Class #866

Wunda Chair Workout

60 min - Class
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Join Elizabeth Larkam in this "Combo chair extravaganza." With her wonderful speaking voice and subtle humor, Elizabeth guides us through a series of exercises with variations and the attention to detail you'd expect from this masterful teacher. As her commentary instructs us in the set-up and performance of the moves, she is at the same time giving us wonderful little nuggets of anatomical information which add so much to the exercise and our overall knowledge of our bodies in Pilates.
Note: The split pedal is used throughout until the very last exercise when the dowel and handles are added for some final standing exercises.
What You'll Need: Wunda Chair, Wunda Chair Handles, Moon Box

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Transcript

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Welcome to Palladio's anytime. I'm Elizabeth Larkam delighted to be here with you for this Combo Chair Extravaganza. In this, in this sequence of exercises, we'll be accessing a lot of different myofascial meridians. Those of you who've been keeping up with the um, literature on Fascia may be familiar with the book by Thomas Myers, Anatomy trains, mild fashion Meridians, or perhaps you've been familiar with the articles by Dr Robert [inaudible]. You'll find his articles on fashion oriented training on the website, Fascia fitness dot d. In the meantime, join me for this series of moves on the Combo Chair. You'll start with the heel of your hand in the plaintiff's scaption just in front of the separation from the pedals. Now your other foot will be, your foot will be back behind you, creating a long diagonal so that you can rock from the heel, from the sole of your toes towards the heel of your hand.

Now first you hold on underneath your ribs and look down at the chair handle and then bring your hand to the top of the shoulder, reminding your shoulder to come down away from your neck, away from your ears. Then you bring your palm to the top of your head and aiming your elbow up to the ceiling and aiming your elbow beyond the top of your head. Encouraging a little bit more length to the lateral top lateral line each time. And then finally reaching long, taking the longest possible arc from the sole of your big toe out through the little finger side of the heel of your hand and add to that rotation so you're inside bending rotation with a modicum of extension. Come all the way up.

Take the longest possible arc spin around and the new side of the weights. Here you are with your knee over the front of the chair and your other foot towards the back. Now this hand initially is in the plane of scaption. That's safer for your shoulder in terms of the alignment and the strength of the muscles here pressing, minimizing your risk compression. Hold on. Underneath your ribs, a reminder that your shoulder blade comes down to your ribs and then bring your hand to the top of your shoulder, reminding your shoulder to be out of your neck and out of your ear. Bring your palm to the top of your head, aiming your Bentel bow long across the room.

Something else I didn't add before is you could have the idea that your poem is covering your ear so long as you don't bring your head up. And then reaching long, the longest possible arc, a home along your whole lateral line and adding a little bit of spiral, a little of rotation up to the ceiling. Reach out and come all the way up. Spin around now and position yourself for the side, uh, side action of single leg press. Now when you're here, you'll Nessel your heel, the front of your heel at the edge of the pedal so that when you push the pedal down, the entire sole of your foot is in contact with the pedal. Meanwhile, this foot really should have a floor to stand on.

So if you just happened to have a small box, a moon box, you could put your foot on that and if you don't have one, then make it up and put your foot on some other platform. Now bring your sitting bone. In this case it's my right sitting bone just off the edge of the um, box seat so that both sides of the waist or long inhale to press down. Mm, you're familiar with that sound of the chair spring all speak up so you can hear my queuing. Inhale to press. Exhale to come up. You can have your palms, your hands on the chair top, or you can have your palms on your thighs.

I remind them that you steer your knee over your second toe. Now change your foot to parallel position. So now the three toes are in contact with the top of the of the foot pedal and your sitting bone is off the edge. Inhale to press down. Specifically inhale wide too. In my case, the right lung inhale to the side of the leg that's pressing and that will help to counter balance the oppositional force, which is so common here. It's very important to have your chest bone, the maneuver IOM directly above your pubic bone, not offset in lateral translation or rotation. Now spin around to the new side, adjusting your box as she'd like.

Here you are with the CEO of your foot aligned on the top of the chair pedal and your sitting bones slightly off the edge. Inhale to press. At first you can steady yourself with your hands on the chair top. Otherwise place your palm on your thigh. A reminder that you are steering your knee over your second toe and that you can feel as though as you push the pedal down, you can feel the tone in the area of the Vastus Medialis, which is an area that could use some stability. For most of us, particularly me with knee abnormalities. Now change the parallel so that the souls of your first three toes are in contact with the chair pedal.

Sitting bone is off the edge initially. Have your heel in contact with the back of the pedal. Otherwise you can let your heel come off a little bit. Inhale to press down, exhale to come up. Inhaling, depressed and viewed from the back.

I hope I trust that the t 12 is directly above as to maintaining your central axis alignment. As you push down, you have the idea that your femur internally rotates just a little bit. Now alternating between the lower extremity exercises and upper extremity spin around again and this time we'll we will revisit the length for the lateral line. Placing the heel of your hand this time at the back of the pedal. Remember previously it was in the plane of scaption and now the heel of your hand is at the back of the pedal. Just move the box out of the way so that your foot can be back for a length along with the front line cradle, your side of your ribs. Inhale to press down. Exhale to come up.

Inhale, fanning, open the ceiling side of your ribs. Bring your hand to the top of the shoulder, and this time you can rock a little further because it's the second time that you're creating length for the lateral line. Bring your palm to the top of your head. If it's more comfortable for your neck, by all means look down towards your hand, or you could move your gaze straight ahead at eye level. Oh, and bring your palm as if your palm could cover your ear. Don't bring your ear to your palm. Bring your palm to your ear. Now reach long, a long graceful arc from the sole of your foot out through your fingers.

Inhaling, turning towards the ceiling. As you press the pedal down, take the longest dark spin around. Now the new side awaits your knee is over. The front edge, your hand over the back of the chair pedal. You could even put the heel of your hand, that knots between the Thien, our eminence and the Hypothenar Eminence. Aha.

Put that over the corner of the chair. Inhale to rock. Exhale to come in each time coaxing a little bit more length of the ceiling side of yourself and a little bit more stability of your arm and your shoulder palm on the top of your head, aiming your bent elbow far across the room, covering your ear or having the intention of covering it with your hand. Press your shoulder blade wide on your rib and turn up towards the ceiling. Come on up. Now we're back to the feet and lower leg action.

This time planter Dorsey flection, so you'll have your shin or the bottom of your knee, the top of your Shin or the patellar tendon to be precise. Right over the corner of the chair. By all means, use a towel or a non-skid mat to cushion your knee there if you'd like, and the souls of your toes and your metatarsal heads are in contact with the chair pedal. Now initially you have your hands on the chair top and this is quickly down and slowly up so it is quick, slow, slow, slow. Keep control of your ankle by steering the front of your ankle directly forward over your second toe. Not over the little toe side of your foot. This is also known as Stilettos and flats in my studio and everybody wears them.

All right, so pressing into plantar flection for stilettos and slowly into Dorsey flection. One, two, three, four. You will access more of the intrinsic muscles of your feet and have more control over your ankles. When you press the soles of your toes into the chair pedal, even as you lower your heel and the pedal comes up more East centric control the news side of weights. Now you would place your supporting foot so your big toe is directly centered with the between the chair pedals and then make sure that your metatarsal heads and the souls of your toes are on the chair pedal. Initially you have a forward lean from your heel out through the top of your head, steering your ankle directly forward over your second toes and after six or so of those, bring yourself to vertical level your pelvis by aiming your sitting bone towards the opposite ankle bone. Quick, slow, slow, slow.

All the metatarsal heads pressed down, particularly the first three toes, not mistaking this four roll into the little toe side of your foot. Don't do that. Instead, finesse your ankle alignment onward to the next event, which no surprise to you has to deal with the arms and the shoulder girdle. So we'll be in the sideline, um, leg, uh, sideline work now and for that you'll have the heel of your hand just forward of the separation between the pedals and align yourself so that your arm is perpendicular to the ground. Now at first you'll have your hand on the front of the chair in order to help stabilize yourself here. If you had a third hand, it would be underneath your ribs, pressing your shoulder blade down and wide away from your neck. Inhale to come up, exhale to come down.

Inhale to fill up the long that's towards the floor. Inhale to come up. Now if all is going reasonably well, you could place your palm, your hand underneath your ribs, reminding this area to lift up. And if everything's going fine, slide your hand along your thigh. Inhale to come up, exhale to come down. And furthermore, while you're there, slide your hand along your thigh.

You can have your gaze directly forward with your face or you can turn your headache and eyes to look down towards your hand each time coming up a little bit higher without sacrificing the position of your shoulder spin around. Now the new side is ready, so the heel of your hand just in front of the chair, pedal of the crease between the chair pedals and position yourself so that your upper, your arm is perpendicular to the ground. Now this shoulder [inaudible] not up towards your ear, but press it down out of your neck and press broad between your shoulder blades. Inhale to come up, exhale to come down. Press the soles of your feet as if you are pressing your feet into the wall.

As a matter of fact, if you would like to press your feet into the wall, go right ahead. It would be an excellent idea to help give you another anchor, another ground force, another point of stability. Every time that you change the direction of your head, that requires a recalibration of your balance. So if you prefer to keep your gaze down at your hand, that will make it a little bit easier for you. Initially. Slide your fingers along your top thigh towards your heel.

Inhaling, without sacrificing the shoulder stability, come up a little bit high or reaching your hand towards your foot as your foot eludes your hand. He see now come down from that and spin around back to your leg. Work. This time we'll take stilettos and flats seated to the side so you will have your leg and external rotation with the sole of your toes and your metatarsal heads in contact with the chair pedal. Angle your foot so that your heel that you avoid pressing into the spring.

All right, so that just takes a little finessing there to avoid the spring. Now as before, you could have your hands on the front of the saddle or very soon have your palm on your thigh. Remember your Femur, your knee will stay steady, your thigh bone and your knee. They stay steady. Inhale, stilettos. Exhaling, lowering down to flats. Inhale stilettos and on down into earth shoe mode. Quick, slow, slow, slow.

Keep your central axis here. The tendency will be to go quick, slow, slow. So that would be a good dance. But we're not doing that to write down quick, slow, slow, slow, quick knee. Stay steady as your foot comes up, spin around and we'll feel how the new site is with this different, no doubt, because everybody's sides, particularly mine, are really different. One sitting bone off the edge and here we go. Quick, slow, slow, slow, stable at your hip joint. Fairly steady at your knee joint. But don't be fooled. There's plenty of work to be done on the quadriceps, the superficial front line, the deep front line. Quick, slow, slow, slow.

Steer your sitting bone. Drop it straight down to the ground. Don't let the force of the pedal hike your hip up. Oh No, not that quick. Slow, slow, and once more here, slow. Slow, slow. Now it's time for more arm work and this time it will be round, right? One of the abdominal and arm exercises with the heels of your hands. Over the corners of the chair.

So your feet will be in a small v [inaudible] v no less and the heels of your hands. We'll go over the corners of the chair. Now my preference in this computer, age of laptop, neck and computer shoulders. My preference is to do this with a neutral pelvis neutral spine on the way to an anterior pelvic tilt and spine extension. And that means inhaling sacrum aims up to the ceiling almost as if your sitting bones could aim to the ceiling. Exhale, hover down, but don't touch the chair. Bottom. Inhale to hover.

Exhaling down. Keep the back of your neck long. So aim your gaze down towards the floor, just a few inches in front of the chair. Hover all the way up and then come down after four or so. More. A few like land the chair pedals and bring your hands on the corners closer to you.

Drawing your bent elbows towards your hip bones towards the points, the Asi as Anterior Superior Iliac spine. Inhale to hover. Exhale to come down. Now it's um, I think better for your standing and sitting posture to facilitate this motion of your spine. I'll exaggerate rather than this motion. However, when your sacrum Leeds, there's a tendency for thoracic fluxion. Do your best to override that. And now bring where hands to opposite corners. Inhale to hover, exhale to come down to end three and four. Come all the way down the new diagonal.

Surely it will be a little bit different from the first one up and down here you are pressing your hands down and it's as if you could draw your wrists towards each other. That will give you more proximal control of ribs connecting to pelvis. Now both hands will come to the same side. So here you have lateral flection of the thoracic spine and a great deal of loading of, in my case, the abdominals on the left side, which I could use a lot more. Loading over there for obvious reasons.

Land the chair pedals and come up to the new side. So best you can take this s m lateral flection or side bending of the thoracic spine intending to aim both sitting bones, uh, directly back and you're very well prepared for lateral flection. Remember the side bending that you already practiced. Now it's time for a fo head headstand as in a false headstand. F They u x the top of your head will not touch the chair top.

Instead, your fingers are interlaced, you aim your bent elbows towards the chair, the chair corners, and here we go. Look, inhaling back of your neck long look towards your knees. Exhale to lower. Inhale to hover. Exhale to lower broad between your shoulder blades, drawing your sitting bones up the ceiling and come all the way down. Land the chair puddles. Come on up from here now and have a seat on the chair top. Now sitting on the chair top, you are going to have the front of your heels in contact with the chair pedals.

You might ask yourself, what is wrong with this picture? How an earth is it going to be possible for most people interested in this program to sit up on their sitting bones while their knees are, their hip joints are in so much fluction. Well, it would be preferable to have a sitting box. So if you have this moon box or sitting box, then put it on top of the chair and make sure it's stable. Climber, board and Wallah provided you have the proper height, the you can now perch on your sitting bones with a neutral pelvis neutral spine as she pressed the pedal down. So for those of you who are thinking, but I don't have one of those boxes, that's all right. I'll do it as if I didn't. I just wanted to give you the option. So here you are with the front of your heel over the curve of the pedal so that when you push the pedal down, the entire sole of your heel is anchored on the pedal.

Now when you bring, um, the pedal up, rock forward towards the front edge of your sitting bones, here we go. Inhale to press, exhale to come up, inhale to press. Exhale to come up three. And as you do this, steer your ribs directly on top of your pelvis. The tendency will be to lean over this way or lean over that way.

Neither is preferable. Other side, inhale to press. Exhale to come up each time. Have the intention of rocking towards the front edge of your sitting bones. And that will help to keep your pelvis aligned in neutral, uh, not an anterior pelvic tilt, but in neutral. Two more here. Inhale, depress. Mm. Meanwhile, back at the neck. Lengthen it too. Alright, change now to the souls of your toes and the balls of your feet.

So here you are with the souls of your toes, the metatarsal heads, and per chai on your sitting bones. Now this is going to be keeping your ankle in a neutral position. Press down on one foot. The tendency might be to let your ankle come forward, but that decreases the work required for ankle stability and strength of the quads. So do your best. She said to keep your ankle fairly steady. Um, the same degree of Dorsey flection, the same degree of Plantar flection as you press from your hip joint down through the second first metatarsal. The other side is next inhale, depress.

The reason that I suggest inhalation on the press down is excalation usually drives a posterior pelvic tilt and spine flection and we don't need to be there now. Instead, it would be preferable to use inhalation to encourage the uplifting of the thoracic spine in the direction of extension, not on the front of the ship, just on top of your pelvis. Alternate sides. Now pressing and come up. Inhaling sending your knee forward. Exhale. Inhale to send your knee forward. Exhale to sit. A little taller. Inhale to sit a little taller on both sitting bones.

So the light from the top of your head goes towards the ceiling. Still connecting your abdominal seatbelt around your middle. It's time now for parts two and three of the abdominal and arm exercises. And for that you'll have your side to the chair. So with your side to the chair, the leg closest to the chair stance on the back peddle, making certain that your first three toes have affirmed grip on the top facing of that pedal. Then your hands come over the front, in this case, the corners of the chair that are in front of me and front side of me and then plus the other pedal down.

So here you are prepared for your um, Egyptian extravaganza. Mm. It's maybe politically incorrect. Let's just say you're on the side of a Grecian urn. That doesn't work either with the world economy. I'm so sorry. Anyway, you're in parallel and my usual jokes don't apply in this Arab spring times. Draw your shoulders down and aim your pelvis up to the ceiling. So all toes and all fingers are aiming in the same direction.

At the same time, hover your pelvis and remember the back of your neck is long, so don't look forward. That won't help matters. Keep the back of your neck long by looking down. Press anchor the pedals now and use your back hand and move it one notch to the side. In my case to the left. Now, although your feet are still aiming straight ahead, the spine has to accommodate the different position of your arm. So this is a bit of lateral flection or side bending and aim your gaze towards the a. If you have wheels on your chair, you'll aim your gaze towards the wheels, land the pedals and bring your front hand to the new notch. You can see that we are taking a thorough trip around the chair, sacrum leading up to the ceiling without bringing your shoulders into your ears.

The plot thickens. Bring this hand to the back pedal. So here we are all toes straight ahead. And how fortunate that you've been focusing on the length of the side of your ribs because now the left, in my case, the left abdominals are very active and the right lung has a lot of room to move to the right side. Finally, or not finally, but we're almost getting there. Bring your hands to the back. So this is even more side bending and turning your pelvis around the head of your femur.

We're going to decrease the pressure just a little bit by having the hands on the chair closest to you. And as you prepare, draw your shoulders down first. Then having stabilize your shoulder girdle. Hover your feet. And finally it's the FOA headstand. So the top of your head towards the floor.

Now she's still in this side, bending with flection. This time, sitting bones up and coming down. Now on the dismount, careful on the dismissal. Take your front foot off the pedal, stand your ground and take your back foot off the pedal. Half a day later we're ready for the new side.

So stand with your new side to the pedal and press your foot. Your leg closest to the chair. Press us on the back pedal and the leg in the front. Press on the front of the other, the outside leg, the one that's left. Exactly. Um, presses the front pedal down onward. Here we go.

The sequence is familiar to you from the first side, but the execution, you can always count on the fact that each new side is different. Steady your shoulders. Inhaling sacred slides up to the ceiling. Sitting bones glide up the wall, back of your neck, long front of your abdominals, Nessel to your spine. Land the pedal. Here we go. Now the light from your chest bone is aiming towards the free corner of the chair. Three and four.

Change the new hand to the new corner. Up and sneaking up into side bending. Appreciating all the different vet or many of the different vectors of connection of the arm lines into the torso to end [inaudible] three and as the second side wears on never enough reminders to have your shoulders at broad. Your shoulder blades nestling down towards the bottom of your rib wall. Now both hands will be on the corners closer to you.

Backing up from a little bit of that extreme side bending. Then land the pedals. Place your forearms on the chair top. Interlace your fingers. The light from the top of your head. Aims down to the chair. Look back towards your abdominals. Pull them up to the ceiling. Been there, done that over it. Moving on, AC coming up from here.

Now we're going up. Back to the seated version here in which you have the soles of your toes and the balls of your feet on the chair pedals and it's time again forced to let owes and flats. This time in this orientation, quick, slow, slow, slow other side, quick, slow, slow, slow. So you alternate. Inhale, perching high on the front of your sitting bones and keeping very good control on the descent of your heel. It's particularly the count of two. That's when you should slow down wick, slow, slow, slow and quick. Slow both feet at the same time. Stand your ground with your spawn. Slow, slow.

There'll be a tendency here to help yourself out by pressing your ribs forward. Don't do that even though at at home, do your best to keep your maneuver BREEAM directly above your pubic bone and t 12 directly above s two so finesse your central axis without a post. Steer your pelvic tilt. The front of your ankles presses forward over your second hose. One more of those easy now on the dismount from that, so it's time for some work for prone prone spine extension and prong rotation for that. It's time for me to change the chair, uh, springs because I don't have quite enough strength to keep the chair springs in the current location. So I'm going to bring the, um, spring from the top notch where it's been for the exercises up to this point and bring it down two notches to the third cactus, uh, leaf from the top.

So important here to see, use the springs that are optimal for your, uh, risks, elbows and shoulders. So when you position yourself on your front position yourself so that your shoulders are directly above the heels of your hands, your arms perpendicular to the ground, broad across your shoulder blades, um, that will be depending on your torso length and your arm length, that will be different for each person. Um, meaning the position of your pelvis and ribs with respect to the chair top will be different for each person's different proportions. So make sure that your shoulders are directly above your hands. The reason for this is there will be a preferred, a transfer of force from the springs to the chair, pedal to the heel of your hand through the bones of your arms right into the side of your ribs. If you were too far back off the chair pedals, then the arc of these springs drives right into upper trapezius and we've been there, done that. We're over it. Moving on and not practicing that anymore, at least right this moment. Okay, so hover your spine parallel to the ground.

For those of you whose arms are considerably longer than mine and your torso longer, if it's helpful to build up the chair top so your hands, the pedals don't bottom out, by all means do that. Now we'll start with legs fairly wide apart. Maybe feed our shoulder with the part to decrease the amount of compression at your sacrum, shall we? We shall. Inhale to hover. Hover your chest bone more than your chin. Here's what I mean by that. The tendency for everybody to think, oh, I'm going into spine extension. Oh, just lead with my chin.

And then all that does is make the thoracic flection enhanced. Hmm. So rather than that, it's the light from the top of your head that glides up the wall towards where the ceiling meets the wall. And now you have thoracic extension without cervical hyperextension. A real plus in this computer driven world. Okay, inhaling, taking the longest possible arc from the top of your head towards the souls of your feet. Now change your legs into internal rotation. So pigeon toe your thighs. Inhaling, buckle up your abdominal seatbelt, drawing your lowest front ribs into your spine.

Exhale to come down. Inhaling wide between your shoulder blades, filling up the back, the sides of your ribs, the sides of your lungs. Now externally rotate heels can be close together at the midline. Pressing the heels of your hands down onto the pedals and drawing the heels of your hands towards the inside of the chair so there's a pressure towards the chair. And that will help to stabilize your shoulders. Now as you come up, lift and reach long with your left leg.

So left hip extension, reach long and hover. Exhale to come down, right hip extension, reach long and to come down alternate sides. Inhaling, keeping the chair pedal steady even though you're lifting your left foot a little bit high or inhale to reach a little longer. Exhale to come down. Inhale to reach, exhale to come down. And if all is going reasonably well, the last variation here will be to lift the both like so hip extension and spine extension. The tendency here might be to leave your ribs behind. Don't do that. Have your ribs, be the advanced team, your lowest front ribs.

Draw up to your spine and come down. You can have the idea that as your spine comes towards the ceiling, your hands delay a little bit. The heels of the hands press down on the pedals as you come forward and up. Now enough already of weight on the heels of your hands come off of this and it's time for standing at the chair. So bring your pet, your chair spring all the way up to the heavier notch. And of course you know that you're not only welcome, but encouraged and invited to always set the chair springs where it's optimal for you.

Many of you will prefer to use springs that are heavier than I'm using now. I'm doing our best to minimize the spring changes so you can focus on the moves rather than wrangling springs. All right, now you'll be standing in front of the chair facing the chair with your big toe lined up with this, with the space between the pedals and pressing your heel, the front of your heel on the top of the pedal. Exhale to press down. Inhale to come up, steering your sitting bone towards your opposite ankle bone, approximately six of these refining your central axis, the usual suspects, maneuver IOM in line with your pubis, et cetera. Now you could spice it up a little bit and hover onto the souls of your toes. However your heel off the ground and time this chair pedals so that as you push the pedal down, you rise a little bit further into planter flection on the ball of the supporting foot. Easy. Now the new side of weights, place your foot in the center and then your heel will go just over the top of the chair pedal.

Do a test run there to make certain that you have your heel, just exactly where you like it to press down on the s on the chair pedal. Here we go. Finessing your pelvic alignment in the new uh, on the new leg now and drawing your inner thigh towards the center and up. So this pelvis sits down, aims down, and this side draws up. Creating a leg to stand on high on your femur head. I also like to suggest inhale to press down.

Exhale to return. Inhale, depressed down. Prepare to hover your heel and your forces. Now inhale to press high on your Femur head drawing your inner thigh towards the center line. Inhale to press. Exhale to come down. Each time the pedal comes down, you stand. Whoa. A little bit higher. Righto.

Yes. And come down from that. All right. Although that is my difficult side, I was distracted by pedestrian traffic. Okay. Now it's time for a rotation in prone. So having had a taste of more standing work to come, you'll adjust the chair springs so that you can be on your front again with the heels of your hands wide apart, creating the optimal transfer of force from the spring to the pedal to the heel of your hand to your arm. Now hovering your the pedals off the chair. This is going to be rotation in my case. Turning to my left, pressing the right palm down, turning the lower ribs, middle ribs, upper ribs, head, neck and eyes and bending this left elbow in order to turn a little bit more and while you're there, lift up.

Lengthen your right leg and hover it into hip extension. Exhale to come down. Let's do that again. Turning to the new side as the penalty sins. First of all, you keep your elbows straight and then as you continue the rotation, bend your elbow and hover into hip extension. Keeping your, in my case, the left ear is listening towards the floor. Exhale to come down. Inhale to reach long and hover and suspend.

Exhale to come down. Inhale to rotate. Turning the lower ribs, middle ribs, upper ribs, head, neck, and eyes. See the ceiling above you. Next variation, keeping your gaze and your nose towards the ground. So rather than turning your cervical spine, turning your ribs, turning your lungs, and keep your gaze towards the ground. Inhale to turn.

Exhale to return. Inhale to turn and return. Inhale to turn. Now turning your ribs, shoulders, head, neck, and eyes to the, you know, turning your ribs and shoulders to the right. Turn your head, neck, and eyes to the left so it's as if my right ear could turn to listen to the ground. Exhale to come down. Turning the ribs in my case to the left, turning the head, neck and eyes to the right. Lift long and huffer, starting with the low ribs to term and then head-neck and eyes turns opposite. Shoulders gliding down away from your neck and ears. One more of these reach long and hover.

Lowest Front ribs and shoulder girdle. All organized here and come down from this. Come right off the chair now and relocate your springs to the legwork setting. Okay. You'll be facing the chair. I gain.

No, you'll have your side to the chair and this time your heel will be near the back of the chair, but a little distance away you see the closer you stand to the chair, the more this exercise is going to put you on a tight rope. And if your audition with Cirque de Solei is this month, then well you should stand right here on the tight rope. If, however your agent has arranged for your audition to be a few months from now, go ahead. Give yourself a wider base so that you can be more comfortable with the two sides opposing each other. As you inhale, land the pedal exhale to come up. You are already well prepared for this because you practice this foot position. When you were sitting with your side to the chair, you may remember that aiming your sitting bone towards the opposite ankle bone and finessing your maneuver IOM ARIDE above your pubic bone.

Now the angle of force from the pedal is such that you need to create a force of ad duction. So drawing your thigh towards the midline, it's as view. It is as if easy for me to say you could draw the two thighs towards each other. Now as a pedal presses down, hover onto the ball of your foot, stand your ground with the sole of your big toe. And each time the pedal presses down, you can live to your standing heel a little bit higher, rising above it all, maybe just being in the middle of it. Now the new side of weights so you can determine exactly where you'd like to place your supporting foot. And here we go.

Aiming steering your sitting bone to the opposite ankle. Inhale to press down to n long at both sides of your waist. Both legs are active towards the midline and up right along the front of your spine, right out through the top of your head. Um, we have the talking chair [inaudible] that happens sometimes with the springs hover year. He'll stand your ground. Inhaling, drawing your thighs towards each other.

And two more and come down from [inaudible] here. Now it's time to cross over the midline, so you'll be standing with your supporting foot directly in line with your big toe lined up with the center of the pedals and this time you'll cross your foot towards the ball of your foot. Cross it over. The tendency will be to turn your pelvis as well. Oh No, not that. And the bones of your pelvis straight ahead. So your Asi es are aiming directly forward and aim your sitting bone down as she pushed down. Exhale to lower. Inhale to come up.

Exhale to lower broad between your shoulder blades. Two more of these if we're keeping account of six. Here's where the work starts. Now if all is going reasonably well, hover your heel. This one a little bit trickier in terms of balancing the opposing forces from your hip joints through your legs, connecting the souls of your feet towards your pelvis and to your spine.

Yeah, that was a little lack of control. Change to the new side. Now, now with your new foot in the middle of the pedal, you can appreciate that. I'm being fairly conservative here in terms of the range of motion crossing the midline. I'm assuming that your audition was up to Solay is not next week. Okay. Otherwise we'd be doing something else, which I'll show you in [inaudible] a moment. Two more to practice here just in case you would like to have more challenge.

Of course you can increase the distance between your feet so that you would have your big toe in line with the edge of the chair and cross the other thought way on over the midline. That will provide [inaudible] a lot more demands on your lateral pelvic stabilizers and of your supporting leg. Okay. Just so that you have options. Now we'll take the side to the chair. Crossing over the midline will be near the edge of the chair and your new foot crosses over. Now a reminder that your first three toes need to be in contact with the top of the chair. As you press the pedal down, the shape of the pedal is going to be such that it rolls you to the little toe side of the foot, but keep stand your ground here by pressing your first three toes down on the chair top and stay level.

Drawing your inner thigh towards the midline. I'll change these to four here. You can keep your heel on the ground or stand up crossing the midline drawing. In this case, the right [inaudible] draws back as you stand a little higher. Change to the new sign crossing over steering your pelvis in.

First you draw your inner thigh towards the midline and then you press down from your sitting bone first. Prepare your standing leg and then move accordingly. Certainly it's time for some upper body work, so you decrease the chair pedal. The chair spring. In my case, it's two notches down and it's time for the diagonal pushups, so nestling the heel of your hand over the corner of the chair. You'll start with your knees on the ground and keeping your shoulder girdle level with respect to the ground, press down with your hand.

Inhale to press. Exhale to come up, making sure that the light from your chest bone is between your thumbs. If you're too far back, there goes the neighborhood. If you're too far forward, too much risk compression, so be in the just right goldilocks zone. Now if all is going reasonably well, Tuck your toes under and now you have this plank situation, pressing the soles of your toes into the floor and avoid the tendency to rotate your pelvis instead. Keep your front functional line. In this case, the diagonal of the right hand towards the left inner thigh and the new side will be similar but different. Here you are on the diagonal knees anchored. Inhale to come up.

X Hail to press down. It's as if you had a hand on the side of your ribs and this hand on the side of your ribs mirrors, uh, or is similar to has a relationship with the palm that you're pressing down here so that you press your hand from the side of your ribs, not the top of your shoulder. Tuck your toes under and inhale to come up. Exhale to come down or exhale for East centric control. Inhale down. Exhale, inhale or inhale wide.

Exhaling for more abdominal control as you return. Finally, now we'll finish with the standing moves lunching to stand on the chair top. We're going to take a little moment now to set up the equipment and that will involve putting the dowel into the pedals and installing the handles. So I'll be right back. Welcome back. Now we're going to put the doubt into the chair pedals like so. As you know, you connect the two pills with this single dowel, then it's handle time. Each chair, each brand chair may have a little different handle engineering. In this case, you slide the handle in pulling out on this knob and be sure that you settle the knob and screw it in with the handle in its highest position other side. Now, okay, now you have two steady handles that we'll be there for you when you'd like to finesse your balance for lunching to stand on the chair top.

One other point to make, which is that this goes in the, what's wrong with this picture category? Let's just say that you're going to lunge to stand on the chair top with this foot on the chair top. And you can see at this moment that the hip joint is way below the knee joint, that there's much more hip flection and knee fluction, which will put a great deal of force of compressive force on the kneecap. You can see it better on the other side, excuse me, maybe. Um, there's going to be a lot more compressive force when the pelvis moves forward and oh, there will be less compressive force on your knee cap if you place a false floor, a floor underneath the pedal. So for example, you could position the box so that the box will stop the descent of the pedal. And here you are in, I'm near optimal biomechanics I suppose with the hip joint closer to the level of the knee.

If we were to decrease knee compression further than we would put a little bit higher platform just to know that that is an option for, you know, standing down on one foot, the other foot comes forward. Why don't I just use a side? You can see this will bring the sole of the toes all the way forward so the entire footprint is on the chair top. Now here's the trajectory come forward initially, so move forward from the sole of your foot forward, transferring your pelvis closer to the base of support and come all the way up and then hover down. Create this diagonal, a bit of a forward lean so that your pelvis will come closer to the base of support which is in the frontier. Granted your back foot is providing some stability of course up and down and end up in. Now land the pedal and change to the new side. In my case, I'm putting the foot just to the outside of the crease between the the space between the pedals, aiming your sitting bone towards your opposite ankle bone.

Come forward and hover up and down and yeah, it will be preferable when you hover to keep your hip joint above the level of your knee joint. That will decrease the amount of knee compression and still give you some strength building options. Now having done this exercise in parallel, external rotation is your next event. You could have the foot on the pedal in a bit of external rotation and the sole the toes towards the corner of the chair so that when you come forward you steer your knee over your third toe and hover down. Inhale to lift, exhale to cover to hover down to and oh three and forehead by all means increase the repetitions that you do in your practice.

My intention is to give you a lot of different, a lot of different options and more educational material so that when you practice your increase number of repetitions, you have a more to think about, more mind body connection and more accuracy in terms of your biomechanics. Okay, time off here with care because they remember there's a lot of kick in those springs. Now you're going to change to the new side for support and this will be with your side to the chair. Press down on the chair pedal initially will be in parallel. So the foot that's on the top of the chair, those toes are aiming straight ahead and you've certainly been in parallel before, twice by the way, a twice additional in the program before now, four and two more, five and still steering your sitting bones. Careful on the dismount. Come off of here, stand on the ground and let the pedal up with a lot of care. Oftentimes in terms of safety, it's the transitions that can, uh, where uh, mistakes are made. So be thoughtful, as thoughtful with your transitions as you are with your exercises.

As you inhale, transfer your weight. In this case, the pelvis is transferring on the diagonal forward towards the foot that's standing up on the chair, two and three and four. And drawing the inner thighs towards each other and up along the front of the spine. Easy on the dismount and climb off of that. So much more to do with this chair. But that'll do us for now. Thank you so much for joining me and I'll look forward to being with you again soon on PyLadies anytime. Bye now.

Comments

What a great workout! Love the split pedal. Using the box under the pedals for the step ups worked so well for me. Thank you!
1 person likes this.
Love all of it !
Merci Elizabeth !
Innovative lift ! Amazing!
Hey to everybody! I'm just doing this amazing class and my question is: how the shoulder blades during the Swan rotation? Retraction ? Thks
Ciao Elisabeth ci vediamo a Venezia !
Loved it! Thanks!
Absolutely wonderful-- and I love your sense of humor:)
Thank you so much!
Another awesome class Elizabeth! Thank you!
Love this class !! Thank You :)
yep, great sense of humor.... Im going to use "its handle time" with a little MC move ;)
Watching it for the 3d time and...turne green on me again..I know you were able to fix it on the last lesson.

Thanks.
Ileana~ I am afraid that this problem does not seem to be on our end as the video played through fine for me just now. I would suggest, as I did last time, switching between the video quality settings (Auto-Detect usually works best) and restarting your computer. Please email contact@pilatesanytime.com if you continue having problems.
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