Class #1321

Improving Agility

45 min - Class


Ken Gilbert teaches an insightful Cadillac workout focused on improving agility by lengthening the hamstrings and spine, as well as expanding the chest and shoulders. The Push Through and Roll Back Bars are used to increase range of motion through forward and lateral flexion and rotation. This workout is a great tool to help increase the mobility and stability of your spine!
What You'll Need: Spine Corrector, Cadillac, Pilates Pole

About This Video

Dec 01, 2013
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I'm Ken Gilbert and I'm here working with George, a client of mine for seven years, our runner, I'm practicing yoga and also bicycling. So the man is very, very tight in what he chooses to do. And so we have fun every week going over things that will allow him to Lincoln, his hamstrings to release his lower back, to create more expansions where the chest and shoulders allow him to lift his chest without falling forward. Some things that we've worked on for these many years. And so what we're sharing with you today is an agility, mobility, stability workout, articulating the spine, where we play with the pelvis, chest and head. And the way we organize is his ability to lengthen the spine and then also to move with the spine. So there'll be forward flection, there'll be lateral flection, there will be a rotation and they'll also be some extension.

We'll integrate all of that as we go and I'll be sharing that with you as we proceed. So we begin getting his hamstrings and his lower back lengthened and relaxed. So I've had him move his head off the reformer or off the Cadillac. So that he's able to drop his sacrum down. This is one of my favorite cues. This is a very important to you.

When I first started practicing PyLadies years ago was to put a hand fingertip at the very bottom part of the sacrum and then he's able to do is drop his femurs into the pelvis and widen your shoulder blades. Yeah, so you bring your shoulder blades forward and allows them to relax across the neck and shoulders. Lift Your Chin just a bit and then from there drop the sacrum even more. And that's the inhale. Exhale, bend your knees. Inhale, press through the heels, keep the feet flex and bend the knees. This is nice today and press the feet, heels, and then bend. So I'm waiting for him to keep his sacrum weighted down into my feet, my feet, my hands, my feet are below me, my hand is here. Two more please.

So inhale on. The extension would be better for Lincoln in the spine. Exhale, bend. Yes. One more. Inhale there and stay. Now PR point, your feet reach through the balls of the feet and then flex point and flex of the inhales there. The [inaudible] points are the feet and sacrum down. So I'm waiting for him to drop a sacrum into my hand that allows them the hamstrings to lengthen. It also allows him to play with the, this, the lumbar lengthening down rather than collapsing into it, which it happens many times with a tight. So as in hamstring combination two more times. And now Dan the knees. So we'll put the two things together, keeping the sacrum down here, pressing the knees and then point flex and bend two more times. Press and point, flex and band. Last time, press point. Flex and bend. No, have them screwed down. So go ahead and scoot down on the reformer.

So this'll be a different range of motion. Probably a little bit more limited. I got rid of the chair for now. So the sacred will not go down as easily. Sometimes, depends on how much his run has affected his tightness. He usually bicycles to the studio. So there's a little bit of that warmed up. So this allows him then to drop the sacrum down.

He's not as flattened in through through the bottom part of the sacrum here. So press through the heels now shaking a little bit, which I like and point I like the shaking because it indicates to me that the Maya facial is being challenged, that the shape of the muscle then can be affected when your shoulder blades a bit and inhale flex. Exhale point. Yeah. One more. And then point. I'm guiding with my hand here so that he gets a little bit more feedback and then bend the knees. Yes. Press through the heels and then point and flex and bend.

Let's go three more times. Keep the sacrum down here. So the cue that I like for him to drop his Femur, the head of his femur into the pelvis, so he allows them to sacrum to drop his femur feeds. That socket, allows him then to open up the lower back a little bit more without compressing the tip of the tailbone coming up or the pubis coming towards the crown of his head. Go ahead and come out. So that's bottom loaded. We're going to move to top loaders and go into some articulation through the, the uh, for reflection. So we'd like to play. What happens is that George integrates often into his lower back and things begin to change and happen very nicely.

So go ahead and prepare for the roll up this last week. So you're here and I, my cues, pubis to navel, navel to the bottom of the sternum. Design, Freud process to the top of the sternum and the new BREEAM and the crown of the head. So I'm watching that relationship the entire time he's working. So as he rolls up, ankle bones above the knee. Hina, five very much from the Fletcher work your roll up. Reach your shoulder blades forward.

Now at first cue is to get the head up as high up as you can. Opening sole blades wide, allows them then to rotate more on the head of the humerus. I'll get behind him in a moment. That's the tips of the shoulder blade. Second you low strip, third cue back of the sacrum. Now, right now he's head wants to pull forward. So I'm going to come behind here. I like in my head, but Q, which is noon and then he's going to roll up into an upright sit.

I'm asking the humerus to rotate. Open, widen, widen, widen right there with the sternum. Widen. Widen. So his Ron boys in his trapezius want to fight. So instead I'm allowing them to expand and release a lot of the shoulder blades to go very wide and then rolled down. So the Headbutt cue then keeps my connection with his spine as he's rolling down there, right there to the tips of the shoulder blades. Then it's the neck and the head. The neck would touch if it could.

So let's play with that again, the wrapping here, but trans versus the inner most and then rolling up. Keep the shoulder moving wide. Lift the sternum or relationship. The crown of the head. The head stays behind the arms rotating. That's nice. Rotating the head of the humerus. Keep widening the sole blades. Wife, keep us tips of the blades away out here. Moving forward. Lift even higher. Sternum, their lower belly wrap.

The transmitter sits a little bit more here if you can. And then peel down sacrum and then crown of the head reaches to the ceiling. All the highs right there. That's new. And then rolling down. So now he gets to play with the legs. So rolling up tips of the shoulder blades and reach the legs up in a five ankle bones and roll up higher. [inaudible] roll down a little bit. Keep your head behind the arms right there.

And then here, reach for the stick here. Keep the shoulder blades wide. So I'm looking for here. This is the look that I want to see is there. Letting this open his shoulder blades can widen even more. Now he finds his balance wider grip. I liked the cue. Stick to the shins. Yep. Stick to the shins. Widen the back while in the back. So then yes, now stick to the shins come up higher.

So we've been working on this for a little bit to allow that, that teaser to get as high as possible. And then you can play with the pulses. He can run the stick against the shins. Oh, your eyes a little bit or your eyes right there. Yep. Widen the back way in the back yet. And then rolling down, rolling down. That's a little fatigue now. Rolling down legs and then lower belly under the sternum and then crown of the head. I do that often. And then do that again please.

Let's do it one more time with the bar. The other rotation if we want to just to see how that goes. Lower belly pulls in and up. Wrap here more. Wrap here, take the stick here, wrap the back to the front. Back to the front. Shoulder blades reaching towards your shins. Stick towards your shins right there. Now. Right leg down and then come up.

Yeah. And let's lay down and come up. Open the back a little bit more. Both legs down and come up and then left leg down and come up. Right like down. So he's having to work though the flection for reflection from the bottom of the sternum. I call it high point or center. Core are in both arms and both arms come from the backseat wide.

He's going to go ahead and widen. Widen here. Yep. So blase wide, let's see this happen here. There. Wow. Nice. Chin down just a bit. Focusing on here and arms down. Arms up and arms. Keep this wide. Keep the shoulder leads, reaching wide, reaching wide. And then down now, both arms, both legs and a short teaser here. Here, wrap more around the bottom of the sternum, the rim of the diaphragm, the rim of the rib cage. Many different ways that I call it. Yes. And one more time. All coming from here. One, one good. And then arms here and rolling on down. Keep the legs up for the challenge. Widen your back here. So your neck and head.

Good. And arms down, legs down. Good. Let's go ahead and spin around the other way. So we sit at the end of the table. You roll up and sit at the end of the table and roll back. Sit at the end of the table and roll back. We were having fun with this the other day cause we were playing with the uh, the push, the short spine.

So you're wraps his legs over the bar. So as you wrap your legs over the bar, now you pull in there. And then remember we rolled up c roll up here, hold onto the bar, and then there's a crown of your head stays to the knees. Now you roll up, peel up, peel up the tailbone, [inaudible] keep going here, here, here, and then peel down. All coming from here. The bottom of the sternum backstage is wide. Elbows out to the side, peel up and peel down. I particularly like this because it opens up the doorway of the dissect.

They the transection of the diaphragm and the so as so he's opening that bottom part of the ribcage in relationship to the lumbar and now he's got even more range of motion. He stays wide here is more available so as a thoracic and then if the bottom ribs into the lumbar, they're kind of the head to the knees one more time and then come on down. Good work then roll on down and let's begin. Arms here at the side. So particularly with with all of the shoulder work that I've had to go through over this last eight months, I had to understand the base of the shoulders are where the the shoulder blades attached to the center of the spine. And so doing this start to play with somebody who has the muscularity and also the ease when he starts to open up. When George opens up, there's an ease to his back. That's extraordinary. You'll see that in a moment.

We can really start to work deeply into the tissue sacrum down. So it drops down here and you peel up to the back of your naval as soon he's wrapping into the Trans versus the serratus. That whole area of back to front. And then head. Go ahead and let this note, let this stay open. Keep the head down. I was just doing a little bit of a stretch there if you can have handle that to show the ways forward here. Yeah, and then head goes here just to see if you can get that stabilized and then two more times and peel down one more time.

Peel up nice and peeled down. He's wrapping more underneath the sternum. I like to use that cue under the sternum wrap under the stern. Now continue to peel up so you peel up all the way. Now pass that midline right there, that middle of the back right there.

Keep this wrapped shoulders wide back wide. His head will stay more stable. I'm looking for this to stay stable and focus of eyes to stay more upright out of the top of the spine. This being the top of the spies we're looking at. From there, regulating the balance of the head to the spine is very nice. Lower belly pulls in and up and then peel down and I like the cheat here could tilt the tailbone up. That's my favorite cue with everybody. Tilt the tailbone up, tilt the tailbone up so your, your s you work to fight for if you will. Fight for that.

That ability to use the front to open the back and you move the back from the awareness of integration, opposing forces from the back to the front, front to the back, all the way down. That is really nice and they use now on a sacred, a little bit more down than a sacrament. And he started earlier today. Now this is one of my favorite things to do with George to open up the the diaphragm area. Peel up as you did before. She was zipping up the front pubis diff crown of your head. And you peel up here, wrapping here, wrapping here.

Yes, opening up the front of the hips for somebody who's anybody who's, who's tied in there. So as tight in the lower back and it gets caught in their head and neck. It's a great way to open it up. Reach arms over your shoulders and then IQ it this way. Pressing down the hands. He's going to tilt the tailbone up towards your for your forehead and peel down there, keeping your legs together very nicely today. So right now between the shoulder blades, widen your shoulder blade, widen, widen, widen the shoulder blades. Yes.

Now you're at the bottom of your shoulder blades. Keep peeling down. Tilt, tilt, tilt. Now you're almost at the bottom of your diaphragm. The bottom rib. There's a top of the so as, so he's getting an immense stretch from me holding his hands down. Cause if I let go, that's where he's going to go. So this allows them, the elastic city of his back to be opened. So we're, we're, we're playing with the Maya right now. He's strong enough is my aphasia. Just has memory and his memory keeps him a little bit more bound and tight. Peel up one more time.

Let's do it with the hands up over the head the whole time. Oops. You just jumped. So begin again. Tilt right there. Use this more, wrap this more. So you're going to tip, tip, tip, tip tip. Yup. Tipping. That's nice. Yeah. So I'm watching the integration of his, his bones, the, my aphasia, the muscle, all of that working. So my eye is I to call myself an aesthetic anatomist. How does it look while he's moving?

That was nice with your head and neck to widen. The shoulder was a little bit more there. That was good. And then peel down, tilt your tailbone up, fight for it. Take some more time. Right between the shoulder blades. Right there. Yep. Even a little bit more time. Tip Up and peel down. So you're right about right about here and your spine peeling down.

Yep. And then here. Nice. So really rating the relationship between the front and the back. Tip Your tailbone up right there. Cause this is now, this is the, I like using the word door or window, the door between the diaphragm and so as the door or window right there. Tilt, tilt, tilt, look at you go today all the way down. And then at least the arms. Yeah, let's come out of that.

So we've been working now through the lumbar through and then I really love to do this with, with hands or feet. Go on the bars here. This also was part of my, my shoulder healing in that what I was able to do was use my traction to help open, open up both me as well as whoever I was working with. I could do this with anybody. So right now allowing the shoulder blades to stay wide, I have to mirror what he's doing. So if he's pulled back here, I can't help him.

If he's open through the back, within the sternum, bend your knees, drop your pubis forward there. And now you're sitting up in your lower back. Now roll down to the back of your sacrum. Back to the sacred pulling back. And as I tell everyone, I just want to look good. So make it look good. Make me look good. Yeah. Yeah. Widen your back. Sacrum down or your lowest rib. Head head. Yep. Looking forward through pass the bar. Yup.

And right there. Tip to the shoulder blades. Arm pull straight down. This is important. This comes from here. So the pulse from here, he doesn't have to get in his neck and shoulders at all. He's using the whole core of his body and he can actually get more power in the arms because his back is wide. His arms are available independent from his shoulder girdle. That's beautiful right there.

One more time and pull now round over around the crown of your head comes towards me. Yep. So your head is going to come between your arms, your arms. Stay in front of your head right there and pulse, Huh? Uh Huh. Eight more. Four three t now, round back, round, back away from me. All of this is coming from this center here. If he controls there, his shoulder girdle is like a halo.

His pelvis is like a halo and his eyes then become the halo of the head. Stay right there. Chin down just a bit. So you, yeah, now linkedin the back of your neck more. Yeah, there you go. Bend the elbows and you row out to the side after the site. So that's a habit. And what I like to see is that this changes, this can stay wide. Then he's not compromising the shovel griddle at all.

He's allowing the head of the humerus to open the back, the head of the humerus open for back. I like that the head of the humerus opens the back. Keep coming up with these ideas of cues. That makes sense to me while I'm touching as well as, well, I'm doing two more last time and then reach the arms straight out and now you're going to roll up. Pulling up from here. Head had had had hits. So that relationship of where the eyes are level to the floor is an important one playing with horizon. So let's do this one more time. The whole series.

So it's the arm pulls in the row. So rollback, I stay level to the floor that will keep your head more regulated. Also. I mean, I'm impressed with sensing self in the world. This is a lot of what I do as a Nia trainer, sensing self in the world. It allows them to see where the client is or see where George's today, eyes light up when the nervous system is active and productive and connected. So now our impulse three more too. So the more he activates here, the more is back to it. Yes, right there. One more. And then round forward crown of the head towards me. Pull away from me right at the bottom of your sternum. Pull away from me. Yep.

Design Xy FOI process. Pull away from me. Pull away from me. Pull away, but beautiful. They're just a pulses. Pull away from me. Okay. The pulse is invite the myofacial to release and then roll down. Well down to the tips of your soul blades. Get your back wide shoulder blades wide, reach your shoulder blades more forward to your fingertips.

Tips of the shoulder blades, we end a little bit more, a little bit more onto the table right there. You'll feel it. Then bend the elbows out to the side after the side and then reach forward rather than pull your shoulders back, pull it, keep them wide. Just that's enough right there. Nice. So I'm looking for control of the arm separate from your arms or not your shoulders that way. Two more bend. Nice. Yeah.

I'd rather see that kind of control cause that's a healthier shoulder girdle than if he compromises his shoulders blank. Pulling back then roll up and tap right sit. Sternum, crown of the head. Yup. Upright sit. And there we are. All right, let's do the side bending. And the tip, this is something that's just evolved for me and understanding how I can keep the shoulder girdle healthy and also get um, get more mobility. Cause I w I'm, I'm not an inpatient kind of guy but I do want results. So hand goes here. So what I like about this is you can pull this, pull this calves into the table. So I suggest, this is my, uh, this is my way of finding it is to actually sit up on the Cadillac like a little kid and then use my shins to pull me into upright sit.

So that's engaging the, so as in a unique way, it allows me to stent more upright out of my lower back y shoulder blades here and goes here and shoulder blade, shoulder blade and [inaudible] without the shoulder going up. We want to just pull the shoulder blade back. Okay. We want to learn to retract. It's not a wrong thing to do but we want to use it with a sensibility to the shoulder girdle. So then it becomes more mobility and stability simultaneously. Two more and one more and there now this arm reaches out straight out from the shoulder here and then the sideband and I like the cue pelvis, chest head sideband so you can reach through this hip stayed down and then coming back up. Pelvis, chest and head and pelvis, chest head. And coming up pelvis, chest head, reaching out to the shoulder girdle here. So the, the tendency is to to protect the shoulders and maybe shrug up. What I love to see is if this is supple, which it is, this is supple.

So this is a stabilizer if all, if anything at all and not the mover, pelvis, chest, head side, pelvis, chest and head and coming up, pelvis, chest and head. This time pelvis, Justin, heaven stay. Now you're going to translocate the chest, the sip stays down and you move the chest out. Head is in relationship to the arm, so it's almost like a sideline. And then return pelvis, chest head. So I'm going to see this expand and this, this is stable, this expanse or come to the side bend. That's as far as we, yeah. Translocate so your translocate over. Yes.

And then return opening this side of your spine there and translocate again tomorrow and then open the side of the spine as you're asking the side bend to get deeper. Arm stays out here and side bend to get deeper back over your hip. Yet this time you're going to tip, so side bend for and then translocate and now you're going to tip lakes together and you're going to tip. Now what I like about this is great for the rotator cuff. His head stays over his arm and then he returns pelvis first, pelvis, first pelvis, then chest, then head, so there's a wave through the spine. So bend first, translocate the chest tip makes together tip onto the side of the rib.

Cage head stays over the arm that's protected. That way he could get a little wider through the shoulder blade. That will happen later. And then pelvis, pelvis here this way. Chest and head, two more times side. Ben, first, translocate and then tip. I love the feeling of that. And then how Elvis' pelvis, pelvis, chest, head left the last one or is there one more?

One more side. Ben wearness of the pelvis and then the chest and then tip. And then this is what I love about this Serita's here. Now he can use that to open this side of the spine and play with an undulation. Allow this to become a much more subtle, being aware of where the silver girl is. Good.

Now we have to reverse it so we get to see the back of you. He's sitting with the same arrangement. We'll go through the the three steps. So what's fun about Georgia shirt is that we can seat now you can watch this midline here. You can't cheat. We'll know if he's sitting crooked, which you are pulled back on the Schanzer [inaudible] so here now. Yup. And shoulder blades. She'll buy pulls back and that open, totally pulled back and open, pull back and open, pull back and open for more.

So I'm looking for the retraction and then the protraction, I'm looking for the shoulder blade to move and allowing those epaulets of the shoulder blades to stay wide. And now he, he has some uh, some issues with shoulders in some circumstances. So we have to be careful sometimes just to be aware that he doesn't have his full range of motion until he stops and slows down a little bit to find it to so stay there. Side Bend, pelvis, pelvis, chest, head and coming up. Pelvis, chest, head, shoulder stays down, terrorists major is rear. Very important for my recovery to realize that this was very important to have that as the base, like the pedestal for the shoulders, from behind and underneath. Pelvis, chest hit and pelvis, chest head, pelvis, chest head. Nice. There you go. And pelvis, chest hits a yawny and the one side shortening, not compressing on the other side. So we want to lift pelvis, chest head and now you move the chest over the hip stays down. Translocate there you go. And then from here you move sideband and then reach out chest and then pull in here and chest and pull in here.

This time chest and now tip to tipping onto the side. The shoulder blade stays wide. And then from here, pelvis first pelvis just had, I love the feeling of that. It just feels like a way for the side. So I've been first. Yup. Chest [inaudible] cause that it's kind of fun to tip over sideways keeping on the side here. Yes. And then pelvis. It's a new initiation different than what we're familiar with when we, we're just doing a standing side bend or a side bend and in other modalities, and this is three I haven't either.

No, this is, this is three. Okay. Three. Yeah, this is three. I love what happens here. The serratus integrating the back to the front. To me that's the, that's the avenue of [inaudible] right there. There you go as it, yeah. When the eyes light up, I know something's connected and then side bend first and translocate the chest onto the side of the ribcage here. This is great for rotator cuff stuff. If it's healthy or if it's, if it's connected enough to the individual so that they can control it rather than be compromised in the neck and shoulders.

I was shocked that I could even do it just two months ago. All right. That's that. Now we go into, oh I forgot we need pads for this guy. You need to straddle the table. Are you okay? Do you want pads? Cause they will magically appear. So what we're playing, playing with as a push. The series that I like to do feet up here first just to do the geometry, so hanging on the bar, I like hanging on the bar. Wider grip here, hang back.

So this part of the sternum is lifting and he's letting himself fall back into his shoulders. What I like about this is that body weight then invites the shoulder blades to widen and then the head is regulated by being at the top of the spine. Eyes reflect the top of the spine, so that's the halo of the head and shoulder girdle as a halo itself with the clavicle and Scapula. And then pelvis is a halo itself at the wings at the top or the fifth bones. We can play with either halo there for them to do. What I'd like to do, this is a little bit more challenging.

It's for him to straddle the table and as easy as he straddles the table, there's the pants there, which allows it to be a little bit more tolerable for somebody who has tight adductors. Yeah, and leaning back now. Yeah. I like this. Teaches people how to do a pull up correctly. Lift the sternum, pull down, push through. So let the sternum pull down, push through. So he wants to stay lifted here, lifted here, push through. Now this range of motion isn't what concerns me.

What does concern me is that the line of the spine is held as inter integrated. So He's working, Huh? This is impressive. Why? And then around to the Putus, so the backstage of why the Trapezius and the Rom boys are stabilizing, stimulating the laugh into the pubis here. So that whole process and then he, he'll eventually go a little lower today. Even with the sternum, more from here, from here with this German, from here, the bottom of the, of the Trapezius, the top of the latitude with the sternum, a different kind of connection. So the backstage wide, now back, flat back, back. That's my favorite. Q flat back, back, and then arms up and flat back forward. So it's a forward hinge. One more challenging in regards to people who are tightness there at doctors.

Widen the back, widen the back, let this spin or what I'm doing is I'm rotating the humerus open so I'm going this way with the head of the humerus. That way it allows this shoulder blade to stay wide. The chest stay lifted with the sternum from here. That's pretty right there. Yes. Head behind the arms. I like it. And then flat backpack. Flat back back. Yes. Pull down. Pursue flat back forward.

Now here we're going to change it flat back forward till here. Now your rounds over do your round, overcrowded the head of the bar round over, kind of the head of the bar. Now push through into flat back. Sorry. He's going to regulate this because this is where it's tight for him. So you might have to come back and you will come back. You will come back with the sternum. Lift the sternum from here, not the neck.

The head can float there and then round back back. So with different levels of flexibility and mobility, joint mobility. People have different range of motion, which is fun to play with cause he's grown immensely with this stability across the back with a sternum, white in the back, pull down, push through. Now let's go round forward, round, fold round. She's going to do the whole pattern round round now and then go into extension.

But the sternum white in the back. Yes, not the head. Remember the head floats it. Yes, with the sternum from here. Now around, back, back from there around backpack onto the ground. Right away. I'll coming from here and then round back forward. Arms up around, back forward. Yes. Round by Ford and a flat back with the sternum.

Widen the back with this turn and widen the back of there. Now round back, back and then run back forward while you're in the round. So there's a deeper contraction here for reflection around through and forward into flat back. And we'll end this series here and go into the next phase. Not the head, not the head. With this tournament stead, it's this turn of the head in relationship to the top of the sternum right there within the new BREEAM. And there that's a little bit softer. Lift the sternum there. Flat back, back lift. Lift, lift. Yup. Now we get to play with sideband and we go into the road saw, so the right arm comes up and he goes into a side bend here.

Nope, I'm [inaudible] here. This is a part of my healing process with the shoulder as well. He wants to spend the on the ball of the humerus here, side bend, side bend. We've been through that already today and then reached through into the Saul. He's looking underneath his armpit, creating a spiral there.

The lower belly pulls in and up. He's wrapping down. I can assist a little bit here with a widening of the shoulder blades and he's going to unwind this. He's going to suspend himself through here, hangs from the shoulder joint and into side bend, side bend, first side bend the [inaudible] come up out of a sideband and hand goes here. So for five years my wife and I went into aerial work putting that into the theater. It taught me much about the shoulder girl and how much ability that we have in the shoulder. Grill. If we treat it carefully, never got hurt in the shoulder. My eye did jam my my clavicle one day when I was hanging in.

Something happened too fast with the sternum and I'm up widen the shoulder blade side bend first, then reached through. Here's the spiral into the saw. Each side is going to be a little different mobility as well as tightness. Of course that just happens and then come out of that and reinvent the side vent, hang from the arm. I love that feeling when you can understand that this is coming from the back of the body. We're not stressing the shoulder group. We're actually using the shoulder go for its design side.

Then in come up to the the extension there and then the arm down with the sternum. Let's do that one more time. Each side arm reaches side bend and let the spiral through. Keep the shoulder down, spiral through into the Saul and then you look under the armpits. You've got the one arm extended, so it really is a nice reach. It's allowing the twist to come through the hole back into the front. Again, that alignment of the pubis. And then around opening the back, the shoulder girdle stays wide. So go these wide, find a side bend return here, keep the arm down, this arm down. Yep.

And then return and then other arm side. Nice. And reach through. Reach through. So your t's here and reach through. Reach soon. Nice. And then into the side bend, Shoulda and I liked that. That was good. Yeah. And then come into extension and then we're going to go the opposite way. I like this line to stay here. Let the sternum wide in the back, this arm up, opposing side bend across the other way. Now he has to pull in from here.

He goes into a contraction. So contract rounding over, let the hand slide across the bar here. We've been here before here we have under the bar here and we've been here before. Now flat back, round, back Slat [inaudible] but the sternum wide in the back and now the other arm opposing side bend and reach through. So the contraction brings you around. The hand comes to the bar, you stabilize the shoulder girdle there, you're in a rounded back and then let's go ahead and bring the flat back back or the round back back and we'll do it one more time to assemble to bring the flat back back. But the sternum wide in the back had goes here. Look at your eyes, widen your back and then opposing side Ben and come around and so the contractions, what brings you around. That's an interesting aspect of this. Understanding where the center of the spine is or a belly pulls in and up and then let the sternum and flat back back. Why back wide back. Nice work. Finding the continuity and the flow. Now, last time contract, that's the power of it right here at the bottom of the sternum.

Find the power in that contraction and then into the extension there. Fly back with the sternum, white in the back, not the head, not the head. Lift the sternum. More here activating. This is so challenging for all of us to understand where the trapezius in the lap come to work in. It's right opposing to the bottom of the sternum, that diaphragmatic rim. That's really an important part of standing upright with a sense of ease with this tournament back of the neck and then flat back back.

And the whole reason I got to platas was that I wanted him to be able to come back to a stable central spine and then I could go into character more dramatically. It allowed me then to understand how to use my body more specifically. Go ahead and sit up out of that. So, and the balance of what we've done today, what I realized is that George needs a little bit more extension specifically cause he loves to bend his back. A lot of that is his demand and is what he does with Yoga. Also. He just likes the feeling and you'll see how severe or how far we can go with this in a very safe way because we both have a relationship of trust with each other and it's kind of fun to watch that happen.

So here sitting up on your sits bones. Yup. Lower belly pulls it up, widen your shoulder blades with all the touch cues that I'm learning here. I'm using my body as a receiver so I can tell when he's dropped his sternum. So if you lift this sternum, widens his back, lifts his sternum, widen his back wraps from here, the bottom of the sternum. Now round back pubis. Keep rounding back. Take your whole spine back. Take your whole spine back. So now he's on the sacrum and then come up.

Lengthen shoulders down, lift the sternum, drop your Chin a bit, widen it back more. Yup. Lengthen up and roll back to the sacrum. Hello away from me. Pull away from me. Pull away from yes and then come up one more time and round back sacrum to the arc. Now roll down to the lowest rib. So now you're the top of the, so as the bottom of the diaphragm and roll up again. Round back. Sacred first pull away from me. And then to the lowest rib, shoulder down, shoulder, down, shoulder, down, shoulder, down the shoulder. Down the shoulder, down. So it'd be your, your left shoulder. Yeah. Your left shoulder. Yeah. That left shoulder. Yeah. Yeah. And now roll up, lift your sternum through your arms wide, wide, wide, wide roadway. Yeah. And then roll back sacrum all the way. All the way to lowest room. All the way. Keep your head, head, head, head. Yep. Float your eyes level to the floor.

Tips of the shoulder blades. And then from there roll-up all come and comes from here. Then you're gonna open up the back of your back. Both widen chin, Chin, Chin, Chin. Float your head, widen in back with your sternum. Lift your sternum, widen your back there. Thank you. And then roll down sacred. Say Chrome to lowest rib tips off the shoulder blades. And then play with that here on pulse.

[inaudible] so I stay level to the floor. So take out the tension of your neck and shoulders. Four more and three and two and one. And now roll up with the sternum. Widen the back. Vass knife. Now let's do it with a stick and we're going to further over.

Same thing. Now I can use this resistance just different. So he has to integrate that on his own with the sternum. Widen your back. Yes. And Roll on back. Say from good. Oh, this is nice. And then lowest rib. Yep. Tips of the shoulder blades. Keep winding your back. Reach your shoulders. Forward Shoulder.

They start your hands hands towards me and then roll on back there. You're going to go over the arc. Coupa stays down and I guide the pubis to stay down here. So the sis bones are in the crevice. Widen your back. Now from here, keep your chest open, back, open, and take your arms through alongside the ears. You want your head to be in front of your arms. So we rotate the humerus there.

And now rounding over four and three. Keep the back wide and two and one so the head belongs there so you're not stressing. Now you close the shoulder blades a little bit. You want to open them instead? Widen here, widen here and I'll go over a few more. Yup. Chin down please. For pubis and chance. So this is my favorite cue with him. If you have a Stan chest opening. So I use pressure here to allow him, I'm letting him control this. He's the responsible for this.

I'm just guiding him to how far he can sustain this kind of extension. And then lift your arms up, get your shoulder blades forward, and then rolling up from here. Head, head, head, head. Nice and rolling on up. Lower belly pulls in and up. Drop the pubis into the wealth, sits bones, move, get you showing off. And then rolling back one more time. Let's go see if we can go a little further. And from the feet, widen the back arms to ears toward this is best. And then widen your back. Widen it back. Yeah, he gets out of his neck right away. If he winds his back. And then let yourself go over for space between the shoulder blades. Three here, drop the pubis into the well. I love this cute pulse. The pubis into the, well, it's like a massage with the lower back.

There's allowing the myofacial to release four, three, two 50 stays. Why didn't shoulderblades he's protecting his neck and shoulders widen and then go back four breasts and three and two. And one good. And then arms come up. Yeah. And then roll up from the bottom of the sternum. Widen your back right there.

Reach forward. Nice. Reach forward. And then keep rolling up here. So you're lifting your sternum, widening your back, dropping your pubis forward. Now you are showing off. All right, that fat. Okay, let's just go ahead and set up the other thing. Okay, so this is our show off zone. This is our show of zone for George.

He learned to do this. We, we spent a few months just progressing. What does it like to play with the magician? Cause this is really about leverage and it said it's a little bit aerial in some ways. This keeping the feet on attached to the earth. What I learned so strongly in the Ariel is that when we lose track of where the ground is, where the floor is, where connection of our feet are to the earth, we have to rely on other apparatus in our body to connect with surface. This is a surface.

My son is a glider pilot and I watch him deal with the surface of the air. So this is the surface and he can play with this more so he can lift his legs up and he's going to, he's going to go into magician on his own. So I don't know why I'm here. So it's this, and then he's going to peel down. Tip The tailbone up, tip the tailbone up so you integrate the spine. Otherwise you're just levering. So bring your legs here.

This is the steps I wanted to take with him. So I'm going to press into my legs. NPL Up. Peel up. Nope, that's just a boost. PLR pull up. Pull up there. Yeah. Now you're gonna bring your hips up over your shoulders. Would I love if he can do this? Keeping his leg straight up and he's going to peel down space between your shoulder blades. Widen your shoulders forward. Yep. And then he's on his own.

Things going to reach out with his legs as he comes down to the sacrum. Reach out with your legs. Touch down here now. Boof steps. So the difference between bat and boost. Yes. Now hips up. I'm going to have you go back and show the Po cause that's really a nice piece that you do. Leg Straight up, widen your back. So the leverage is coming intents for the upper body but it's teaching them that this is reliant on our connection. It's coming from here and recent lays out.

Now do the peel up that I like when you say yes, it takes more time. There's go back down a bit because right there is what I want everybody to work on. I want to work on this myself. So peel up, peel up bottom rib right there. Now wrap more intensely underneath this drum. Yes, you just opened the door and then hips up, hips up over the shoulders. Lift your chin off your chest. Now reach out. Go ahead and reach out. Reach out. And I'm here in case you need it.

You've got the springs as well and they're going to get rid of the springs. Now this is where George gets to show off with his lever. So bend your knees. Let's take the springs off. Could I answer sticky stickies? Bring your feet up on my thighs. Yup. And then go ahead and plank up. Higher and higher.

Yes. Now peel down, keep your legs straight up. All of this is coming from here. This is when we understood that his legs are controlled from here. His back is controlled from here, everything started to change. Now do you want to do the single leg boosts that you do? Yes. All right, so bend one knee, that's not what you do. Yes. Yeah, and then here he goes on his own. So now I just get to observe and see if he's connected and hooked up rapid trans versus ribcage and when you're ready and peeling up, this is something to do at the end of the routine or early in the routine.

Either way, if you've got a strong person at the end, if you've got a, somebody who's getting stronger at the beginning would be best. And I love this, so I just like to spot just so he knows I'm here now. That is complete show off. He's never done that before ever. All right, one more. Leave it alone. That's true. All right. Falling out of the sky for weeks before that happens. And when you're ready. Yup.

What I'd like to do is just stay in relationship with him so that I understand. First of all, I'm going through the same process, even though I'm not doing the magician, and then into the extension here, which is great opportunity for me to learn how to be with that. That opening of the hips, hips up a little bit more would be great. Hips up a little bit more and as you just come down. Alright.

Session on the Cadillac. [inaudible].


Yeong Cheol C
1 person likes this.
Thank you!
2 people like this.
wow - I am very impressed!! So, that is how Pilates can look with a very skilled and strong student! I definitely liked the cues that you give, Ken, and the intensity and insistency with which you follow your goal. I will watch this many times to really understand. It would be great to see you work with a "normal" client, to see how you would cue then! Maybe you could do a workshop on Shoulder?! (I tried, but I could`nt do the tipping over in the side bend on the push-through-bar..)
Like always at pilatesanytime, I took great advantage by viewing, thank you!
1 person likes this.
Silke . . . thank you for noticing the details. I love your enthusiasm about the teaching and learning. I learn with every student and inside every session.
2 people like this.
Couldn't tell if this was a tutorial on how to teach or a class.
2 people like this.
Finally you are here again !!!!!
We need a regular male teacher and I vote for you to be the one ,
Tomorrow I will try your lesson at the studio I saw many new things . Grazie m
Pele . . . thank you for noticing both: when I am teaching I am in communication with my student in the way that you see and hear. My technique and method is student-centered so that the student is self-engaged through the teaching.
Monica . . . thank you. Have fun with the lesson; my intention is to include some progression and advancement through each segment that integrates with the segment before and after.
1 person likes this.
That was simply wonderful!!
Vicente Diaz De Leon
Bravo ! Bravo ! Bravo !
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