April 2012

We are crazy about Hope Gillerman’s unique line of aromatherapy products.  Well known spas around the country are using her products on clients and we even use them here in the office! Joan talks to Hope about her early dance training, the impact this had on her body and what she’s done to heal herself and her clients.                                                                                                                          

HGO aromatherapy has changed my Pilates practice! Clients find that using
the aromatherapy blends enhance their workout by improving concentration
and reducing stress.  We sold out of our very first order in just three weeks!

-Zoe Stein Pierce, ZMoves FW

As a dancer you suffered from chronic back pain.  How did this come about?

I studied modern dance under Bessie Schoenberg at Sarah Lawrence College. At the time, anatomy training was not incorporated into any of our dance studies. Looking back, I now know that much of my movement training was based on anatomically incorrect imagery! Many modern dancers turned to ballet for fundamental training; however, with improperly developed muscles we could not access the classical balance between ease and strength.

When Contact Improvisation, release work and breath-work came about in the mid-70s and early 80’s, modern dancers were very bound up by their over-developed muscles. Constricted by overdeveloped thighs, tense neck, shoulders and arms, we needed a way to release these tension patterns and lessen the strain on our bodies. While these new movement forms gave us a softer approach to the physicality of modern dance, many of us needed a comprehensive approach for retraining our bodies. For me, that was the Alexander Technique.

My Alexander Technique story began with my chronic low back pain, which was so bad I had to stop dancing. Eventually the pain developed into full-fledged sciatica and I couldn’t walk 6 city blocks without having to turn around and go home. The pain was caused by unconscious misuse of my body- poor alignment and imbalanced muscles. I was a mess!  Schoenberg recommended the Alexander Technique (don’t ask me why she didn’t include it in our training).

Of all the healing arts, you chose the Alexander Technique to address your pain.  Why?

First I tried Feldenkrais. While this practice provided effective exercises for increasing my body awareness, it didn’t help me change my bad habits. From there I turned to the Alexander Technique.  This 100-year-old method works on the central principle of body alignment: releasing the neck muscles and letting the head rebalance forward and up from its continual startle position. With this dynamic adjustment, the spine can regain optimal length and the core muscles can support a stable torso without constricting the breath.

With a strong focus on the educational aspects of body retraining, Alexander practitioners refer to themselves as “teachers”, and their clients “students”. Teachers provide hands-on guidance so their students experience exactly what “right” feels like. This hands-on guidance is in stark contrast to learning through imagery alone which provides no sense of accuracy and the imagined either works or doesn’t.

We use “table-work” – lying semi-supine on a padded table – as a central method of educational mind/body training. As a new Alexander student, I found table work to be incredibly useful for experiencing movement without strain. Today it seems obvious to me why more common alignment work can be so counter-productive: adjusting the body by making micro-shifts of positioning requires holding the body still. Whereas with Alexander, adjustments come about by doing less and relearning a more dynamic relationship to gravity. After an intensive period of one-on-one study with several of NYC’s wonderful Alexander Technique teachers, I eliminated pain and truly changed how I moved. I found so much joy and freedom with this profound re-learning method, I chose to become a teacher myself.

After resolving your own injury, you began to teach this method.  Tell us a bit about this training process?

Alexander students normally take a 45-60 minute lesson once or twice a week. Teacher training is very intensive: 3-hour lessons, 5 days a week, for three years – a total of 1600 hours! Training focuses on providing new teachers with the practical experience needed to guide students into balance without triggering their stress patterns. This is subtle, mental work and teachers in training must work with very soft hands and a strong, stable back.

AT teachers show their students how to stimulate innate postural reflexes as a means for optimizing movement and health. The benefits often include long-term relief from chronic issues such as: pain, injury, inefficient breathing, poor balance and coordination. While we don’t call ourselves “therapists”, we assist students in bringing the mind and body back into a very subtle kind of balance. Once students are moving more mindfully, this method helps them to override stress responses and increase coping mechanisms.

After I finished my training I did another 15 years of in-depth post-graduate studies.  I also assisted the director of three training programs and created AT courses at many professional performing arts schools (including Harvard University’s Institute for Advance Theater Training and Boston University’s undergraduate theater department).

I’ve had my private practice for 30 years. My office is located in lower Manhattan – where AT is quite well known in the business world as well as the performing arts. I work with all different types of professionals including quite a few Pilates teachers!

Most of my students have left the traditional methods behind (surgery, PT, drugs, invasive treatments). Over a course of lessons, my students learn how to sit, stand and move better, achieve a heightened sense of body awareness that helps them feel more relaxed and poised. They can even apply their new mind/body skills to playing a sport better, or getting more benefit from their yoga practice.

All my students are taking an active role in making lifestyle and stress management changes. As a result, they all reap huge rewards. Many students arrive depressed by the limits their body problems have imposed – they can’t exercise, lift their new baby, go on trips, walk up stairs, etc. I’ve had the opportunity to watch students transform into healthier people actively involved in the things they are passionate about. It is very rewarding to be a part of that.

You later incorporated aromatherapy into your healing practice. What drew you to aromatherapy?  How do essential oils complement your Alexander teaching?

While Alexander provided the tools to help students heal their pain and injuries, I began to see the need for a supplemental practice to assist students with other wellness issues. Around that time, I became interested in aromatic healing: combining and applying essential oils to elicit therapeutic benefits. I studied modern day aromatherapy (developed in England and France in the 20th century) on my own and experimented quite a bit with making my own blends. Eventually I saw that aromatic healing was a natural complement to my AT teaching and I deepened my studies with training with a nationally known master Chinese Herbal Medicine.

I developed essential oil formulations to address the health issues I found most common among my students – everything from stress and depression to migraines and allergies. I eventually honed this collection in to the eight body oils and 100% blends I created for my line of remedies: H. Gillerman Organics.

I developed one of my oils to address/prevent stress associated with travel.  During travel we lose sleep, retain water, feel sluggish and sit for long periods (causing joint and muscle stress). Travel stress often feeds back into the stress you were trying to alleviate by traveling!

It is my experience that this cycle must be broken with a pro-active approach of self-awareness and self-healing, not with a series of drugs or surgeries. The sooner we respond to the stressors, the easier it is for our bodies to heal. In modern life we need to be tuned in to our bodies to pick up the subtle signs that something is wrong, instead of waiting until we need surgery or have to take time off from work. We also we need tools for managing these minor problems to prevent them from getting worse.

Essential oils are ideally suited as the foundation for an effective daily wellness program. They are probiotic, anti-viral and anti-bacterial, and a great source of anti-oxidants—nature’s anti-aging elixirs. Many essential oils help bring our hormones and the autonomic nervous system back into balance.  Many are superior topical muscle relaxers and pain relievers. They can heal skin, cool or heat the body, help with breathing, sleep, alleviate headaches and even ward off migraines – all while sharpening mental focus. Used daily, they surely improve overall well-being. Their appealing scents work to associate pleasant memories while bringing us back to the present. If each of us had two or three key essential blends to use in our daily personal care or wellness regime we could maintain a better equilibrium and presence of mind.

Tell us a bit about your muscle remedy. How would you use this remedy in the Pilates studio setting?

I created True Relaxation Muscle Remedy in conjunction with True Relaxation Stress Remedy for people who need to release general body tension. It’s also great for people who exercise and want to avoid minor stresses and injuries. And best of all – it really works!

My Muscle Remedy formula is built on Basil and Litsea Cubeba for immediate relief, Birch to relieve pain and reduce swelling, Lavender and Vetiver to relax muscles, increase circulation and heal strains and sprains (also used on bruises), Clary Sage to soothe the nerves, and Spearmint to give the blend an even more immediate effect.

This multi-functional remedy is for anything muscular:

• Increasing flexibility
• Rebounding after an intense workout
• Injuries and pain
• Cold, tense muscles
• Tired, achy feet

For people who don’t handle stress well:

These people tend to get injured easily and are susceptible anxiety and depression. This type of person could use both Muscle Remedy and Stress Remedy together. If you’re a Pilates teacher working with a stressed out client, having these remedies on-hand is a wonderful way to complement their regular training sessions. These remedies will help clients stay motivated and keep them coming back!

For people who need to stretch:

Devoted yoga practitioners, and dedicated Pilates clients can all be discouraged by limited range of motion or lack of flexibility. The key word here is discouraged – the emotional toll of not being able to get your body to do move well can be frustrating. Often, people react to this frustration by pushing too hard and then giving up. Pilates teachers can suggest that clients apply Muscle Remedy to their tight areas an hour before the session to help with quicker body response and tension release.

For people who have a minor strain, pain or injury:

Missing a workout due to injury is risky business. Once your body is used to the routine of an effective workout, falling out of that routine can exacerbate the injury and even lead to depression, apathy and anxiety. Pilates teachers can offer clients Muscle Remedy if they show up in pain: Apply to the affected area for immediate relief, and work around it safely, knowing you are helping them get the most out of their workout even though they are working around an injury. Also suggest that they keep the Muscle Remedy at home for any time they notice a slight pull or a strain. Muscle Remedy is also extremely effective for fatigued muscles – when applied after an intense workout it will help the muscles bounce back more quickly and reduce discomfort by clearing out the toxins that cause the pain.  Instead of feeling toughing out a minor ache, Muscle Remedy will help them heal faster and continue the process on their own.

Today, Gillerman’s reputation precedes her thanks to regular features in key health and beauty publications including Teen Vogue, Elle, More, Prevention and Self, to name a few. As the Media Spokesperson for the American Society of Alexander Technique, she has appeared on the Discovery Channel’s 21st Century Medicine, The Today Show, CNN, PBS and WEB MD and is quoted as an expert in leading health directories and resources including Women’s Wisdom: Alternative Cures, Home Remedies for Preventing Disease and The Complete Idiot’s Guide to Alternative Medicine. Gillerman has held faculty positions at numerous universities and performing arts conservatories including Harvard Universities Institute for Advance Theater Training and Boston University Drama Department. She continues to teach at wellness centers and for corporate health and safety programs while maintaining a thriving practice in New York City. You can learn more about Hope and her products at http://www.hgillermanorganics.com/.

As Pilates Trainers we tend to talk nonstop giving constant cues, reminders, encouragements and corrections. Of what we say, how much does the client/class hear?  Trade places for a minute and see how well you listen.  In fact, if you watch your client, you will see their body language that says “what do I do?” or “say that again!”

I’ve been teaching exercise for over 40 years and I have been guilty of excessive verbalization with my classes, clients and trainers thinking that the more I say, the more they will learn and take to heart what I have said.

But with experience, comes wisdom.  In my The Art of Teaching The Art of Joseph Pilates workshop, I teach “how to teach Pilates.”  To Teach the Pilates Method requires a different set of skills.

The principle of “more is less” is what I preach.  Choose words and phrases that are short, specific and significant to the exercise, the person and the desired outcome.  Allow “space,” i.e. QUIET time between your directions for the person to HEAR and respond. In other words, learn to SHUT UP.  Now, it’s your turn to LISTEN to your client breathe with the exercise, to OBSERVE their body language and give their ears a rest and their brains time to make the connection. Learn to not interrupt this process. Remember we all come with our minds full and yet we’re asking for the “mind body connection.”

The Pilates Method is about CONCENTRATION.  Does your teaching style allow for your client/class to use their concentration skills you have preached to hear your directions, recruit their brain cells to “get what you said,” and then respond by relaying the information to the right muscles in order to move the bones?  All too often your constant cueing either interrupts an exercise or “rushes it along” and certainly prevents the client from focusing in and listening to what their body is saying back.

Example: Teaching breathing: “Inhale as much as a possible through the nose, exhale all the air out through the mouth.” Now, SHUT UP and let them breathe!  Keep QUIET as they “practice;” add one additional cue at a time, i.e. “slow it down,” or “draw more air into your back.” SHUT UP and use hands-on cueing to reinforce your cue.

I leave you with this suggestion: Record a client session or class and listen back.  What do you hear?  A constant “babble” that doesn’t allow for any real listening?

Have you listened to any of this?  If so, you will learn to SHUT UP!

A Note from Joan Breibart:

Joseph Pilates designed his Method for individual instruction. When we introduced the first Matwork certification in the late 90’s, we encouraged teachers to continue vocal cues and hands-on assists rather than just demoing the exercise. Cues had to be more generic, but we were still talking and teaching!

Today vocalizing is more complicated because group exercise is the dominant mode. Not just because of the economy, but because people want the social environment accompanied by music. Vocalizing cues in a group reformer class with the music blaring just doesn’t work. What we are seeing is a cultural shift that affects how we teach. What we view as helpful corrections can now be seen as unwelcome criticism.  You have all heard the stories of how the Elders and Master teachers were far from diplomatic. Recently I traded stories with Michael King about Carola Trier and how she used to yell at us, push us and tell us we were dong it wrong! We understood that it was because she cared; she wanted us to improve.  We appreciated her effort and dedication. But that teaching method is history.

So where does this leave us when verbal cueing is challenged and touching clients is a “touchy” proposition? We’d like to hear from you. Thank you for all your wonderful responses about our dance fusion feature. Yes, we’re working hard on our new program and look forward to sharing details with you in the near future!

Lonna Mosow is a household name in the Twin Cities. Dubbed “the Mother of Twin Cities Fitness,” she appeared on her own TVprogram for 12 years, published a New Yorkbestseller, developed and starred in the Northwest Airline (Delta) “Plane Aerobics” inflight video, and owns and operates LONNA MOSOW’S CENTER for MIND BODY FITNESS, now in its 23^rd year. She studied with the Institute at its inception and was one of its first graduates and certifying studios. She is a Certified Personal Trainer and Group Workout Instructor, a CEC Provider for ACE, Gold Certified with the Pilates Method Alliance and certified in the GYROTONIC®. You might recognize her as she modeled for the Institute publications of The Gait Workshop and Pilates and Osteoporosis manuals. Her workout studio was the first of its kind in the area operating from 1974-2010.

PhysicalMind has always been devoted to serious Pilates. We started the first Generation lineage of Master Teachers, now called Elders, and almost all of the Second Generation have been involved with the Institute since its beginning in 1991. We emphasize the importance of correct Form and Technique, and our continued development of TheMethod Fundamentals is what differentiates our teaching style. And, of course, we still believe Pilates is the best form of body conditioning available.

However, times are changing. You’ve probably noticed the sudden popularity of dance-based classes popping up in studios and gyms across the country. While competition in the fitness world is not ideal, it is inevitable. But Pilates has its roots in working with dancers, after all, and the popularity of dance classes offers our teachers a chance to adapt and grow. Several of our senior instructors have begun exploring dance-based classes like the Bar Method™, and a couple have even become Zumba-certified.

TheMethod is developing our own dance/Pilates fusion workout, and we look forward to unveiling some exciting new projects and partnerships in the near future.

Meanwhile, we appreciate all your feedback on 80Bites. Many of you noted that our program is important for the environment— shedding pounds goes hand in hand with conserving natural resources. This is best summed up by Master Teacher Zoe Stein Pierce of Fort Worth Texas: “80Bites is the real ‘Diet For A Small Planet’— updated for the 21st century. Plus, I lost 22 pounds on it two years ago and have kept it off since.”

We’d like to hear from you: have your clients expressed interest in dance-based workouts? Have you incorporated any dance elements in your current workouts?

When I first discovered Pilates in the late 1990’s at a dance studio in London, I was introduced to the classical method and immediately fell in love. My posture improved, I became stronger and noticed a difference in everyday life. Little aches and pains gradually diminished and I found myself looking at myself and my body in a different way. I became intrigued by this method and how exercises which may look simple from the outsiders perspective, when done correctly, are strong and powerful and able to change bodies.

Fast forward to 2004, and I found myself in the United States! I joined a gym and tried to find somewhere that I could take some mat work classes. Easier said than done. It became apparent to me that much of what was being taught in gyms and fitness centers was a far cry from what I had learned from my past instructors. No corrections, very little reference to how to correctly engage the core and on proper alignment.

I began my training to become certified in mat work and Standing Pilates through the PhysicalMind Institute in 2010. I was determined to continually improve my knowledge and teaching ability – not only for my benefit, but for the benefit of my students who pay good money to learn Pilates. Many of my students are seniors and I continue to educate myself about working with this population and addressing their needs on issues such as osteoporosis and arthritis.

Any internet search on how to become a Pilates Instructor will yield a wide variety of results. Quality programs, such as those offered by the PhysicalMind Institute are interspersed with those offered online and via home study. I believe that there is a place for home study and online study but I firmly believe that nothing can compare with the invaluable learning experience given by working professionals at a studio. I am very glad that whilst PhysicalMind Institute offers online study programs, there is also a studio portion.

Just because you may feel like your personal practice is very good, does not mean that you can teach someone else. For me it was invaluable to practice teach with others, to look closely at other bodies and to be able to get that invaluable hands on experience whilst learning.

For example, in my own practice, dealing with a senior population, I need to know contraindications for those who may have osteoporosis. I need to have been properly educated to know that an exercises such as rolling like a ball, open leg rocker, jack-knife, boomerang and seal to name a few are all unsuitable for this client. Sure, I could find this information out if I looked it up online, but I am thankful for my training from the PhysicalMind Institute that I had proper information given to me on why these exercises are unsuitable and how to modify and offer alternative exercises to these clients. It frightens me that one could get an online certification and potentially cause injury to someone unintentionally through lack of education.

Of course, continuing education in Pilates is also extremely important. Once you become certified in Pilates, it is important to continually review what you have learnt. Can you remember everything you were taught two years ago if you did not refresh your memory on it? It is also crucial to remain up to date with the latest findings and research. This is not only going to enhance your own professional knowledge but it is also going to benefit your clients in terms of what you can share with them and teach them. Don’t forget that with the wealth of information now available to consumers via the internet, our clients are more educated than ever themselves and will be able to spot someone who is not trained properly.

Whilst the principals of Pilates are the same today as they were during Joseph Pilates’ day, there are some very knowledgeable minds in today’s Pilates world that it is good to learn from. Today’s Pilates clients have much different issues with their bodies today than a hundred years ago which is why we need to continually educate ourselves on how best to help them.

Education does not end when you receive your certification – I believe that then, it only begins. Continuing to learn is invaluable and there are so many opportunities out there it is our duty as professionals to take full advantage to learn from the wealth of information out there.

Gillian Wood was certified through the PhysicalMind Institute in 2010 and is currently teaching a variety of ages and abilities. When not teaching Pilates, she enjoys running and Yoga and is currently studying to receive her 200 hr RYT Yoga Teachers certification.

As a professional dancer and Pilates trainer I have worked with many dance students to integrate Pilates as a method of cross training. I am particularly interested in the issue of torso stability and alignment because as a dance educator I have observed this as a consistent problem for most young dancers. I also see it as a rising concern in the dance community. Torso alignment is an important aspect of a dancer’s ability to prevent injury, move with ease and improve the overall aesthetic quality of their dancing. Therefore, if dancers can improve torso alignment while dancing they will be more likely to meet the increasing demands of the profession. Presently, there seem to be increasing expectations for professional dancers to move at exceptional ranges of motion so additionally there is now, more than ever, the possible risk for dancers to injure themselves due to instability. With the current trends in dance risking dancers health due to instability I thought it was important to focus a study on the specific connection between Pilates reformer training and torso alignment.

Fortunately, research has concluded that there are certain key muscle groups that facilitate torso alignment and stability. This research has also concluded that these stabilizing muscles can be trained independent of postural activities, which is of particular importance since many Pilates exercises are done in the prone position (Hodges and Richardson, 1999). Current research also suggests that Pilates training, when done properly, can target the specific trunk stabilizing muscles (Endleman and Critchely, 2008). There are many studies that imply that training these postural or stabilizing muscles also include a specific kind of neurological patterning and that strength training alone is insufficient in improving alignment (Phillips, 2005). Pilates in particular relates to these findings because it incorporates a body mind connection as part of the training in addition to strength and targeted muscular training. There is also research specific to Pilates and its affect on alignment. The results of these studies are varied but they do seem to validate that Pilates training can improve dancer alignment especially in the trunk region (Bernardo and Nagle, 2006).

The aim of my research is to observe Pilates’ impact on dancers’ torso alignment.  Since, many dancers seek to be proficient in both ballet and modern I have assessment of both styles in my study for a more practical approach.

Participants and Settings

The participants in this study were selected from pre-professional dance students in the school of dance at Florida State University. The dancers were selected because they showed potential risk of injury related to torso instability based on the results of the Sarhman Torso Stability test screening, which was performed while the dancers were freshman at the university. At the time of the study the dancers were juniors, however they had not received any serious training interventions for torso stability until my study. The dancers performed the training intervention in their free time among their regular dance activities in the FSU School of Dance conditioning studio under supervision using two Pilates reformers.

Training Procedure

The dancers’ training involved Pilates reformer work. Dancers completed a 20-30 min reformer training session once a week with a trainer and twice a week with the other dancer in the study. The exercises in the training session were performed in neutral spine and included: The Hundred, Leg Circles, Long Stretch, Mermaid, Seated Side Twist, and Elephant. The training progressed in resistance and aimed to fatigue dancers, but not compromise their alignment. When dancers were able to complete these exercises and maintain proper torso alignment the reformer trainer added exercises and variations to provide progressive challenges. At the end of each session dancers recorded the details of their workouts including repetitions, resistance, and exercises on a workout log sheet. The training intervention lasted 5 weeks.

Research Design

The design of this project was an intensive case study. This study involved two dancers with a demonstrated lack of trunk stability. Measurements were taken as a pre-test and post-test. Dancers’ torso alignment was measured with video footage that was converted into photographs. In each photo the perpendicular angle was assessed and then the angle of pelvic/rib tilt was measured using a protractor. Each measurement was taken after dancers had completed their daily technique classes. The training intervention involved Pilates Reformer workouts three times a week. The workouts were supervised by the researcher and modified if necessary. For the additional workouts the research participants were asked to workout together and give each other verbal feedback cues to assist better alignment. Throughout the training period the participants were asked to complete an exercise log sheet after each workout that detailed the exercises, resistance, and repetitions completed to assess if any deviations occurred in the training protocol. The pre-test and post-test differences were compared to determine changes in alignment.

Results

Pelvic and Rib Tilt for Dancer 1

Data shows averages from all measured photos of each separate dance phrase. A 0 indicates perfect alignment, + integer indicates anterior tilt, and – integer indicates posterior tilt

Pelvic and Rib Tilt for Dancer 2

Data shows averages from all measured photos. A 0 indicates perfect alignment, + integer indicates anterior tilt, and – integer indicates posterior tilt

Difference in Alignment from Pre to Post-Test

+ integer indicates an improvement, – indicates a worsening of alignment

Implications

The differences between the pre and post-test measurements revealed a small improvement in alignment in at least half the dance phrases for each dancer with consistent improvement in alignment in jumps for both dancers. This fact is actually inconsistent with a previous study, which revealed that Pilates training in a supine position does not affect alignment in jumps (Bernardo and Nagle, 2006). Although it appears to have had a positive impact, it would be hard to say that these differences can be attributed to the Pilates training due to the limited nature of this study. More intensive research needs to be done to validate these results.

Another notable finding from this study was the perception of improvement. Both dancers expressed to the researcher that they felt that their alignment had improved and that they were more aware of it during their regular classes. They also noted that two of their instructors, a ballet and a modern teacher, had noticed and commented on their improved alignment during classes. This gives rise to the dynamic nature of assessing alignment. It seems that strength is one element of it, however there is also the element of the perceptions of the dancer and his/her colleagues. I think it is important to begin to consider these elements along with physiological ones in the development of future measurement protocols.

Overall, this study showed a positive affect of the Pilates training which was revealed in the measurement protocol as well as in the feedback from the dancers regarding their own perceptions and that of their instructors. This fact might encourage dancers or teachers with students who have problems in torso stability and alignment to seek out Pilates reformer trainings as a possible method to improve their torso alignment. To validate the findings of this case study a standardized method of measurement based in advanced technologies as well as input regarding dancer perceptions would be a great step forward in assessing improvement in dynamic torso alignment.

References

Bernardo, L. and Nagle, E. (2006). Does Pilates Training Benefit Dancers? Journal of Dance Medicine and Science. Volume #10, 46-50.

Endleman, I. and Critchley, D. (2008). Transversus Abdominis and Obliquus Internus Activity During Pilates Exercises: Measurement with Ultrasound Scanning. Arch PhysMed Rehabil. Volume # 89, 2205-2212.

Hodges, P. and Richardson, C. (1999). Transversus Abdominis and the Superficial Abdominal Muscles Controlled Independently in a Postural Task. Neuroscience Letters. Volume #265, 91-94.

Phillips, C. (2005). Stability in Dance Training. Journal of Dance Medicine and Science. Volume #9, 24-28.

Mary Love Ward is a professional dancer and dance educator. She currently lives in central Florida and teaches dance at Valencia College and Midway Elementary School of the Arts. She holds an MFA in dance from Florida State University and a BS in Biology from Winthrop University.

The core issue for professional women begins in the body.

Here are their stories.

Coffee shops, fast food joints, and Pilates studios– what do these three things have in common? They are the redundant landmarks of today’s thriving metropolis. But despite their instant appeal, the benefits of a Pilates practice are profound and far-reaching. In the downtown core of Toronto, professional women discuss the dynamic effects that a weekly Pilates practice has on their busy lives.

Many beginners are astounded by the focus and effort required during a Pilates session - attention to alignment, form, and execution are stressed in each class. But perhaps the most challenging element is the emphasis on the breath. Breathing and Pilates are symbiotic in nature. The breath informs each of the 34 exercises in the mat repertoire, and the success of each movement and each transition is contingent on the quality, and rhythm of one’s breathing.

Freelance Interior Designer, Del Weale must at times be forthright and headstrong when dealing with competitive male sub-contractors present daily on the job site. She credits Pilates with helping her keep her cool by using the principle of breathe as a key tool in staying grounded: “You know you breathe, and [think] okay guys. All the people I have to deal with within my trade are mostly men… These are tough guys, know it all, European macho, they know more than I do [sarcasticly], they’ve been doing it all these years, they know more and I’m thinking: I don’t think so”.

The breath as a centering device is no longer regarded as a foreign concept or esoteric principle. Mary Vachon, a psychotherapist who works primarily with people with cancer and the bereaved, sheds light on this: “Well I think the issue of centering is important. I think we need to be centered. I need to be centered in the kind of work that I do, and certainly the breath is a part of centering. And in Pilates I often am realizing I’m not necessarily working with my breath in the way that I might best work with it. So I become conscious – Oh, I don’t seem to have as much breath as I think I should have”.

Dedication to a weekly Pilates practice is all it takes for students to reclaim their natural posture – what I consider to be the outward manifestation of alertness and confidence. Posture is a skill that must be learned (or relearned) and Pilates instructors are sticklers for enforcing this basic principle. How we present ourselves has a direct affect on how others perceive and judge us, and therefore good posture is a factor in the formula to success. Weale credits Pilates for her improved posture and recognizes its importance: “You have to emanate power or authority I should say, or knowledge with back up. You have to prove yourself constantly with people. They like to question.”

Pilates is the pillar of the workday for some. Mary Aitken, Founder and Managing Director of Verity – a private business club for female professionals and entrepreneurs – shares her experience: “I think that it makes me feel stronger and more flexible and makes you feel you can rely on your body as a resource when you need it. Which means when you’re really tired you can be confident: It’s ten o’clock and I’ve been here since six in the morning and still going. But nothing bad is going to happen; if I’ve got a stronger body, it’s a resource that I can rely on.”

The gains of a Pilates practice, two to three times a week, have both long and short term affects. The core support it develops can sustain us throughout the entirety of each busy day. Aitken is able to bring the focus she learns on the mat into other situations demanding the same intensity: “There’s a lot going on in Pilates – because you’re having to focus on certain muscle groups and that’s a transportable skill. If there’s a room full of people and you’ve got to make a speech to a hundred people and everyone is talking and running around, and somebody needs something from you but you know that in three minutes you have to pull yourself together, you need to block everything out and in your mind roll through everything you’re going to say. I don’t like to use notes, so you have to really center, focus, and reduce everything. And I think that’s a little bit of what we’re doing in Pilates: you’re focusing on that muscle that you’re trying to connect with…”

As a Psychotherapist, Mary Vachon can appreciate from a holistic perspective the ways in which Pilates has given her a new awareness of her body: “It’s given me a different sense of my body and a different sense of being in my body. And so it makes me conscious of being in my body in that way and thinking in terms of various aspects of my body and becoming conscious of the way things work – the way the muscles work in a way I wasn’t conscious of before”.

It takes time to master the three-dimensional breath that is used in Pilates: the abdomen stays contracted during the inhalation and the ribs expand fully in an effort to increase the lung capacity. Vachon speaks personally of its importance in her practice: “And another one of my reasons for wanting to do exercise is because I think in some ways my lung capacity – perhaps my cardiovascular capacity was somewhat compromised with chemotherapy. So I want to make sure that I really worked with it because I literally went through phases that I couldn’t breathe. It’s important to me the centering breath, and so I go back to that”.

Professional women consider Pilates a sensible choice for their well being and also find it complements their weekly fitness regimen. Despite their busy schedules, they make time to squeeze it in, eager to reap its rewards: an improvement in self-esteem, a trim and mobile body, and a strength that reaches out from the inside and inspires those around them.

Twenty years ago the mantra of the fitness world was “No Pain, No Gain”. High-impact aerobics was all the rage, and the success of your workout was judged by how whipped you felt at the end of it. Practically no one had heard of Pilates – and those who had didn’t know how to pronounce it.

When Pilates began to appear onto the fitness scene, people scratched their heads. How could a workout that doesn’t leave you red-faced and sweating do you any good?! The idea of controlled movement was unheard of, and no one could identify their core. Diehard aerobics nuts refused to believe that results could be achieved without agony, and Pilates was met with resistance.

Eventually, people came around. As we mentioned in last month’s newsletter, one factor was the number of celebrities that came forward in the early 70’s about their years of Pilates training with Ron Fletcher. As a result, hundreds of articles began to appear, starting with ELLE magazine in October 1991, “The Great Balancing Act.” This major three-page article kicked off a Pilates publicity binge so influential that it helped cancel the fraudulent Pilates trademark. Additionally, by the late 90’s research emerged that confirmed the benefits of the Pilates Method of exercise. It took some time, but eventually the public mindset toward fitness began to shift from no pain, no gain to mind-body balance.

We’re seeing the same thing happen in the weight loss world. For decades, mainstream diets have been obsessed with content. One fad after another has come onto the scene: no-carb, no fat, gluten free, juice cleanses… the list goes on. But just as “no pain, no gain” resulted in injured bodies, the mainstream diet formula has resulted in obese bodies because 95% of all dieters regain the lost weight – and often more weight! It’s clear that the old method is not working.

Just as we promoted the notion of balanced movement twenty years ago, we’re promoting the notion of balanced eating with 80Bites (www.80BitesDiet.com). 80Bites is the “Pilates Diet” in many ways, but getting people to embrace a balanced, relaxed attitude toward food is equally challenging.  We still have a long way to go – old habits die hard, and America is still in the throes of a diet-obsessed culture.

The encouraging news is that mainstream media is finally catching up. Two recent articles from the NY Times (links) shed light on the realities of the broken diet formula. Yo-yo dieters are fed up with big promises and no results. The industry is primed for a shift, and 80Bites offers a new way of thinking about food.  Science is also supporting quantity-based diets with new research. Studies showing that caloric reduction leads to longer life are actually just as affected by quantity as caloric intake (the lab mice are all eating the same diet – the ones eating less just end up living longer!).

As Pilates teachers and practitioners, we invite you to try 80Bites for yourselves. We’ve taken 25 years of research (and a former incarnation as Diet Directives), and created an engaging program that builds lasting habits. 80Bites is a program for anyone who eats – not just those looking to shed pounds. Conscious eating also leads to improved digestion, heightened sense awareness, and freedom from obsessing over nutritional information!

We’re offering a special teacher’s discount of 50% off the program – just use code PILATES at checkout. For clients who may be seeking additional weight management, 80Bites complements a Pilates practice for total mind-body balance. 80Bites can also be used for one continuing education credit, when membership is combined with our Nutrition 101 home-study course.  We invite you to join and welcome your feedback!

Joe and Clara Pilates had helped Semenova recover from a devastating stage accident in Italy during World War II that ended her performing career and left her with a permanent limp. She often acknowledged that she would have been in a wheel chair had it not been for their rehabilitative efforts with her. As it was, she turned out to be a firebrand of energy throughout her life, teaching, choreographing and directing, nonstop. Along the way, like many dancers helped by the Pilates work, she made it a valued part of dance training, promoted it and helped keep it ongoing at a time when it was not yet well known.

There were three of us at the academy who were taught the floor exercises, then called “Contrology,” of course. As scholarship recipients, our duties included functioning as demonstrators for the various classes. Madame Semenova (for we dared not call her anything else) would often fling her trusty cane to the side and jump down on the floor to demonstrate a killer teaser or exquisite boomerang, one of her avowed favorites. She practiced the work regularly herself and renewed it on periodic trips to New York and Joe and Clara’s Studio.

Notice that the expression “Pilates Mat Work” did not exist for us at the time, because we never used mats! All floor work was done simply and without question on the sprung hardwood floor, dressed Russian style in our tights, trunks and sleeveless tunics. For example, in a ballet technique class, we would start our work at the barre with classical ballet warm up and technique. Then we would come to the center, away from the barre, for the Contrology floor work, followed by standing up to do all the centre ballet technique that included adagio, sequences moving across the floor, turns, jumps, etc. This was a time when there was little introspection, analysis or inquiry about the physical work that you were doing. You were shown the Pilates exercise, you learned it, you did it, no questions. There were plenty of times on that floor that our young bodies protested with bruises, rashes and skinned arches, etc., but it never occurred to us to complain. That would have incurred Madame Semenova’s wrath which could be quick, volatile and often deadly, brandished at the end of the big walking stick that she used to assist her strident, energetic walking.

There was no doubt that practicing the Pilates exercises helped us to make rapid gains in our ballet technique and dance performance. Also, during lecture demonstrations that took us to the public schools, Semenova would often encourage participation and challenge the toughest football players with ballet and Pilates, done alongside the lithe and seemingly delicate dancers. Of course, the young men were both immediately humbled and puzzled by their inability to last out a series of the hundred alongside the dancers!

Eventually I took time out from a dance career to go to college, marry and have my son. During my education I was fortunate to be able to spend an entire summer studying Anatomy and Physiology at The Baylor College of Medicine and have the privilege of dissection on human cadavers. Though this may sound gruesome at first, it was really an eye-opener to actually see and learn about the marvelous workings of the body that I had previously been pushing to its limits. Though these first studies were purely science based, they were characteristic of the many investigations of the body and movement that I would eventually undertake.

When I returned to my dancing, the rules had changed, for I was no longer a ballet dancer, but had discovered modern dance and was asked to join a newly forming company. This initiated a new series of movement adventures. Now I was working, in both class and performance, in bare feet and frequently utilizing gravity, speed and momentum for shared partnering feats along with upper body support for more athletic moves. I discovered that many modern dance teachers and choreographers had followed practices similar to those of Hanya Holm, a contemporary of Joseph Pilates, for elements of Pilates, Yoga and Laban work were often incorporated as part of their dance warm up and training techniques. Pilates work frequently became a part of preparation, conditioning and rehabilitation after injury.

As a performer and teacher in several dance companies, I extended myself by working with numerous well known choreographers (and a wonderful manager) in developing a solo repertory and eventually solo concerts that I performed throughout the United States, in Europe and in India. Since solo stage work rarely pays the bills, teaching and choreography skills must be strong to keep you employable. This was a big motivation, along with my natural curiosity about the body, to keep me investigating more body work along with how to experience it, learn it and teach it.

Along the way, I continued to study and take in all the movement experiences that I could discover, usually guided by the familiar curiosity, the need for better body awareness, or pure pleasure. Over time this led to Laban Movement Analysis, Bartenieff Fundamentals, Body-Mind Centering, Contact Improvisation, and Yoga studies. The inevitable injuries helped me explore body conditioning and rehabilitation techniques with physical therapy, weight training, and more Pilates.

As an example, at the Modern Dance Department at The University of Utah, I had the good fortune to encounter Dr. Sally Sevey Fitt, author of Kinesiology for Dancers. During two years of graduate school, I studied with her continuously, taking every course that she offered. Along with her Anatomy and Kinesiology course, Movement Behavior Studies course, etc. I took her Conditioning course based on, among other things, the Pilates Mat Work.   Eventually, I was able to demonstrate in classes for her, to her satisfaction. It was a challenging experience for us to do the side leg kick series progressing throughout the year from bare legs, to light ankle weights, to tennis shoes, to ski boots! Yes, the Salt Lake Winter Olympics were still years away, but we were getting ready for the nearby ski slopes!

During residencies throughout the United States, I sought teachers that I could continue to study and learn from, like Carey Twomey, former apprentice to both Master Teacher Deborah Lessen and Anatomist Irene Dowd.  Ultimately, while in Florida and working industriously at my Pilates and Jivamukti Yoga, I sought the missing piece of my Pilates experience. I began looking for a way to do the Pilates apparatus work that I had never had the opportunity to do, since the constant traveling and relocating that a performer and teacher does was never conducive to making a long term connection with a studio. Not really knowing how or where I would be able to do this, I investigated options and decided on The PhysicalMind Institute as my avenue.

Living in the Florida Panhandle, it was actually easier for me to get started on a certification by taking Initiation 101 in Lafayette Louisiana, but before that could even happen, Hurricane Ivan appeared and devastated Pensacola Florida where we were then located. Once we regained utilities and some sense of order, I traveled to the Wise Body Lafayette Studio for Initiation 101 with Alyce Wise. Within five weeks more, still on the move, we had resettled in San Antonio Texas, so I did Initiation 201 in Ft. Worth Texas with Zoe Stein Pierce at the Pilates at Dancescape Studio.

My next big decision was to make the commitment to commute weekly from San Antonio to Ft. Worth for Concentration 101. The lectures,practice,observation and teaching were extremely challenging to coordinate on a schedule via commuting, but paid off in a wonderful apprenticeship and eventual staff instructor position at Pilates at Dancescape. Concentration 101 Test Out was in Austin Texas with Sarah Irwin, a positive learning experience in and of itself.

Pilates has been an immensely rewarding path on my movement journey and part of that continual effort to connect body mind and spirit for myself, my clients and those I hope to interact with in an effective way. The certification program with The PhysicalMind Institute was especially rewarding because it was very process oriented, integrated work on the various pieces of apparatus, provided for the mentor/apprentice relationship, and encouraged instructors, like myself, to bring past experience and teaching skills to the Pilates work. I value this approach and encourage each client that I guide as an instructor, to bring all the variety of their personality, experience and background to the work. Your work is to discover your work. And with all your heart give yourself to it.–Buddha

Anita Lemon is a Pilates Instructor, Yoga Teacher and Movement Specialist with 40 years of teaching experience in both dance and related movement fields. She is certified in The Method Pilates through The PhysicalMind Institute and holds a Comprehensive Certification from Balanced Body University. Her introduction to the work began when the Pilates Mat exercises were still called Contrology and Anita served as demonstrator at the Houston Foundation for Ballet Academy. A former Fulbright Scholar, Lemon holds a B.S. degree from Texas Womans University, the M.P.H. from The University of Texas as well as her M.A. in Dance from Goddard College and M.F.A. in Modern Dance from The University of Utah.  In her current practice based in Texas, she sees private clients in both San Antonio(home) and Houston, and conducts a variety of sessions, classes and workshops as Guest Instructor at The Body Garage in Ft. Worth.

Last year my fitness supervisor and I tried to find a way to market our Pilates program to men.  We decided to try a “drop-in” class format on Tuesday evenings, and called the class “All Sports Pilates”.  We emphasized how Pilates can be an effective method of cross-training that can enhance performance in sports.  The class began the first week in January 2011 to catch the enthusiasm of people looking for a new workout to start the New Year.  What amazing results!  One year later, this class still thrives with many more people experiencing how Pilates can help them enjoy any sport or activity.

The following information was formatted on “All Sports Pilates” cards for marketing. We made sure to use a font and color that was good for both genders.

Pilates offers an effective method of cross-training that can enhance your sports performance.  You will benefit from improved flexibility, body awareness, and breathing techniques, while also improving the strength and stability of your core muscles.  Workouts will be tailored to a variety of sports/activities, but will be relevant to all.

Increase power
Correct muscle imbalances
Minimize risk of injury
Stretching tips for pre and post event

Each week the class highlighted a particular sport or activity.  We started the class with the “Non-Negotiables for the Sports Minded”[1] while standing at the top of our mat:

Your powerhouse is always engaged: “In and Up”
Your chest is always lifted
Your spine is a straight line
Your weight is distributed evenly

We then used the controlled sit-down to enter into our first set of classic Pilates matwork, using the “Basic 10” exercises to establish a good foundation each week.

Hundred
Roll-up
Single Leg Circles
Rolling Like a Ball
Single Leg Stretch
Double Leg Stretch
Single Straight Leg Stretch
Double Straight Leg Stretch
Criss-cross
Spine Stretch Forward

The next segment was called “The Bonus” where we incorporated the use of a prop to take the workout to the next level.  A prop was selected for its relevance to the sport or activity of the week.  Listed below are the highlighted sports and the props used.

Participants were encouraged to request a class formatted for their favorite sport or activity.  It got them invested in the class and provided a great reason to return each week.

After the “bonus” segment of the class, we returned to our mats for more classic mat exercises selected with the sport or activity in mind.  Participants were then exposed to other exercises in a variety of body positions, such a prone or side-lying.

We finished each session with stretches relevant for pre/post event.  Also included was a time for making the mind/body connection – some additional information as to how the Pilates principles can be applied to the sport or activity.  I also included a “homework” assignment for them to accomplish during the week ahead.  They would often share these stories with me at the beginning of the next week’s class.

This class experiment proved to meet our goal of increased participation by both genders.  It also made for lots of fun as we explored the relationship between Pilates and sports conditioning.  There was so much information available to get this message to my participants – my job was to research and pull it all together to present to the class each week.

Donna Ferguson has been certified to teach Pilates Mat/Standing Pilates through The PhysicalMind Institute since December 2003.  This is a second career for Donna, a retired Physical Education/Health teacher with 30 years of experience in public schools.  She enjoys teaching Pilates to participants at the recreation center, the local community college and to people at her church in Littleton, Colorado.

Which brings us to Ron Fletcher, an important teacher and personality, who passed away on December 6^th.  Unlike most of the “elders”, Ron created new techniques such as his Percussive Breathing^TM, which involves movement and sound.  Ron opened his studio, Ron Fletcher Studio for Body Contrology, on May 1, 1972 on Rodeo Drive at Wilshire Blvd with an unlisted phone number.   Just the perfect exclusivity touch to attract celebrities!   And boy did he ever get the boldface names: Candice Bergen, Judith Krantz, Ali MacGraw, Dyan Cannon, Katharine Ross, Barbra Streisand, Raquel Welch and Cher to mention a few.  He was able to keep them coming even while aerobics was dominating the exercise world.  Maybe it was his quick warming Percussive Breathing^TM technique that was key to making clients feel “worked out.”

We all know that without those celeb names we would never have had the amazing publicity run.    And while the Institute is responsible for a number of “firsts” (the first Pilates video, “Working out the Pilates way.”; the certification program; the newsletter; the membership organization; and the home use reformer, the Mini Reformer) NONE of this would have worked without the celebs for which we have Ron to thank. But we did “work” it.  In the early Nineties we regularly sent a letter to editors and journalists that began:

“Candace Bergen and Lou Gossett do it.  Vanessa Williams and the San Francisco 49ers do it. So does Lee grant, Patrick Swayze, Jodie Foster and Paul Reiser.  Eve Gentry at 83 teachers it.  So does Ron Fletcher at a mere 72. It is the Pilates Method of exercise and after 70 years this technique has become an overnight sensation…”

As the years passed and Oprah and Madonna became fans, we added their names to the growing list and by 2000 Pilates was no longer a “cult” but a household name and a major factor in defeating the trademark lawsuit.

What we should learn from Ron is flexibility—and not just in the body!  The Method needs to adapt to stay relevant.  Joe Pilates worked with a small group of dedicated dancers—all intensely body aware, patient and focused until they slowly absorbed the in-depth body mechanics of his complex movements.  But now that there are 10 million fans and lots of competition we have to get further, faster.  That’s the reason for Evolution 101. Affordable and convenient training, the Fundamentals taught in this course provide an in depth understanding of the biomechanics needed to perform the complex exercises that are Pilates. And while Pilates himself never taught any of them, TheMethod Fundamentals are really an efficient way to go deeper without spending long hours in workshops or even taking another certification! Who knows how Joe would approach the challenge, if he were here today and looking at 10 million not so great bodies.   Maybe he too would tie up a body to get it to feel a subtle move. We do know he would be thinking, developing and inventing so that Pilates stays relevant and sustainable while never compromising quality.