

- 79 -

2

Exercise the same position with your hands beneath your head (fig.144).

fig.144 3

Lying on your back , cross one knee over the other and place your hands beneath your head . Bring both knees down to the floor in the direction of the suspended foot. The opposite shoulder must not lift (fig .145).

fig.145 4

5

6

a) b) c) d) e)

Lying on your back with arms outstretched, cross one leg over the other and take hold of your foot with the opposite hand. Allow your knee to flex but keep hold of your foot (fig.55). Lying on your back with buttocks and legs against a wall, relax your knees so that they part . Bring both legs down to the same side, turning your pelvis from your waist and keeping your shoulders on the floor. Assume the same position as for BS but with hands beneath your head. Bring both legs down to the same side without lifting the opposite shoulder (fig.Ill).

Variated Series This series is done against a wall. Sitting with legs outstretched in front, bend your head and trunk forwards, relaxing progressively (fig. I 00). Assume the same position but with legs apart (fig.101). Lying on your back , bring your head to rest up against the wall. Relax your neck, turning your head from side to side (fig.106) . Lying on your back with buttocks against the wall, stretch both legs up straight and actively hold this position (fig.102). Assume the same position, then relax your knees . Change between positions d) and e) as often as is felt necessary (fig.97).

- 80 -

f)

g)

h)

i)

j)

k)

Lying on your back with buttocks against the wall, stretch both legs up straight then part them and allow your knees to flex slightly. In order to relax your knees, your legs should not be spread too wide ly apart (fig.104). Lying on your back with buttocks against the wall, stretch your legs up and press on your heels, raising your body as far as your head and shoulders. Gently lower your spine. Repeat this exercise several times (figs.102 & 107). Lying on your back with buttocks against the wall, stretch your legs up and press on your heels until your back is raised up and your knees form a right angle. Then supporting your hips with your hands, bring one foot away from the wall, followed by the other and together, relaxing slowly , bring them over your head, letting your knees descend to the floor on either side. Relax in this position before reversing the exercise slowly and without jerking (figs.102, 107,108,109 and 110). Lying on your back with your buttocks against the wall, stretch your legs up and relax , hands beneath your head. Bring both legs down to the same side, turning your pelvis in doing so but without lifting the opposite shoulder (fig.111 ). Lying on your back , stretch your legs up, positioning yourself at a distance from the wall which brings only your heels into contact with it and allows your pelvis and legs to relax (fig.4). Assume the same position as for j. Bending both knees, press against the wall with your feet and slide backwards until your legs are brought down and your heels touch the floor. Relax your feet allowing your heels to come away from the wall. Relax your entire body (fig.138).

- 81 -

CHAPTER III

TECHNIQUES OF CONCENTRATION 'CONTACT' AND 'CURRENT'

General Principles In all the preceding exercises, the way in which you direct your attention is of primary

importance. No exercise should be done without carefully observing your body as a whole as well as every sensation that is felt. The result of the exercise depends entirely upon the degree of attention given to it and on the conclusions drawn from these observations. There are different methods of directing your attention, each one having its specific effect and it is for you to decide precisely which one to choose. Eutony offers several different methods but before describing each one in tum, we must consider the problem of concentration in general. The word 'concentration' is used here in its usual sense which indicates a mental state in which the consciousness is essentially engaged upon a single theme. Ideally, good concentration allows little or no disturbing thoughts to interfere, whereas bad concentration is greatly hampered by so called parasitic thoughts . Bad concentration is marked by waste of energy (such as raising your eyebrows or screwing up your eyes etc.), causing tiredness or provoking a headache and jeopardising chances of success. Good concentration is free from all superfluous tension. One of the first conditions for good concentration is to carefully determine the subject upon which you propose to occupy yourself. The quality of concentration depends ultimately on your choice. If badly made or, as is more frequently the case, there is no conscious choice at all, concentration proves difficult if not impossible. You have to decide in full consciousness on the subject to which you wish to direct your attention . It is clear, therefore, that the natural basis for concentration is one of interest. The greater your interest, the easier it is to concentrate. If there is no spontaneous interest it has to be aroused

by asking yourself as many questions on the subject as possible . It is, in fact, useless to try to concentrate on a subject which is of no interest to you. Even if taken purely as an exercise, the primary condition remains to find a motive and arouse an interest. Once the choice of subject has been made and you have subsequently focused your attention, all distractions must be avoided, and if they should occur, be eliminated. This is difficult to do and it is not uncommon to have tried strenuously with little success. The question is to know why there are these failures when every effort has been made to succeed . There are numerous causes for failure. One is of a practical nature and can be termed the bad technique of concentration. Believing that you are actually concentrating properly , you try to

- 82 -

restrict yourself to a single thought and 'grab' at it mentally. Unfortunately, this rigid concentration is tiring and before long, thoughts which are associated arise spontaneously, with the result that you suddenly find you are thinking of something else. This can be discouraging and a beginner is inclined to give up trying and loose all interest. He cannot be blamed for what is a perfectly understandable reaction but this does not mean that genuine concentration would not have been possible. It is simply an error of technique.

Successful concentration is not fi xed. On the contrary, it is very mobile and very fl exible and almost in constant movement. To make this more easily understood take, for example, the image of a painting. On looking at it, the eye is never immobile but constantly moving, from side to side and up and down, following lines and curves and noting colours. It would not be natural to fix the eye on a certain point , for by doing so, the image as represented would be poorly distinguished. Exactly the same phenomenon occurs during concentration . If reduced to a single thought it becomes rigid and fixed and the subject is then neither recognised nor understood. This is why it is absolutely imperative to find a form of concentration that is both mobile and forceful, in a word, alive . . At what point does concentration become alive? When it has been understood that the subject chosen has to be considered from every angle as you would do when studying a sculpture , for example. Concentration becomes effective when the subject under scrutiny gives rise to questioning and offers answers. This entails carrying out a very detailed study which could even be considered scientific. At this stage you should re-determine the particular aspect you wish to study since each new phase calls for an ever clearer and more minutely detailed choice. The following practical example will help to clarify this procedure.

Concentration Applied to Relaxation Suppose that in a control position you feel a certain discomfort. To start with , the position has to be modified in order to confine the discomfort to a particular area only. Once this is done it is then to make a conscious search into the characteristics of the difficulty . What does it consist of, from where does it originate and what are your innermost feelings towards it? In attempting to answer these questions you will be aware, for instance , that it pulls in one place and hurts in another. This feeling of traction is caused by the weight of one precise area pulling on the muscles of another precise area, the areas often being bone onto which the muscles are attached. Thus awareness of the bones and the part played by relaxing them is important. 1 Muscle fibres between two bones become shortened because the muscle has been too frequently contracted. Mechanical traction will reveal muscular contraction which can then be localized accurately. In the centre of this increasingly well-defined area lies the core of the contracture and root of the pain. Contraction can be described as the tendency of two areas to actively come together.

1

See training in the Technique of Relaxation , page 30.

- 83 -

It is normal to try and elude the tension and discomfort by changing your position. Try to avoid doing this inspite of the discomfort and instead endeavour to relax more precisely into the core of the pain or tension itself.

If you have been truly successful in focusing your attention into the core, a change will automatically take place without any further effort on your part. It is true, though, that in the beginning it may take the form of an increase in pain or tension . This is due to a sharpened awareness but with continued relaxation and objective observation this will diminish and disperse. Should the pain or tension return , it will be to a lesser degree of intensity before disappearing altogether. Yet another tension or pain may then be felt and must be treated in the same way , and so on, until complete disappearance of all discomfort.

Failure to succeed can be because the discomfort was too great and unconsciously you tried to suppress it. Your consciousness, well as it may have been directed towards the painful area, refused to penetrate. It is then that your position needs to be eased to enable you to live the sensation without wanting any change. It is at this moment, only, that relaxation is fully realized and release from pain or tension occurs. This takes time to achieve but the more often the process can be experienced with exactitude , the quicker it will be to repeat. It can be said that relaxation is at first uncontrolled and superficial but that with practice it becomes more profound, reaching with fine precision the parts of the body that are tense. It is as if this progressive work moves from macroscopic to microscopic level. Once you have been successful in finding the central point, you will have the impression of having entered into the core of the muscular fibre itself. To discover to what physiological function this sensorial impression corresponds remains a problem for scientific research. The physiological explanation is not, however, necessary for practical purposes . Results can only be obtained by the individual training of the mind and of the body.

In the Event of Illness or Accident This technique of concentration can equally be applied in the case of illness or accident along with medical treatment. In a number of cases , pain can be considerably lessened and recovery made more rapid. Extremely violent pain associated with illness or grave accidents cannot be endured in full consciousness and we thankfully accept the relief of anaesthetics. Let us not forget, though, that countless minor ailments repond to relaxation; a therapy altogether healthier and more efficient than the usual abuse of medicines. Moreover , with consistent training, this technique can be put into practice with greater facility, thus providing us with an ever-ready source of relief. This method can be developed more fully at a later stage by exercises of concentration which have as their goal the Eutonisation of those parts of the body undergoing treatment, or in other words, the regularization of their level of tonus. It is a therapeutic procedure which stimulates the hypotonic tissues and calms those which are hypertonic , bringing their tonus to the most favourable state, Eutony .

- 84 -

Methods of Concentration for General and Local Eutonisation 1

2 3 4 5 6 7

Conscious awareness of the relationship between your body and the floor. The feeling of weight and the letting go of this weight to whatever supports it, followed by the sensation of being carried. 1 The 'Inventory'.' 2 Passive and neutral observation of breathing movements. Perception without choice, of all sensations, allowing your attention to follow that which is dominant. 1 Objective and systematic examination of various types of sensations. Exercises of 'contact'. Exercises of 'current'.

Methods 1-4 have been dealt with in Chapter 1. Explanation of Methods 5-7 follow on in this Chapter. The role played by concentration is very important throughout. A substantial aid to reinforce it is to formulate in terms as precise as possible , the goal of the exercise as well as the different sensations noticed. If thought alone on these matters is not sufficient to hold your concentration , express them aloud. This will help you to consciously focus on the object of the exercise.

Objective Examination of Various Types of Sensations Again, a verbal description will help in the objective investigation of sensations. Although this can be done with the body in any position and even in movement, a progressive order will help to make the exercise easier. To start with, and for some length of time, it can be done in the position which is the most comfortable, usually that of lying down. To lie on the floor is preferable but you can lie on a bed if the hardness of the floor is uncomfortable or if your state of health makes it difficult. Relax entirely and avoid all voluntary movement. Then direct your attention towards perceptions such as weight, consistency of the body, temperature, activity, tiredness , restfulness, tingling, etc., making these observations systematically and in detail.

Weight Observe the weight of your body by taking note of all the sensations of heaviness. Feel in which part of your body the weight is greatest and try to abandon this weight to its support . Observe the less heavy sensations of weight as well, which can even be sensations of very light

2

See Basic Exercises for Global Relaxation , page 16. See Breathing, Chapter VI.

- 85 -

weight, and check if they can be abandoned or if, unintentionally , you are keeping them back or, on the contrary, pushing them actively against the support. Your observation has to be totally objective, so much so that if no weight is felt you accept this as being the case. Various feelings may appear, such as an absence of gravity or a feeling of lightness to the extent that you have the impression of hovering just above the ground. Very often, these impressions of weight change during the exercise from a feeling of lightness to one of heaviness or vice versa. All perceptions must be registered accurately without judgement or reaction. Note that the feeling of lightness of weight may even arouse the fear that one or other part of your body might seem to 'fly away', if no longer held onto. This fear is usually an unconscious one, but nevertheless, real. Abandonment of weight can be accompanied by an impression of rising into space as well as that of descending or falling, with the emotional reaction being as easily positive • I as negative. Although the sensation of weight is often associated with that of body bulk, the two should not be confused for they are quite distinct from one another. Massive bulk or corpulence often gives little sensation of weight and vice versa. The subject is discussed more fully under the heading of Form and Volume in this chapter.

Body Texture It is important to be aware of the hardness or softness of your body's tissues and all the intermediate degrees. Extreme hardness can indicate a tension which needs to be relaxed and is a symptom of residual tension which needs careful research . Sensation of texture is also associated with the sensation of bulk, as in the case of weight. Note that on apprehending the consistency of your body, you actually become aware respectively of the bones, muscles, (taut or relaxed) tendons, etc., briefly, of the different tissues which constitute the human body.

Temperature Observe all the sensations related to temperature by noting the various degrees of warmth and cold as well as your personal reaction to them. In order to relax, you must try not to react negatively. A sensation of coldness is usually experienced as being disagreeable. To avoid this situation, you may be tempted to try, consciously, to withdraw from the cold area but by doing so, you diminish yet further the circulation and create a vicious circle. In order to re-establish the unity of your body and generate better circulation, this cold area has to be re-integrated. You should be warmly clad and in a room sufficiently heated with adequate rugs or blankets.

I

See Chapter VII.

- 86 -

Activity - Passivity (Contraction - Decontraction) Observe the sensations which indicate extreme tension and maximum relaxation (repose) . They can be either of a voluntary or involuntary nature and this calls for a very specific study. When trying to relax, each tension that occurs is felt as an obstacle and the sensation of tension itself is often avoided or instinctively repressed. On no longer feeling the tension you are inclined to believe it has gone , but this is an illusion. To truly relax, it is often necessary to be acutely observant and to work through two layers of tension, each one relating to a tension of a different nature.

The first stage of the relaxation is voluntary decontraction of all the muscles which take direct command from your brain. This releases the first layer of tension and presents no particular difficulty other than having to constantly renew the decontraction and to maintain it through to the second stage and onwards. In the second stage of relaxation the residual contractions become apparent, i.e. those which do not respond to your will alone. This layer of tension is deeper than the first and the consequences more serious than those of the superficial tension. It is therefore of capital importance to be aware of these contractions and to find a way in which to reduce them. 1 There are two well defined phases. The first, to become conscious of the profound tension is difficult for the very fact of it being disagreeable. So much so, that it is harder to accept than pain. The temptation to evade the feeling of tension can be so great that you immediately and unconsciously succumb to it, not realizing that all you are doing is concealing it by a contraction which has created a certain degree of insensitivity. You thus have two superimposed tensions and it stands to reason to eliminate, first of all, the most superficial of the two. The second phase , relaxation of the deep contraction (residual tension) gives rise to the following question: Is it really possible to achieve since this particular form of tension is not subject to the will? The answer is that it is indeed possible, but only by a deviation of consciousness and of direct volition. What is required is a transformation of one's whole inward attitude. It must be understood that in this situation, direct will alone is insufficient. It is logical , therefore, to forego this course of action. What happens is that faced with this residual tension there comes a moment when you find the only solution is to accept the status quo. Yet, at the same time you continue the direct relaxation of the superficial tension, carrying out the entire exercise outwardly immobile. It is in this state of voluntary passivity that you are able to pursue your inner research and to even try to reconcile yourself with the tension as if you had provoked it intentionally. This tension sterns from deep motivations and by accepting it, you reconcile yourself, so to speak, with the subconscious. When you succeed in this you will feel to be within the tension itself and to have established contact with it. Once this happens, the situation changes , the sensations are no longer the same and relaxation comes about without further effort. Exactly the same process takes place when you bring See also Chapter VII.

- 87 -

yourself into close contact with a feeling of pain and by doing so, see it disappear.' It can be said that as long as the conscious endeavours to fight the unconscious (forcing relaxation) there is duality of coriflict and thus tension. In accepting tension, to the point of becoming at one with it, duality and conflict cease and relaxation becomes global. It can happen that this procedure fails, in which case psychological examination may be

necessary to determine the cause of the contraction and how best it can be treated.

2

Other Sensations Continuing to observe your different bodily sensations , you may perceive , for example, tiredness, restfulness, stiffness, suppleness, tingling, pulsations , burning, itching , nausea, congestion, suffocation , breathlesness etc. Observe the elementary sensations, each one in tum. Sensations which are agreeable or neutral present no problem but for all disagreeable sensations the above described attitude should be followed . Should the relaxation obtained in this way not be sufficient to eliminate the disagreeable sensation, it will , at least, facilitate the healing forces inherent in your body and so diminish the discomfort to bearable proportions.

Shape and Volume (Lines and Space) Sensations of shape and volume are more complex but of extreme importance. The image you have of your body and its inner space is the synthesis of all the elementary sensations. By 2 studying the shape and volume of your body you will be able to develop body consciousness , of which the physical effect is considerable in many differing fields . External movement as a whole and in detail becomes easier. Circulation is both stimulated and regulated throughout your whole body; you are able to move with more ease, feel the cold to a lesser extent and your ability to judge form and volume of surrounding objects increases as well as your capacity to use them. In general, you become more flexible and more at ease in everyday life. The awareness of space within your body clarifies the concepts of 'top', 'bottom' , 'in front', 'behind' , 'left', 'right', etc. The structurisation of real space also effects the structuri sation of figurative space; it brings about a better organized use of your intelligence and thus facilitates intellectual work.

'Contact' and 'Current' 'Contact' and 'current' are equally important and complex phenomenons which must be studied separately . The exercises related to them constitute an essential and characteristic part of Gerda Alexander's method .

2

See How to Exercice these Positions, page 68. See Chapter VII.

- 88 -

Exercises of 'Contact' To start with, you need to carefully analyse the relationship between your body and its environment. For the first exercise of relaxation, contact with the ground is essential I and awareness of the support it gives must become a habit. Whether you are lying, sitting or standing, this is an important factor; you are always being carried . Experiencing this consciously , helps you to relax and consequently avoid tension which might otherwise have monopolised your energy . (It is clear that in this situation, relaxation is the result of feeling both physically and mentally secure), Contact with tools or other such objects is also a necessity in daily life. Let us, as an example, study this contact with a wooden rod of approximately 60 ems. in length and 2 ems. in diameter (half a broomstick would be suitable). The exercise is in four steps, as follows: 1

Sitting in a comfortable position, hold the rod in your hands, resting on your thighs (fig.146).

fig.146 2

3 4

1

Notice all the sensations coming from the rod and describe them to yourself, in detail, as they are felt. For example, their smoothness, roundness, length and so on. Endeavour to perceive the real sensations and guard against imaginary ones. (Give yourself up to 1 to 2 minutes to observe this) . It is probable that a certain number of sensations will have come from your hands and these must be described with equal precision. Hold the rod at a right angle to the floor or chair. Notice and describe to yourself all the sensations coming from the chair (the floor), from the rod and from your hands (fig.147).

See Bodily Sensations, page 16.

- 89 -

fig.147 This exercise should be done before reading on in order to avoid any suggestion concerning its effects. If you cannot find a rod, take any object you can easily hold in your hands , such as an umbrella, a walking stick or a ruler . Indeed, the sensations perceived are partly individual and may also present themselves in different order. The sensations generally perceived are as follows: 1 2 3

Sensations coming from the object which enable you to register its shape , substance, temperature , texture, consistence , surface, weight, etc. Sensations coming from your hands which enable you to register their position , shape , weight and temperature besides level of tension, tiredness or restfulness, tingling, pulsations , etc .. Sensations coming from the support under the object which enable you to ascertain the surface of the support and its consistency through to a certain depth, etc. You may notice an increase in temperature of your hand and this establishes an important factor: circulation is stimulated by conscious contact.

You may also find that you can project your consciousn ess beyond your body. On observing an object you might have the impression of consciously entering into it; through to its support and into the support itself. On the other hand your impression might be such that the object has become a part of you. If you do not succeed in projecting your consciousness into an object, or at least to its surface, you will not feel any real awareness of contact nor will your circulation be stimulated . It simply means that you have not, as yet, established a conscious relationship with the object in question. Sensations will be few and vague. This is often the case in the beginning. The exercise needs to be repeated until such time as sensations do appear. You must try to make contact, i.e. to create the contact by voluntarily directing your consciousness from your hands into the object several times in succession. Your attention needs to move from within you to without.

When done in detail, this exercise consists of thinking firstly of your bones, then of your muscles and tissues which surround the bones, your skin, the surface of the object , its texture and shape and lastly to whatever it touches. You have to visulize each part in turn while observing simultaneously and objectively, the sensations which emerge. This detailed analysis should enable your thoughts (attention) to move more rapidly from within you to without.

- 90 -

It can be seen here to what extent this exercise contributes to bringing a person into relationship with his surroundings. Psychologically, it can have the effect of ending a feeling of emotional isolation. Experience of conscious contact brings the person in touch with the outside world. It must be said that in order to 'make contact', you need, in the beginning, to use your imagination to visulize the object in question and to localize it. But with objective observation, exercised simultaneously, the presence or absence of real sensations is easy to distinguish. Indeed, there is a great difference between an imagined impression and a sensation actually experienced. If you have the slightest doubt, it means the sensation is imaginary. The capital importance of this distinction must, once again, be brought to your attention in order to avoid the dangers of illusion, suggestion or autosuggestion.

When you have succeeded to establish 'contact' and feel to have consciously entered into the object itself, perceptions become more numerous and more precise and at the point of contact itself, circulation improves. This is precisely why this method is used as much for therapeutic as for prophylactic purposes. Combined with a sensation of 'inner space', 'contact' has a favourable effect on nerves and muscles and this consequently improves evacuation of waste matter. Besides an improvement in your physical resistance, you will find your ability to work considerably increased. The ultimate aim is to use 'contact' in your everyday life (contact with the floor, your chair, tools, etc.) and practised at rest, 'contact' will increase both the quality and speed of tissue regeneration. Hence the following exercises : 1

Lying on your back, place a rod under your shoulder blades (fig.148).

fig.148 Relax and make contact in the way described. Moving your attention from your back, through the rod to the floor, notice the sensations that come from these three specific areas . This should be simple to do, but if the tissues of your back are not in good condition and your circulation poor, due to tension, it can be painful. By relaxing and consciously making contact, the pain eventually disperses and your circulation is reactivated, often producing a feeling of warmth. If after a few minutes there is no change and you cannot make contact or if the pain is too acute, it is better not to persist but to choose an easier place for the rod, returning to the troublesome area by degrees. It is important not to evade the pain but to relax and create contact within it and through it.

- 91 -

2

The rod can be placed anywhere under your body. Its function, essentially, is to draw your attention to a specific area and to hold it there . In this way you obtain, what we call, local Eutonisation which would be difficult to achieve without this exterior pressure since we have but little awareness of our back in any detail. You can also place the rod under your head, legs, hips and stomach besides holding it across your forehead etc. (figs.149 - 153).

fig.149

fig.150

fig.151

fig.152

fig.153

- 92 -

3

4

In place of a rod, a ball or any other small and hard object can be used. This is a question of choice and it depends on the area you want to reach. A ball , for instance, penetrates the muscles more profoundly than a stick . In any case, the function of the object is only to help you to increase your awareness. The result here, as before, is essentially dependent upon the quality of your concentration; the object itself having no specific effect. You cannot lie on a rod, read a book, and hope for results! It would be quite useless and indeed, potentially harmful. Contact made between the hands or between the hands and another part of the body is especially indicated for the rapid relief and cure of different states of pain or tiredness. It is an instinctive gesture to place the hand on a painful spot and by incorporating conscious contact increase its healing effect. Massage, featherlike stroking, pinching, patting and tapping etc. is much more effective when done with conscious contact (figs .154 & 155).

fig.154

fig.155 Exercises of 'Current' The definition of 'current' in relation to Eutony is a combination of sensations of tingling or warmth felt in the path of our conscious awareness in any one part of our body. This sensation of current created by stimulated circulation is a scientifically established fact. It is possible that other phenomena such as electricity, electro-magnetism or bio-electricity occur but this is a field as yet little explored . The phenomenon of 'current' exists , however, and its immediate results are

- 93 -

satisfactory enough to make it worth our while to use this technique. The easiest exercise to establish a 'current' is the first in the following series. 1

Sitting or lying on your back , join your hands and interlace your fingers . Relax your shoulders, elbows, hands and fingers, all of which, as a combined unit should have no need of muscular activity. (If necessary, support your arms with cushions). Feel the contact between your two hands. Relax your fingers and by degrees your arms, bringing your consciousness to move from one hand to the other , from one wrist to the other , from elbow to elbow through the forearms, wrists and hands, then from one shoulder to the other through the arms and finally, from shoulder to shoulder through the upper part of your body, thus completing the 'circuit of the arms'. By consciously travelling this circuit in either direction or in both and at increasing speed, a sensation of current in the form of tingling, pulsations or warmth will be felt. This is an excellent regenerating exercise , being both soothing and stimulating at the same time (fig.156).

,";'-->-,, --·(- -...

=-r---= =-:.-:.-fig.156 2

The same exercise can be done with the legs, sitting or lying on your back, the soles of your feet together. Direct your consciousness to move from one foot to the other, from one ankle to the other and so on, completing the circuit by passing through the lower part of the abdomen. Relax each part of the circuit as you consciously pass through it. Should the position become uncomfortable, raise your knees slightly or abandon the position momentarily (fig .157). This exercise greatly helps to eliminate tension or pain.

fig.157

- 94 -

3

The following exercise is particularly calming. Lying on your back, place your hands on your stomach, one on top of the other or beside each other (they don't necessarily have to touch). Consciously pass through the circuit of the arms into your hands, going down into your body beneath your hands and up on through to your shoulders and around. The 'current' can be led in the opposite direction as well. Choose the direction that does you the most good (fig.158).

fig.158 4

Lying on your back, place the soles of your feet together and join your hands on your stomach. From your hands, consciously travel vertically into your body, then down through your pelvis into your legs. Making contact between your feet, ascend through your legs to your pelvis and on up into your hands. Repeat the circuit several times (fig.159).

~ \ \

l

I

I

I

I

I

fig.159 5

Sitting or lying on your back, place the soles of your feet together and join your hands. Incorporate the circuit of the arms with the circuit of the legs (figs.158 & 159).

- 95 -

6

Lying on your back, place the soles of your feet together and join your hands above your head. Join up the two circuits lengthwise through either side of your body (fig.160).

~

I

\~

r

I

, ,

I

I/

\

,

I

---- - -- -fig.160 Variation:

Mentally form the circuit into a figure 8, diagonally crossing through your trunk (fig.161).

fig.161 7

Sitting on the floor, place the soles of your feet together and clasp your hands around them. Relax forward, allowing your head to fall naturally in the direction of your feet which should be placed at a certain distance from your body. Consciously travel the circuit of the arms and the circuit of the legs, joining them up by passing through your trunk on either side of your body (fig.162).

fig.162

- 96 -

Variation:

If your joints are sufficiently supple , your head can be placed on your feet and a new circuit added, running up your spinal column from coccyx to head and down to your hands (fig.163).

~ \,-_:''t/'i ... \

I

_,,

I

/

\

I

/

I

I

, I

- _,_-,.,...

' "' / I

I

"

/

fig.163 8

Lying on your back , bring your knees up to your chest, cross your legs and take hold of your feet with your hands; your arms placed around your legs. Make contact between hand and foot and complete the arm-leg-trunk circuit travelling through your trunk diagonally. There are two circuits. Start by working on one at a time , then both together (fig .164).

fig.164 9

Lying on your back, bend your knees up and outwards and place the soles of your feet together. Take hold of your feet, interlacing your fingers around them and relax your knees. Consciously travel the circuit of your arms and that of your legs and then link them up through your trunk (fig .165). ,.

- ...' I ,,

\ \

I I

I

I I

fig.165

\

\

- 97 -

10

Sitting, with your legs bent, knees and feet together, clasp your arms around your knees, taking hold of your elbows. Contact arms-legs and circuit legs-body-arms. By resting your head on your knees, the circuit passes through your head , head-(arms)-knees-trunk and so on, travelling from your seat-bones or ischia, through your legs to your feet (fig.166).

fig.166 11

Sitting, with your knees slightly raised, knees and feet together, lean forwards and clasp your arms under your knees, taking hold of your elbows. Circuit your arms and then from your seat-bones travel to your heels, sliding them forward and bringing your forearms to rest on the floor. Run a 'current' from coccyx to top of your head. (fig.167) .

fig.167 12

Sitting, with your legs outstretched, bend forward with head down and take hold of your ankles or feet. Travel the circuit anns-legs-trunk, then incorporate a 'current' from coccyx to top of your head, relaxing your spine and head. Repeat the exercise but with your legs apart (fig.168).

fig.168

- 98 -

13

Sitting or lying down, bend one knee bringing your foot to lie alongside your body . Take hold of your foot with the corresponding hand and making contact between hand and foot, travel the circuit leg-arm-side of trunk. Repeat the exercise with your other leg and then travel the two circuits simultaneously (fig.169).

'

'

..

,. -