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Workshop #3982

Amplifying Movement

2 hr - Workshop
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Description

Join Madeline Black and James D'Silva in their workshop, Amplifying Movement Through the Joints and the Tissues, where they explore new movements on the Reformer and Cadillac. They use the principles of the traditional Pilates repertoire and then infused archetypal shapes like curves, leans, arches, bends, and undulations. James also uses verbal and tactile cues to show how important these can be to give feedback to the tissues.

Objectives

- Learn new variations of traditional movements that will help bring elasticity back into the body

- Learn how the placement of the ribs can have a huge impact on alignment and execution of a movement

- See the possibilities for how you can use the Reformer and the Trapeze on the Cadillac so that you can promote change in movement quality

What You'll Need: Cadillac, Reformer, Rotating Discs, Standing Platform , Knee Pad (2)

About This Video

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Jan 12, 2020
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Transcript

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Chapter 1

Introduction

Hello, I'm Madeline black and I'm James D'Silva. And we're going to present a workshop titled amplifying movement through the joints and the tissues. And we chose the reformer and the Cadillac and we chose the reformer because we're very familiar with the reformer, but this movement is going to be quite different for you and the Cadillac for the trapeze, which is an underused piece of the Cadillac. In fact, in our classic repertory, we only have about five or six movements that we do with the Cadillac. And many people don't even bother using it. So we have explored and have come up with some delicious movement for you.

That's right. But we're going to start with the reform and the reformer, or can we moved away from the classical repertoire? Uh, yes. We've used all the plotters, uh, principles, the principles that are universal, yet we've kind of mixed and mash them up using all those wonderful archetypal shapes. We've used curves, liens, bends, sideburns, arches, undulations, and, and we've come up with what I could only call a challenging workout and calm, calm, kind of wait to take you through it, Marvin. You ready? Ready. Great.

Chapter 2

Reformer Exercises

So Madeline, let's get you rolling down. Start from the crown of the head, rolling all the way down to the spine. Your hands reached the edge of the trolley to stop there for a moment. It's got a nice rounded back.

Now start from the pelvis as you start releasing through the sponsor pelvis. Reach out. Then lean forward. Stay forward side curling from the tailbone, the lower the middle, the upper the head. Then rock back onto yourself. So start from the pelvis, unraveled through the spine into the arms. Hang back, then lean out into the movement. Beautiful. Start cutting back from the tail one. Keep the arms pushing away. As you do so, create lots of space in the spine. Rock back and adding on.

Keep a curve stuck in the curve and then pushing that move into your downward doggy. Wonderful. Lift the head. Lift the chest, trying to keep reaching out for the trolley. Now again, from the ribs into the back. Lenten. Align the head stop there. Start cutting back. Tailbone, lower middle, upper head. Then rock back. Wonderful. And again on your own. Out. Lengthen. Pull back from the arms. Lift the head, lift the chest again, the sternum reaching. I keep wishing I cannot resist with the arms as you want to pull back. Resist, resist, resist, resist. Fantastic. Good.

Now into a twist out towards the windows. Left-hand underwrite hand. Start in the car, back against some madness. Stop down. Beautiful. Then as the ribs express themselves out of the side, reach out. Brilliant. Lean a little further. Wonderful. Lift the hand of the chest. Reach out from the left ribs rural. Grow, grow, grow, grow, grow, grow, nothing of the left foot pulling your back, the left foot, the left ribs and left hip and the head sultans back. And again, just stay on your center for the one twist. Lift the head, lift the chest and that extra twist. Good. Curling back around. Can we do that one more time please?

[inaudible] reaching out that twist. Lift the head. Lift the chest and left. Ribs more than left. Scapula two is Oh wonderful. Good. Go back. Same thing, but this time move off. Center. Lengthen and twist. To move out. Stay off center. Lift the heart, lift the chest and move that extra evening. Stretch off the rips. Now stop that pulled back to my left outer foot. Left hip, left ribs and callback. Wonderful. Good. And again, lean into me. Lift the head. Lift the chest again.

More space on the left. Ribs. Got out, out, out, out, out, out, out. Now use the side of the left foot. Left hip, left ribs. Call back. Wonderful. Good change sides. Southern coffers. God. See on center, pushing out. Reach out. Reach out, twist. And if the heart, lift the chest and right floating ribs, reach you out. Pull back in the right foot, the right hip, the right ribs. Excellent. Ah, on your center. Good. Lift the heart of the chest. And again, we EGR girl. Lovely. Oh back.

Now move off center, go move to the foot. And then side bend, twist. Lift the heart. Lift the chest and push up. Now stop that a little bit more. Out of the right trips, right trips. Good cold back in the center. I'm killing you a little bit. That's all right. One more time. Got lean. Lead, lead, lift the heart.

Lift the chest and push up. And I'm really pulling and pushing. I'm getting a little bit more out of the right ribs out here. Pull back down and center through color. [inaudible] okay, wonderful. Translation to the ribs up there. Good rifle tone. And start by just rolling the head down towards the knee.

Place your hands right at the edge. Spend a moment of really leaning your lower back into my hand. So push away with a little back. Good. Now start stretching the right leg out slowly for a stretch lever. Then move with the trolley. Keep that right him back. Then the writing.

Lift the heart. Lift the chest. Beautiful. Send the trolley out. Stop that for a moment. Now resist with the arms and start pulling herself back from the back heel. Create lots of space, often a kidney area. Open up and open. Tuck the tailbone under gut and again, pushing up through the arms and the foot.

Stop. Lift the heart, lift the chest, send that pubic bone further forward. Good reaching out through the arms softener. Really resisted the right and a little bit more. Pull that right her back. [inaudible] and then come back. Keeping that land keeping or within the back. One last one for men out. Lift the head, lift the chest.

Beautiful. Good. And think of the foot and reach. Stop there for a moment. Can you create a lot more space in the mid thoracic spine? But as you come back, lean your backup to the ceiling. Lean it up, clean it up, bring it up. And then as you bend the knee, roll up through the spine, find your standing like that was brilliant. Good. The other side. Excellent.

Take a moment to stretch that front leg out first and God. And as you go with the movement, think of that left hip pulling back in the left hip. Got good. Keep going, keep going, keep going. Keep going. Good and bend. And if the heart, lift the chest and push back out again. Stop you for a moment. Ready? Symbol, symbol, the hips. As you pull back, keep that lens out of the left hip. Good. Try and create more space and they have a bachelor round through as much as possible. Here we got our breath and in breath breathing out. Reach, push away, resist and come back. Can we do a form last time please?

An outbreath good. And in breath and God ready. Lean into it. Good. Resist, resist. Resist. Do you see a nice shift that she made over there? That was brilliant. Excellent. Good. Rolling up center. Bend the knee.

Good and forward. How did that feel? Great. Good, good, good. Let's, let's carry on. Let's come on please. Again, move. That was a wreck. A spring to start with first. Yep. Now we're moving to a, to a blue spring. Yep. Uh, and we're going to go into the kneeling sequence. Yes. So they said don't let it just tighten up the screws to the side and Madeline, start facing the camera first. Yeah. So we use on a sticky mat for you.

Just so that I'm sorry. Line yourself. Okay. So before we do anything Madam, just clasp your hands out in front of you. Yep. And pull the fingers away from each other. Now as you do so, feel the scapula on the back of widen. Brilliant key. That sense of pulling. Place the hands behind the head. Create a hammock for the back of the head, yet the armpits come around to hug someone, so the elbows and your peripheral view and lie the scapular down and run. Beautiful.

Now hinge back in its position and you're start opening the knees out slowly. Good and to come back. Think of the right doctor, the right letter Cantor pulling to the pubic symphysis and lifting up from the left side. Born. Here we go. Breathing in to move out and drawing. Working through the abductor, but again, lifting up from the sit bone. Good. Again, breathing in and breathing out. Now another little task. Keep going up one more time through. Then breathing in. Translate the movement from the adapter into the ribs as well.

So come up through the left ribs as well. There you go. Brilliant. Sorry. My love. I'm making you work hard, but that's all right. Nothing you're not used to and breathing out. I've got to pull back, pull back [inaudible] brilliant. Move into a tilt side tilt and then use the hip, the ribs, the armpit and the side of the face to come back. And again, reaching out side Ben adductor glue and rolled through the ribs to come back to center. Brilliant anagen side again, working leg roll. Come back to center.

Last one's remover and a doctor. Ribs and center adding on. So we're going to go to the leftist stance. Breathing RT, move out, push the trolley away. Good. Add a twist to that deep into a twist and as you move back into the side, then push the trolley out a little further and then ribs come back to center. That was brilliant.

One last one through an side you got push said deeply rooted wrong. Then as you move back again out of the side, cam you deep and Kenyon deep and can even now as you work through ribs, arms, field, left side of your face, grow into it. Granted, grow into it. Excellent hands on your face. Big breath and breathing out. Move forward into an arch. Go, go, go. That's soft and done. Lean back into the tail. What did you put your trolley out a little further then called draw everything back up in towards you. And again, breathing. I've got lean, lean, lean, lean, lean, lean, lean. Stop that for a moment.

Push that out a little further as you call from the tier one cold, cold coat. Excellent. Roll back. One last one through and out. A car. Lean back, pull back into the side ribs as you sent a reverse it diver. Head down. Lean back into those backers. I keep diving. Diving, Davina. Give a try that. Push out a little further as you lengthen out to the sternum.

Excellent. And back again. One last one guys. This is quite tough. Yes, she's really working very hard over here. How lift up. Lift up. Lift up. Lift up. Excellent. Good. Sorry, I love both hands on one. Have one on, yeah, on on the carriage and one on the side. Now these ones, Madeline's going to start. Do this slowly manifests you leaning back into your car. Yes. As you push out, you lean forward and you arch and really move over the sit arch and widen a little bit more with the arms. Excellent. Now stretch the arms up tall. First call the tail one under Kiva trolley though, keep talking about [inaudible]. Now resistance your right arm as a writer.

He wants to pull the trolley back and lean back in the curve. That's it. Breathing in, move forward in the arch. Excellent and stretch the arms called the tier one under, around the back of is this with the right arm. Pull the right leg and lift higher, higher, higher into the kidney. Air. Last one. Breathing and breathing our arms back.

Tailbone resist. Come back, come back, come back, come back. Come back more. The right side, the left thigh. That's both of them. That side moment. That's one hand. One hand, you're going to start the same. Ilene intermediate. Madeline, think of pulling the hands and leaning in towards me. Now it's the hip, the right hip that translates first. Moving to the right ribs and pushing the trolley or where's the arms start? Reaching away. Softened down now as the head that close in towards you. First.

Open up the back, moving to the side groups, moving the backrooms and pull the trolley in towards you and lean back and hips. Ribs as that spiraling, undulating movement that takes you out and it's the head calling towards you and that recoiling action that brings you back. One more please Martin. This is really beautiful and ribs, arms head and start reversing it with the head under Paul and lean. Let's go to the other side guys. You get to see all this on the other side and notice Madeline's back because it's a treat. Yes. So clasp hands.

Wonderful widening of the scapular as she places her hands back again. That all cunning through some really kind of thinking that scattered widening and then wrapping to hug around. Okay. Lean back a little bit and she opens out and as she a ducks in, she grows through her right sit bone. But she translates the way this has becomes a standing leg. She gets onto her standing there. That's really important.

She pushes out and uh, ducting growing and then moving. Get yourself understanding that really important. You got one last time, good pulling through. Excellent. Let's add the side bent. So move out with the carriage. Now think of the hip and the ribs drawing you back hip. And the ribs and then placing the scapular back around the ribs and the other way around. Moving through. And as you come back, grow, grow from the rib and then let them place back.

They found themselves back again. She wanted to say it again. Okay. And pulling through, roll through and the gladness and the last side and breathing in and coming back. Hip ribs scaffold. So there's a real connection through each joint. Now let's add the sideband. Move into a twist.

Now what I will really want Matt to do is try and open these back ribs at the left ones. Those are the ones I really wanting to move into. Then she closes them back into open the left ones and then she pulls herself back and centers. Excellent. Whoa. That was a hard one. I'm sorry. My love. I kept it there for a long time and again, side and good. And then she rounds and she curves these ones open and as she comes back, that right of the shoulder blade. Now use this up and find the side reps. Excellent.

Let's go. Hands on our thighs. Train this target. And here we go. Lean forward, move out into an Archer, deep, deep, deep, deep, deep, deep stop. Push the carriage out to curl and then round in towards you. Excellent. And again, going out to arch and curling. Tilburn lower middle. Excellent. Draw the keratin. Let's reverse it.

And I'm the head down. Move out, down, forward through, move even further with the sternum. Ah, has you draw the kerogen one last one through and I take your time down deep and dive head down and then lift forward arch and bring yourself back in. Fantastic. Do that one more time and let's, let's not break the back of the neck. I'm sorry. Get a little pedantic. Okay. Sorry Madeline giving you a bit of a hard time and I stopped there with the head. Think of the sternum reaching up. I keep the back ribs up and backwards. Open backwards, up and back. Rubs up and back. Rubs up and good. And so think of it. Rib cage is a cage. Don't close it behind to kind of go.

Yes. It still says it's what the scapular do behind that really dictates the wonderful kind of opening of the chest. Now bring your knees in together. The left goes to meet Greta, right? Good. And this is our mermaid sequence. Have your, but yeah, actually Madden. I'm sorry. Go back to that last position. We're going to go into opening the knees and the heart. That's that wonderful sense of open the character.

I have one hand out over here and the other hand on the frame. Lean back into a curve. Good. Now I'm going to come from behind it. I'm just going to give her that a little bit of a lean into me. So she gets a deeper running of the mid thoracic spine. Now as you go out and push out, lift through the heart, lift the chest, lean over the edge, precariously over the edge. Thank you.

Now stretch those arms out. First car from the tail one. Reach up to these apps [inaudible] more and then as you can't resist with this arm, resist, resist, resist. Excellent breathing in. Arms to go out. Lean over the edge. Bend. Stop that for a moment. Stretch those arms off first. No resists with the left arm as the left side draws and keep deepening your curve. Keep deepening your cup to keep deepening. Keep deeping. Excellent. Two more. Breathing into garden, a smooth and a tout stretch curve.

Round the back and draw it back to center. Last one through and breathing in. Bend. Go out. Tall. Stretch. Call over the kidney area. Open. Open, open, open. Yeah. Excellent. Very good. All right. Now the mummy. Okay, so we've gone out, man. Just wait for a moment.

I just wanna explain to them what we've, we've, we've opened out the heart and we kind of moved across and you curl and now it's this whole twisting and undulating. Yes. To move back out again. So we're really working the spine in as many ways as possible on the side bends and all that wonderful work done. So she leans back again in towards me. Lean towards me now starting with the hip, moving in to the waist. The ribs end as a shoulders move out. Marin drops from that hip. Now comes respiring of the head. Those ribs coming around.

Whisk coming around, hips coming around and then you lean back. Good. And again, hip ribs, shoulders moving. That's quite prolific. Thank you. Under back and come back last one through and I can put you on a coin mirror. There we go. Brilliant. Um, head ribs, waist, pelvis and brilliant. Well done. Now. That was quite a difficult set. Yup.

Let's get you around and let's move into side splits. I'm not unless have one, uh, one. Yeah. Make yourself as comfortable for your knees. Yeah. Dead placing one year across, yet sideways foot on. And we're going to start the here. So the heels, resi one, the front of the heel to do the pushing. Yeah, Marlin, go back up again. Find your standing leg. So yeah, what would rather have the hands behind the head got to do? So let's just start with gently just pushing out. Keep on your Lexis.

Then you lean into that. You want to lean fat, hip and bend the right knee in towards you. Got anagen pushing out good and center and pushing out. Yeah. As don't go with the moon almost. Yeah. Almost relate away from it. And again, one on one last time through, um, [inaudible] now move with it. Go. I think I was sitting back onto you, but take your back ribs with you. I mean the first one, a smaller one and go ahead and then come back up again. Good. And center. Good. Um, yeah, we got pushing on first few.

I'm going to take a little bit of time getting used to good. Push back up again. The center. Place your hands behind your head because I'm going to help you with your hands at clasp your hands and again up. And that's it. That's better. That's better. That's better. Stop where you think you can go to now stop that to come back. These ribs, move into them. Those ribs bring you back to center Ben. Excellent.

And again, push out and soften. All of this is so much better. And again those ribs translate. Yeah, but don't overdo it. You don't let the shoulder go though. So capitalist is well kind of presented around the cage.

Stop there. Yes. And an excellent. Excellent. Excellent. Excellent. Huh? The other side. Get this around through. So the idea is that Madden moves back over her seat. Yes, she doesn't kind of stay forward out of her ribs and it's quite difficult, but not impossible. You, here we go. Hands class behind the head and that's a great back. See, I want another limb to move over her leg. Can you see that? Yeah. That's what everyone's tendency is to be other.

That's it. No. So get onto your leg. Move the ribs over. Drop the Hagen and bend that left knee into what? Good. Here we go. Just plan pushing, pushing out and breathing them. Bring me back into wards you've got, I'm breathing out. Good. That's it. And breathing in. Now Madeline, lean your back into mule up. There you go. Push out.

That'd be a good way to kind of make a feel that she supported and bend the knee back into wards. You've got Sakib and bend the knee back into what you've got now, man. Push out. Good. And go with the move and go. I said, just slide up. Good. Now see how she's trapped? She's taken her, her ribs out with her. I don't want to do that. Keep on your center.

Pulled back and bend the knee in towards you. Brilliant. And again for shout and go down with you. I've got you. I've got you. I've got you. Good. And bring your right ribs back. Yes. That's what you want to work on. So that's a normal kind of era we all kind of partake in.

Push back out again last time through and go out tall, tall, tall. Keep. Keep it right. Ribs back. Keep it right. Ribs on this one. Yeah. Yeah. That, that, that, that, that, that's it. And so much easier. You see? Ah, hallelujah. Here we go. One more time. Madden's got so it's getting it back. Push it back out. Keep the ribs over your leg. Good. Oh, that's it. Better. Better, better now use the thigh, the ribs up.

Okay. Much better. Okay. Yeah. So it's, it's that sense of, I, you can't leave your ribs behind to come up here. You gotta take your ribs of your leg, move the head with your ribs as well. Yep. Great. Let's go into our lunge and say one mile to stand up tall. Good. Okay. I'm just going to tighten it here.

Wonderful. Good. So blue spring over here. Yeah. And I'm going to place the ball of the foot right at the edge of the mountain. Yeah. Good. You feel comfortable? Good. Okay. Now that wonderful sense of wrapping and you feel strong that I'm going to start sending the right leg out and away from you and you're just going to move into a lunch. Now mix your knee lengthens back over the heel. Good. And then you bring everything back up on your center. Good. Stand up tall.

Wonderful. And again, reach out tall. Good. And pull yourself up and all just the way she, she actually moves forward from her pubic bone and yeah, she's really directing the movement forward beautifully. And again, push out. Talk good Madeline, stay there and bend the right knee into in and push out for three and push out for too good and push out for one. Come back on your standing leg up, up, up, up, up, up, up, up. Excellent and brilliant chain sides. God.

Now Madden, I'm going to add a little bit of a thought of, yeah. Okay. So start the leg going up. Forget about bending Leslie. So just, it feels a little bit more precarious now going to bending that right knee, sir. So you keep the knee over the heel so you don't take the knee forward into the bend before you come up. Nub, ring, sit up out of the hip, bring yourself over like you're getting off the check. Does it make sense? Yeah. So send the leg out behind you first, then hinge from the knee into the hip. That's brilliant. Yeah, and as you come up, use that force of the pelvis. Push nuts. Don't come forward. Sit up. Yeah, that was great. One more time.

Breathing in. That was good. Good, good, good, good. I'm pushing you in different ways. Sorry, my love there. No, keep the knee where it is and set up and that's the feeling. Excellent. One last one. Throw and push out. Push up, push up, push up. That's it. Keep going. Stop there. The three policies have been in towards you. Push out for three and push her for two. Brilliant.

See how strong that [inaudible] really kind of, Oh, now from the puffs up. Brilliant. You've got it. I'm throwing it into the deeper hand. Sorry. She doesn't know what's coming next, which is great. Madeline. You're doing so well. Good. Now let's move into this wonderful sense of hinges. Yes.

So send the leg out behind you and as you got hinge from the waist in, good. I'm pushing you. I'm sorry my darling. I'm good. And then come back up again. It can be a little brutal at times. Sorry. And again, pushing out, grow, grow, grow, grow, grow. Oh, look at that. Wonderful. And then come back up again. Use the back ribs. Yeah. One last time. Through out, forward and on.

Establish the position. Now bend the right knee in towards you and you push away for three. Push away for two, but we'll wait. If I want to stop there. There's sometimes you bend the right and curl. Move into the kidney area. Then you've got foot, knee, hip, ribs, back, col, foot, knee, hip, ribs. You're really working through, articulating through the joints, reaching out stub there. Come up tall. Excellent.

Good chain sides. Hmm. Stop there for a moment. Gather yourself good breathing. Go good. And you come back up again. Okay. So remember, don't send the knee forward. Send the leg away first. Now move. That's better. So there are two ways of doing it and I prefer the second way.

It's gonna keep you safer with your knee out and backwards. But with knee issues, and I've had a few of those in my time, this is a good way of kind of prepping it back. Push out, stop there. Then the knee in towards you and you push away for three and you push away for two and you push away for one stop there curling rounds. So the back and out flat and flood curl and God and everything up in one piece. Well done. Bring arms up. Just shake your legs out a little bit.

Good for the twist. Uh, all right. Again, there's nothing to it unless you actually have a preparation. Let's place your foot out over there. Just gently prepare. Now in a twist. You actually want to work around your center. Does it? So in a twist think, well, I'm going to ask ma Madeline to think of her writer ribs coming around her right waist coming around but her left hip and a left inner thigh working against this, this action. So that's the feeling. Good. And then come back to center one more time. So as she moves her waist, her ribs and the side of the face rub the other leg works in opposition.

The side of the wa waist works in opposition. Now let's go for the whole movement. Push out tall, push out and twist and bend at the same time. Try not to hinge though. Try and keep it tall. So push the trolley away. I'm here. Good, excellent. And then you come back up again. Find that I'm Raveling motion. Good. And again, breathing art, work from the waist. I'm good. Dig in deeper and deeper and deeper and deeper and deeper and deeper and deep and good and come back up again.

I felt that a little bit that he did at the end. There was excellent one last time through. None of the cameras caught it, but I felt and that's all that matters. Yeah, we got pushed down. Good, good, good. Got got, got, got, got, got. Deepen into it. Deep lid. Bend the right knee in towards you. I'm being horrible. And push out for three good. And push out for two and push out for one good and coming up tall.

Bravo. My love. Bravo. Good. Chain side's good. Yeah, we go first. Let's kind of get that wonderful sense of twisting. Twist. I'm actually holding her leg back, holding it, holding it, holding and good. And then working through these muscles are working like crazy and again, pushing down the left arm but around ma, ma, ma, ma, ma, ma ma. Yes. Excellent. Thank you. Now we go.

Sorry my already I'm pushing back and saw that twisting action started. Go, go. Push the trolley away. Bush the wig. God. Wonderful, wonderful God. Um, and come back up again to center and again breathing. I'm just going to slightly keep pushing over the leg, but the leg where the leg with the leg, where the leg with the leg. But I've got you. I've got you. I know I'm pushing it, but what I want you, I want you to move a little bit more into this hip. I'm sorry Madeline. Yeah, so that's one of the reasons why so don't close and that's it. And again, pushing down. Okay, I want to grab you from the, from the elbow.

You go, you go. So don't lean to the side. Stay on the leg. Move more to the out outside the right. There you go. But push up, push up, push up, push up, push up, push up. Good. Bend the knee in towards you and bend the left knee and pushing out one. Go ahead and pushing out your debt to last. Run through and pushing out. Three. Good. And then come back.

I'm sorry. I thought that was a tough one. So what I was trying to get Madeline to do over there was as she was twisting, she was moving into the hip and as as she twisted, I wanted her to actually feel the outside edge of the foot, the thighs, there was more space. She could get more space on the ribs. This way she was closing in in the hip socket. Yeah, that was the reason why I'm sorry. All right, now let's move into our footwork. This is going to be fun. So we're going to move on to two and a half as well to red Springs and a blue spring to start with. Let me just play this out.

Now I'd really like you to pay attention to the footwork cause I w I use it quite differently and lock this as well. No second. Okay, cut back. Now let's talk about our stance. Yeah. Okay. It's quite important that we assemble ourselves properly on, on, on the carriage. So for me, the sacrum, what I call the bra line, which is the back of the diaphragm and the back of the head. Really, these are the wide spaces on the carriage. So you want to widen them as much as possible.

The tailbone drops and anchors down, so there's always, okay. I'm quite familiar with my lovely Madeline, so I place my hand on a pubic bone. Madela pivot one lengthens down into the tailbone. So there's that wonderful sense of drop of the tailbone. Yes. The second is still wide.

I always talk about the heart dropping between the shoulder blades. Yeah, so the heart just softens and sinks back. Now to get that wonderful sense of the fanning out of the scapular. What our asked managed to do is gently draw arms down, but then that the elbows very slowly widen the scapula. It's just that fanning out that's so small. Just the elbows suffering and opening ARD and keeping them the softening of the draw. Yeah.

We're going to wrap the weights on the front of the heels and she's just wrapping her toes around to start with, just to get that wonderful sense of think of this as a branch and she purchased it on this branch and hit the feet wraparound. Now push the trolley away by five inches. This is always going to be our starting position. The trolley away by five inches. And she bounces down towards the edge to go.

And each time she comes she wraps her towards her four and five. Stop there for a moment. Now push up and start relaxing the toes. Good. Then toes, ball, heel flex, let the heels drop towards the edge. Bore point towards you, wrap around. And then you come back down, bend the knees and soften and relax the toes. And as you push a wrap, toes, ball, heel, flex, widen and opening. I'm really open the sides of her feet out as well.

And she calls under, she bends the knees and she comes down and out and flex. That would be the rhythm and down and out and flex and push and down and out and flex. And uh, and uh, and let's add, I just want you to think about also the motions of the carriage. Now push back out again. Now as you push out, just don't think of stopping at your thighs. If you continue the movement in the back of the back and the back of the head. So you lean into the carriage. Yes.

As she flexes her fee, tours what? She widens and leans back even more ballpoint. She softens the heart now without moving the character's small. Bend the knees soft in your back and drop the tailbone down and then you come back. So there's a lot happening in, in one kind of action. One cycle back and forth. Yeah. So Ashley goes foot back of the back, back of the head. That's it. Drop the heels ballpoint again.

Move into the back of the head, soften the carriage as you bend the knees and then come back down and through. Brilliant. We're going to move the sides of the feet. Now notice. Okay, so it's literally on your sides out. Yup. So you want it open laterally all the way to the joints. After you're opening up, push the carriage away by five inches. And again, her knees, a parallel coming down, one and two and three and four and five. Push out, keeping that wonderful sense of openness and the sight of feet and come back down again. Good. And again, reaching us out and back again. Good. And move the size of the feet.

Move out. Yes. Sorry. And come back down again. And last one through out. Can you drop, keep dropping the tail and keep dropping the tail. That's the idea. And then come back down again. Excellent. On the balls of the feet. Lift the heels up. Good. Now drop a bit. Purely one drops into the tailbone. Good. Push the character we by five inches.

Good at start the pulsing down. Good. So for a moment, every time you pass down, feel the heart ready. You kind of dropped the up, drop it in the shoulder blades and that also another thing is I tell people, placing a little Buddha on the shelf of your low belly. Yes. Did I put on the shot? So as you breathe out and you draw the tummy into it, you keep drawing a little Buddha deep done donut and pop out and drop and fall into a thousand pieces. Yes. So little Buddha, the shelf of your lower belly. Tailbone, anchoring down.

Hard dropping down because there's so many things to think about. I'm sorry Madeline. But this is what we really want to think of. And as you push up again, reach all the way out. Good. Now wrap your toes around you to drop the heels, drop them completely drip and ballpoint. Reach out. Good. And bend the knees and come back down again. Fantastic. And again, out-breath.

Drop the heels, flex ballpoint. This is notice us toes and come back down again. One last one through an pushing out. The tourists can see soft and relaxed yet now wrap them around and got down ballpoint. Reach up now in the prancing actually Benz, her writing, yes, she pulls with her right foot and she pushes wrapping around. So it's this action and she changes and pull. Push her.

This one pulls against the bar and changing and good. It's quite backlight as the hanging from the tree tops upset. Is that kind of pulling through the feet under and under. Now what I'd like her to do, because I can see a hips moving a little bit, is Ashley drops the hip tokens, dropping her left, move into her left ribs. Yeah, that she pushes up. Now she comes on. It's just moving to your right or it's opened up.

You earn the right to have someone there up a left ribs. Nicely opening now. Now [inaudible] take your time. Moving to the right troops. There you go. And left her because that's her standing leg. She has to move into her standing leg. Yeah, and down. Brilliant reps. [inaudible] thank you. And got pushed back up against stop there.

As you bend the knees, start peeling the pelvis off and roll up into her a bridge. Good. And then roll through the heart. Roll down and let them away. Now I don't have a problem with the headdress being here because I know, I know metal is body. That tends to be a little kind of has a tendency to being kyphotic. No certain aspects. So I allowed it to be, that's what you can grow into it into her [inaudible] now you have to play with this with your clients. Yes.

I'm quite happy to keep it then if I want to keep it there for first it reminds her she moves into a pelvic tilt. She enrolls through the spine and she lengthens away. And first the public tilt and a small bend of the knees. And that lifts you up. Now I want to see that dropping. Drop to the hut, huh? Yeah. The dropping reaches you out. And again, breathing in ven and the breathing. I drop you out. Last one through breathing and bent up.

Stop there. Roll downs with the spine release and once that tailbone drop an anchor. Wonderful. Good feed in a V position and you want to feel, cause you're going to point the feet as a the feet again wrap around the boat. So the little things kind of moves around. The big tour wraps around. So that's, that's kind of feeding all the way through. Drop good. Um, for sure where five pounds is coming down. Five backups for three good two and push all the way out.

Again, drop the Hills ballpoint and come back down. Good. So just notice not. So we have feet kind of wraparound and push that good and good through and side and, and pushing out. Lower the heels, ballpoint and come down. Nice. Nice with the ribs. And last one through, push out low. The heels. Ball point got stopped there. Turn the feet parallel as you roll the pelvis up, rotate from the feet, roll down through the spine. Good and parallel.

Roll up and turned out to roll down. Relax the tail. Them last ones were parallel. Roll up and reverse. It goes unparalleled and rotated. Roll it up from the pelvis. Good. Um, parallel roll down. Excellent. Excellent, excellent.

And turned out lift and good roll down through the spine. Good. Okay. Now the next one, we want to work through the different aspects of the foot. Yeah, so Madeline's weight is just in front of the heels and she's got it at the edge of the bar. Now we're going to start by pushing the back of the heels into the bar. Then you're going to push the heels on the bar. Then the front of the heels push against the edge.

Then the balls of feet wrap around and then the toes push under. Then the tours, lift the balls, the feet, put the heels on the heels and the back of this a five aspects of the back of the heat on the heels, front of the heels, balls and toes and balls. Good. Now imagine you got to do that with a pulse. My dad at the Carter way and as you come down, push down, back of the heels on the heels for under the heels and toes and toes, balls for under the heels, heels and back of things again, back of the heels on the heels. There's a lot of work happening here. People toes, toes, ball from the heel, heel and then you push up all the big girl from the it's got and then come back down again. Good. And again, push girl. That's excellent. [inaudible] me a little. Okay. And again, don't meander the end. Keep both the siblings gently drawing in together and then come back down again.

Donald grab the GluCEST just had wonderful sense of the sit bones. Just wanting to kiss. Yeah, sorry. Being poetic about it sometimes helps and then come back down and well done on the balls of the feet. Good. Yeah. There we go. For this one, I'm going to go out straight away. Yeah. So push out. Lower both heels. Wrap the toes around. Push out, bend the writing.

Good. Push out. Bend the left knee. Push out. Bend both knees widen out. So push up. Bend both knees, come back down. Good. Onegin Pershing at lower both heels, ballpoint and the right knee. Lower the left heel and push up madness. Great. Push out. Come back down. Do it wrong. But you kind of drop into the hip. Yeah.

And you push out what's yours? Drawdown first. Yup. Good out. Now drop into, yeah. Yeah. You can see how when she drops into the hip and her ribs and and Walla have shifted. So if I get to do, actually think of her side ribs cause this is her standing leg. Yeah. She moves into her side, moves into her pelvis and the heel. Yeah. Then she pushes out from yum, she grows and to the other side move into those ribs.

That's excellent. Push back out again. Bend the knees and come back down again. Yes. The tendency as you kind of people shift too much. You want to make them move onto their leg and that, that ribs are really not incidental. They are prominent in that work. Yeah. Okay, let's move into knees together. Okay. Again, wrapping sensation, God and push the trolley away by five and it's coming down. One and two and three and four.

And now go out for five but lengthen as far as and easy to get the one good and push out to come back. Push out three, come back, push out four, come back, push out. Five. Come back, lift the pelvis up and Kiva pelvic. So push out five one and come back. Push up to, obviously I'm only doing five repetitions. Please go up to Tim. At least eight to 10. Yeah, to get any results and last one through and come in for five and four and then we can lift the pupil a little higher. Three good. And two. Um, one roll down. Roll. Roll. The arms move with you. Good. Well done. Excellent. That was both legs on. So I'm going to move to a one red, one blue and we're going to start with your right leg down and under. Yeah, so some of the trolley away, five inches away and you're going to start a ducting as you come to one and a duct to a duct.

Three lots of lent out of the hip and waist, four and five Lenten going to go into a devloping so you've got ball me foot the knee, lean back and then send the foot down and again, foot the knee, extend bend, lean back over his back, ribs out and you come down to more of those and extend foot the me and down last one through and extend foot the me and come down. Let's add on, extend up. See that flex, bring both heels down, ballpoints lift foot the knee, lean back and come back down. Good. That leaning out threat really helps open the backward. Zack, lower both heels, ball point and foot, the meter. Can you see how growing into the back of the head and that's what you really want, that SAMHSA or the ball point for me and and change sides. Good start, got dumb down. So Madeline do this slowly because I want them to feel this hip will ride down.

She lots of space but from the ribs all the way down into the ankle, you go that sense of stretch and Dawn across and down across. Yeah, and think of that. The side of the face, the side of the ribs. Last one through and now line the foot and you we've got foot of the knee, extended foot the me lean back and got no foot. The knee. Try not to ride your hiphop as you extend foot the knee. Good and through tomorrow and foot the knee extend foot, the me and the down. Last one through foot.

The knee extend and foot the knee down. Let's add the little Colombo foot the knee. Lower both heels down as you flex ballpoint foot to the knee through foot than me. Lower both heels down, reach up. Point hand. Brilliant. First position or a V position rightly comes down, start away. And again, a duct, God and two and three and Oh five. I'm putting lots of space out of a hip. Now do you have a bit of the front foot, the knee, extend foot to the knee.

Turn the leg up posse and come down through. Go to the side and foot. The knee and LSA can foot the knee. Ben. Good and through. Don't try this at home. I know Madeline very well. I know apps through so I can push a little bit of the knees out.

Good and through. Good. Last one through foot. Knee. Now let's do that one again. Come back down again. Come back down again. Good. And to the side. Foot. The knee. Devil up here to the side. Don't have this hip. Go with you. Good. Um, for the new down. Good and through. Now for the combo, you're going to go foot than the extent relevant. Not lower, but he has done and Lord the heel as you take the leg out the side and after the front foot, the knee open and let comes down. Yeah, we go foot the knee, extend lower, both heels reach up and like out of the law and forward foot, the knee open and push down. Beautiful chain site breathe and one and two and three and four the side of the face as well and five foot the knee.

Delegated the front foot of the knee and down through and again foot the knee to the side, foot the knee and come back through and not happy with wanting to sign this or that. Fun to get for the needs of the front open. Many out of the side get that wonderful sense of openness. Good. Come through. I want to see passive as buses stop there. They an extent well for the meet and through. One more time to the front and flip the knee to the front and pass it open and yes, walking opposition with that hip pulling back and out of good foot.

The knee. Good. And let's go for a whole developed exercise now an extent low, both heels down and extend and out of the side and extend lower through the passage and LASA. Oh God. Hello. I'm rich and I'm up and passe and [inaudible]. Good. Breathe. How does that feel though? [inaudible] just opened up. Okay. Here we go.

We're gonna move into a pelvic tilt or bridge position. I said, okay. I'm going to put this down just a tad for this one, because you're going to be moving a little bit. So actually that's happened. Done. Got it. Move into a pelvic tilt. Please have the right big toe against it, not the base of the left calf. Yeah. And as you push away, lengthen all the way up on. Good.

And then move back into posse. One soft Nebral line. Lift from the pubic bone soft and into the brothel. And as you come back, good. And again, lift to the pubic bone and soften. Good place for down chain sides. Parallel. You have to go, ah, pushing out. [inaudible] good. And then soft bend. And again, push it out of the pelvis.

The further out you go, the more you push the pelvis up. Up. Good job moving Jovi position. Good. Now I'm going to flip it a Demi Ron's have a little pinky against the base of the cuff. Yep. Go, go circle round and circle it back into posse. Ah, circle it wrong. Up. Stretch. Good. And back down again. One, one up. Bring it back the same way. Brilliant chain sites. Bring it down and here we go.

Excellent. And back for one good rum. Use a pelvis and back foot. Thank you now and roll back down through the spine. Arrive. Draw the knees in towards your, just soften. I don't, I'm just gonna take your legs over. This is what you do. Nothing. Just relaxing to take you breathing and breathing out, huh?

Josh? Yeah. All that shaking. Listen and again, breathing on her. This is a time for you and just little kind of softening through one way and then the other way around. Good. Good. Alright, let's get you up enough. That's all right. That's a good sign. You worked. Okay. Brilliant. Yeah, there we go. Good. [inaudible] you're going to be sweating all over the and otherwise, let's get you to the downward dog. You guys cut yourself up. Hmm, John. Okay. Now it's, this is great.

I'm glad she did it actually, because I want you to notice. Yeah. Going a little lower down with your, with your torso. Good. I see that wonderful sense of opening in the shoulders and not as a way her tail when ready. Lifted pubic one to tailbone. Push the carriage away by about five inches. Stop there. Good. Now the accident is in, but only common as far as you can keep the length moving off from the tail.

Once you're coming in for one good. And the arms wrapping and to see, notice not as good. We want to tell one, three. So as you come and lift, yeah, the siblings actually lift higher and fought. Brilliant. Last one through. You're gonna need that later on. Five. Now stop there. Round into your bra strap. Let's go a little further back there. Now push up through humor.

It's a great kind of telling. Yeah. And to where the strap is moving to that app and got push more. Did that for and wrong. Close. Be happy with me. I'm using 10 o'clock. Get one more. [inaudible] excellent. Good. Now move back into your downward doggy. Good. And send a rightly, actually push the trolley away by a few inches. Good.

So let us sit bronze, reach up, send the right leg out behind you. Just that and coming for five one. And then don't forget that. Don't forget your tailbone. Yeah, the tail one. Still that same action two and three. I'm pulling a left hip back. Four and five. Come back down again. Good. Shane site's good. Stop. Pull this writer back and here we go. One.

So her left arm is working like crazier three the wrapping sensation, four and five. Good. Bring the foot back down again. Excellent. Let's work with the arms. So just have it hovering over there and pulling in for five. Good. Now take your time. As you come on board. Said bones too. You got to let as this ribcage widens the left side, exactly what you just did over there. Move out of the rifle of this as well.

Imagine you were pushing against the bow with the right side. Excellent. One more time through and grow. I think that was brilliant. Brilliant, brilliant, brilliant Britain. Good. And again here, imagine you were pushing against the bar. Push out and as you come in, think of that left rib. Also working. That's it. And again, push up. Ah, I don't know if you can see what's happening over here, but it's, she's growing. She's not sitting into her right arm. Yeah, she's moving that right from the right trips. Take it slowly. They're translating the arms. So she has space out of a left and that's, that's what you really want to work across. Yeah, we go. Okay, now comes the mama movements. Yes. So you take the right leg out behind you. Do you want the left leg? Which one? Yeah, the left leg. Just start I think, but also move the left hand in a little bit. Good. Now I'm here. Good.

And here we go. Pushing in one those ribs. Good to excellent. And go for one more and push. Excellent. This is hard work people. Yes. It's not easy, I promise you. Yeah. And you can superficially do it, but when I'm asking it to do it, moving into the opposite rib is really tough. One good push out from the right. I'm up to create more space.

Um, three, this is her heart side, her tough side. I can feel it for push. We're going to do an extra one because it's your tough site fight. Good. Excellent. Oh, sit down for a moment. Before we go into the last set of set. Well done. Begin breath. And let's go into those hands. Stand down with dogs. Yes.

So, Oh, this is going to be fun man. Now go with it. I'm going to put this, I'm going to put you on a red Madeline red would be great. And then this down over here, that's fine. Feet right at the edge of IES. Your hands fall. Now keep going on about the ribs, the ribs, the ribs, the ribs, the ribs. Okay.

Uh, the important, especially for the handstand, that's where you lean into. So her, her pelvis moves into her ribs, moves into her hands and it's that leaning forward and again, push out and as you come in and that the sit bones lifting you already need the lifting of the sit bones and keep leaning into me matters. Keep leaning. That push push against me. So you actually want to throw me off my legs? Yes. And three. And she really is working good. And let's see if she keeps working that way. Keep going. And four, you can just lift her up into her hands unless she's in the handstand.

There we go. Okay. Cause she was leaning into me. She really was pushing and come back down again. Kiva, lean, Kiva legs, the key cleaning, intimate, intimate, intimate, intimate, intimate, intimate, intimate, cut and paste. Fetal. Excellent. Let's go on to tippy toes. Tippy toes. Lean over the short TD, shoulders over your hands, the same thing. And now it's a Sid warned pubic bone to tell one sit bones lift. Good. And again, pubic. Want to tell one Sid wants. She's really pushing on her hands. And again, people are on the symbols. Again, keep lifting, keep lifting, keep lifting, keep lifting, keep lifting, giving a whoopee. So simple. I didn't do anything. And again, bring your legs down. Um, yup. Keep pushing.

Now you're about to touch back up again. Push. Thank you. And then come back down again. Amazing God up again. Oh my gosh. She went up and down and back down again. Oh, you're, you're a glutton for punishment. Bend the knees.

Sit back. Just sit forward. I'm going to give you a quick stretch. That was Brittany said, guys come up my darling. That was Marilyn giving you more than her best. Yes, she was pushed out to the edges. Um, obviously don't try the Hanson on your own. Uh, but as you can see we took you through all the different standing, kneeling, lying on all fours. Yes. Really trying to give you all the possibilities yesterday.

And then this is just the tip of the iceberg. We have this so much of repertoire. I've taken a bit of the Gruder repertoire and brought it over here, pushed Madeline on it. It was a little challenge from Madeline. We decided to kind of go through a little phase and try it out. And as you can see, the woman's a winner and it's been, it's been a lot of fun actually. Madeline hasn't it? And uh, and Marilyn and I are going to next move on to a Cadillac and we're going to really work on the trapeze bar, which is, which is so underused. And again, that's a bit of a surprise because there's so many goodies out there for you.

I'm gonna push you again to your limits and it's a lot of fun. So join us on the trapeze bar. Thank you.

Chapter 3

Supine Cadillac Exercises

Well, we're going to take you through the wonderful trapeze workout, something which is so seldomly used, such a marked piece of apparatus, which is really, really underused. So Madame, ready? I think we are going to be doing a lot of the work.

So let's get you lying on your back and rest your knees against the fluffy strap. Good. Madden, I just want to take everyone through what's happening with our rest position. Yes. So as Madeline softens in into the poly, yeah, we have a sense of a sacrum dropping heavily in, in into the mat. A pubic bone lengthens down into a tier one. So there's that anchoring the Anchorage of the tailbone, widen the sacrum wide in the backrooms. Yeah. So a nice opening and a softening and dropping down and that wonderful sense of length and the occipitals and that, that drowning of the, of the cranium into the match.

You already want to feel that heavy drowning sensation of the back melting into the mat. Now as Madden reaches our hands down to the edges, she very slowly starts widening and opening up the elbows without disturbing the pectoral girls. So you want that nice openness and the collarbones. So the scapular move around the rib cage, I just, let's get a few breaths since the body breathing through the nose. Yeah, filling the lungs up with. And as you breathe out, gently sigh the breath out. Feel the heaviness drop even further. Breathe in and side the breath and let that heart soften between the shoulder blades. And here we go. Rocking, breathing in and just a gentle rock back and forth. Good. And just a small rock and rock back.

Rock and rock back. And then very slowly, just a small from side to side, you'll that hip walking off position work awesome. Side to side, good down good. And also what I'm getting her to do is slightly push thigh against the other ones as she kind of gets that learned out of the femur, she widens the opposite side of the sacred. Good. And then let's go into stirring the knees around a little circles. Yes. Now as she stares around, I still wanted to keep that heaviness and the dropping through the tailbone. Good. And let's go the other way around. What?

Go three, four and five, and then very slowly getting that [inaudible] out of the head of the femur twist. And again, now don't lift the hip hop. Ah, and ah, and again, push out one out cut and center. Good. Now moving into pelvic tilt. So bridges as you call them, I'm gonna start very slowly. Not, no, no. A tendency is you push down and you lift the pelvis and I don't want that. Yeah. The action is more of sending the knees out in a way. So you create space for the front of the thighs, lifting job, pelvic tilt, and you roll back down again. Soften the knees, push away, move a little higher, end the middle back. Good. And overall, and lengthen back out again. Good. And rolling out in to the mid thoracic spine. Good.

And roll back down again all the way. And release the tail one. And this, I'm going to roll all the way up to find that space between the shoulder blades, but at the tip of the shoulder base. Stop that for a moment. Just stop that good roll down into the left scapula, the left ribs and the left hip. And then push back up again from the left side. Push it back up again. So she moves into the right scapula, up the right rooms, right. And then she uses that right in a fan.

The right hamstring to put her backpack to center. One more time breathing. And notice the way one arm takes the wave, the other arm slowly pushes, and then she pushes to bring herself back to center and then out and up and she pushes to bring herself back to center. Let's add onto that. Moving down the left side and both hips soften down and then she rolls up through center and moving down the right both hips down. Relax the tailbone, then scooper, so that one more time down the side all the way. Take your time to really move through the ribs into the hip. Good. Oh, that was delicious. Good and center. Yeah. No need to rush this at all.

Again, almost feel like stop. The front will come back again. Move into the right side of your face. The right scapular. Yeah, down the right trips. Take a moment. Take a moment to really exaggerate. Almost the movement. Good drop. And then you roll up through center. God. Now for the whole circle down the left side, the face, the scapula, the ribs, the hip. Drop both hips push into the left side to lift the left hip up. Roll up, and then bring the right head back to center. Roll down the right side. Move.

Soften. Let the arm move with it. Yes, both hips down. Feel that right arm, right rib cage, right hip lift. And then both hips come up to center. So one more time and down the side down. They release it. Push. Move out of the hip.

Gorod center. Excellent. Last time and move out. Move out of the side. Great. Lots more space. Lots of space. Lots must be good. And both hips down and that move out from the hip side, twist and center. Good. Stop there for a moment. Move the left ribs out to the side, just the left ribs good.

And then you sent him the right ribs are just the ribs and not that she's, she's really working through her arms as well. Yep. So she moves into her left ribs. All right, arm pushes. And then a left arm pushes can now move into your left ribs and the left hip. So you move across and center into your right ribs. Right hip. Move across. Good. And center. Left ribs.

They have to move, move, move, and center. Great. I'm right. It's grown. Excellent. Now meander, done. Come down one vertebrae at a time as you will. Ribs, hip, ribs, hip ribs, hip ribs, hip, ribs, sacrum, hand. Lift the knees out of there. Pull them out. Just let them drop onto here. Okay, here we go. So let's move in to having your feet through. I'm going to move up a little bit.

Good. Holding up. Good fetal straps. Okay, so now the oscillations are going to be a lot bigger. Yes. So we're going to start with the fetal distress. Bend the knees and you're just going to end. And then you reach out the knees in and out. Plain and simple. In and out. Good. Let's go for storing the knees. You're going to circle them around. Jessica. These one, keep the sacred one.

Really nice. Now got beautiful under good. Let's go the other way around and reach out and cut. Soft, soft and under. Good and under. Brilliant. Now do the same thing, but you're gonna bend the knee. Rock the pelvis. So you're gonna move around. Rolled. Good rocking. See that has a feeling of softening through the sound. The floating ribs participate in the movement as well. Good. And again, a rock stop there. Let's go the other way around.

Down round and throw. Good down. Run through. Good. And I'm around and through. Good. Down, round, good and center. Now let's go into parallel and turned out. So in and out. Just a sensation of in the tail one rolls off. Let her roll off. Yeah. Under, down and in. Just get a sense and are turned out.

Same thing. And in us, rocket and rocket heart. And if it turns out good. And so now stop going to go at home. Three's. Yes. So bending towards the on one. Roll the pelvis, Upland to reach and roll yourself down. Three in on one. Roll the pelvis up to reach the leg out on three. Roll down. One more time in on one. Roll up onto that. Take your time.

Extend and roll down on three. Let's do the same thing. Turn that bending on one roll up to extend and roll down. Three in on one. Roll up to extend and roll down. Three last one through in on one. Uh, lift onto extend and roll. Done.

Now let's alternate it. So you come in on one Rooty rotate and push down and gave you a little warning beforehand. Lift, rotate and roll down. So can we do that one more time? This is hard. I know one roll up to rotate and push down. Three good. Reverse it. One, lift the pelvis up and power low. Roll down. And then pelvic tilt parallel and roll down.

One last one through please. Then lift close and roll down. And welder. Okay. Madeline, I'm just going to set up the bar in front of you. Have one red spring, right to the edge. Holding on with both hands. Slightly different. Yes.

You're going to bend the knees and towards her. So start at the knees bent. So that's your starting position again. Great. Because you feel the width of the shoulder blades, the with the sacrum. Start by saying the legs out. Move into a pelvic tilt. Stop that. Bend the elbows out to the side and then push the bar away.

Good. Keep reaching on the arms as you roll down through the spine. Vertebra at a time. What? Bravo. Move down into the pubic bone. If the tailbone [inaudible] draw the scapula out and wide. Bend the elbows and as the arms reach up, roll head forward.

Good. No on a ticked. Keep dropping into the tailbone and as you lean into my hands, soften the back of the neck. Good. Excellent to the feet. Absolutely parallel from the FEMA joints. Could start rolling down and bend the knees into wards. Is that my time with that? Yeah, it'd be a lot quicker. So you push out, peel the pelvis up, bend the elbows, and send the arms out.

Lengthen, roll down through the spine. Glide the scapular and bend the elbows. Roll the head up as you send the arms out. Good. Keep dropping, dropping, dropping. Thank you. And then roll yourself down to bend the elbows, the knees in towards you. One more time. I'm pushing out. Lift our breath in breath bend and send the arms out. Tall. Out-breath the rule.

Oh in breath. Bend, out-breath. Roll. And lift the head up in breath. Roll down. Bend the knees and arrive. Can you best do it one more time please? Yeah, and again, out-breath. Peel in breath, bend the elbows and push through. Good and rolled ounce for the spine. Kiva Kyla parallel position. Keep dropping down to the tailbone. Gliders, capita down. Bend the elbows, and as you roll the head up, keeps cementing the tailbone down. Roll the head up. Good, good, good. Now keep your bra strap on. So key that that's the idea. Good. Yup. Soft.

Send your gaze onto your Naval and can you correct your tailbone as you lie there. Keep pushing that [inaudible] it good. And then roll back down vertebra at a time to have a conversation. Yeah, I say that because, um, the pattern for my body, I looked, you know, everybody has their own pattern. So in my body, my sacrum loves to sit back, uh, which has caused some issues for my body. So the more that I can get my pubic bone reaching towards, it sets my sake. I'm in a more comfortable position. But then the thoracolumbar fascia area starts to get a little shorter. So what's helpful is in this exercise are two things. One, the bridge creates the, um, it takes the thoracolumbar fashion.

It's actually taught in making it taught so that it's very stable. And then adding the arms, you're giving me the length of the, from the arms for the lads through there, but I'm still continuing to lengthen through the sacred part of the thoracolumbar fascia. That's how it feels to me. And then because it's like a hammock, like I'm hanging on the thoracolumbar fascia, then my heart can really sink into that hammock. Right. And then that's the other thing is my femurs love to turnout and then I tried settle into that and then trying to rock that down and keeping the heaviness of my ribs. So sensation with the backrooms. Yeah, and that's very difficult for me. And then what's nice about this part is that I'm having to keep the spiral of my femurs inward, which widens my sacrum just to set it and anchor it, as you said. And then as the head comes up, also thinking of that leaning and then the ribs sinking and stopping here really is quite a bit of work. The anchor that tailbone is like, so sorry about this. That's the best I can do. Right.

I know, I know. Yeah. It's almost like you've got to drop a let go. Let it dry. There you go. That's better. And then as you roll back, feel the gliding of the scapula around the rib cage again, and the broadening, broadening us, it's really about blotting the space behind you. The more you can blot, the better. Kind of gets ya in a so much. Let's do that one more time. With all that in mind, please watch. She bends her knees and that's a starting position as knees bent looks helps anchor my anchor and also, yeah, that heaviness and in the ribs out their legs. Reach out, pelvic tilt peels off.

She bends out in the elbows and the heel of her hands move around to push the bar away. Yeah. Then she lengthens out and actually rolls down to the spine, not as a scapula at the same time. A scapular round and wide. Not drop the tailbone. Good. Goliath, the scapula from the elbows whitening out. And as the bar comes through, yeah, hang off the bat. Hang to come up. I still want you to hang. Roll up. Good. Just give your head direct. Look at your pelvis. That's like, Oh, divine. Good. Roll back down. That's it. Excellent. Really good. Welcome. Thank you. Let's get you out of that gutter. Madeline.

Chapter 4

Kneeling Cadillac Exercises

Let's go into kneeling. Yeah, I mean the kneeling series, you're going to place the elbows.

The trapeze could get into a prep position of the arms. Yeah. But actually kind of start quite upright on yourself. Got the hago. Um, leaning out from the hips [inaudible] and then using those armpits from cribs draw from the lower Valley and center. Good. So it's just a swinging action, but you're working so very hard. Good gather from the NFS to come back and gather from the NFS, pull up from the lower Valley and send, let's just do one more of those and reaching out growth and then pushing down with the shins. Pulling up tall at the center now moving out into the side, ribs into the front, trips into the side ribs and then slowly curve as you go back. Good. And I drip.

So she's working from elbow to elbows to elbow to elbow. So there's a lot of work happening here. Yeah. But you have to be quite defined in to do and those ribs, yeah, they load up with her move. You've got to go the other way around. Outside and forward and side. And again, the shins also propagate the movements. It's starts from that left shin, left hip, left ribs in the front. Right. [inaudible]. Hey, you go through one more time and I'm really making her work very hard on the through and center now. Stopped at all. Yeah, there we go. This is a tough one. And reaching. I'm very cha not.

You're gonna sit back. Ben. [inaudible] your sternum forward. Pull his hands back into the back of the end to the back of the shoulder. Base. Back to the shoulders. Good. Sit back. Push down. Good. And again, forward. Lengthen out. Two more of these. Yes. Oh, sit back Paul, because those aren't, but serifs don't get the hands between the shore-based. Push down, push down, push down, push down, push down. Good. Excellent. Last one through and leaning on good. And then as you said back, pull back, pull back, pull back down. John, pull the thumbs down between the shoulder blades. Lean into the elbows, lean and then come up. Well done. Alright, well done. Let's move to the next chapter, Madeline.

Chapter 5

Single Leg Cadillac Exercises

Now we're going to move into single leg with TILs so you can can hit yourself up and that place again, feel quite comfortable. Yes. Again, very important is this dropping of the pelvis on onto the bed and try not to hitch the hiphop before you start. You have a length, yes, and the hip socket. So a very gently send the knee out in a way. Create space in the hip joint and lift up into a pelvic tilt. Stay there so that for a moment can you lengthen your ribs out into your hip socket? Brilliant. And then roll back down again. Release the tailbone, release the leg. Let's add onto that and push out into that pelvic tilt.

Now come back down again. You didn't send the leg up properly. I'm sorry. And again, reach the leg out. Now moving to that, but our products are complete and we do that one again. Yeah. And then roll back down again. It really doesn't make a difference. Yes, I felt was because I started the articulation from my knee that the need, then the femur kind of reaches out of the socket just a little bit. Yeah. And it leverage. Yeah. Yeah. So it's going that way, but it's dropping down at the same time. And then that allows me to actually extend my hip and without much effort, without actually rolling. This way, you actually are creating hip extension through just a change of the pelvic position versus the femur, the articulation of the femur first before that pelvis rises.

That's what felt really different to me. Correct. And stay there. And now we're going to do a bit of a lift. Lift the standing leg. Good. Place it back down again, and then rolled on as you roll down, start softening to the back of the knee and release. Good. One more time. Reaching out creates space. Lift up, float the knee up. Place it back down again. Stop. Grow out of the ribs into the hip.

Then soften and roll back because there's a lot of kind of, there's a whole recipe happening out over here. Yeah. What goes first and what happens next? Again, start out that tall and lift the pelvis. Now lift the foot, stretch the leg out in line with the other knee. Bend the knee, keeping that lens are the hips grow and then soft and back down again. That was brilliant. And again, I just got the hang of it. And again, reaching out. Girl, pelvic tilt, lift the knee, extend the leg out. Five little circles, one with five, four, three. Good two. Once you're steady, she's, and again, one, two, good. Three, four, five bend money, place for that grow. Yeah. And then soften. Roll. Release the tail of one. All right.

Don't forget to take your arms with you every time. That's brilliant. Last time through, reach out, pelvic tilt. Grew out of the hips, grew out into the ribs. Good. Lifting the up, extend the leg now rock into the left, scapula down the left. Ribs into the left hip and you lift up for one. Rotated back and roll and lift up and rolled back for two last one through, um, into those left ribs release. Lift up. Good. Ben from the knee. Place of rotten.

Grow and roll down. That was very, very good. How did that feel? It's all so there's not much work. Once you learn how to lengthen out of the long bones and creates space in the joints, you're not working that much. Yeah. It's really about finding that wonderful quality, the sense of also the um, quality of gravity and that leaning back of the ribs as you're moving.

So it offers that kind of that opposite force, that pull and push that to really helps actually. Yup. It's, it's so different and especially with your HIPAA, it just feels completely different. Good. So starting the same way, that sense of leaning out of the need to create space, the pelvis to the rock, up and out of both ribs. Soften, release and traction down. One more time. Sense of reaching out, traction out through. Take a moment, assemble the pelvis, just float the right knee up, place it back down again. Good. And then roll down through and center. Now Madeline, I really want to bring one little notice into people's kind of working habits. I'm going to roll back up again. Good role. Now there's a tendency in the Platas kind of well to [inaudible] lift the knee up, keeping yourself in the center. Yeah.

This doesn't really translate into functional work. When you lift, you have to make that little change. You have to translate the weight in to the working leg, then you place the leg back down again. Then you're on this standing leg. Good. Then you want to roll back down again. So make that weight change. Otherwise you just end up stabilizing through and it doesn't, that doesn't work. You are in center here. Yeah, but because you're transferring the weight, you're doing that, that shift at the red. So it's a micro shift. Yeah, it's not, it's not a big ship, but you want to be aware of it. Yeah. And then, and then you have to come back and you have to go back on that leg and roll back down. Now that's really important. People forget about that. Yeah. And again, reaching down, grow out of the pelvis into the ribs. Stop there for on.

Lift the knee up. Move. Send the leg out. Good. Bend the knee back up into wards. You place a foot on ground yourself and then roll back down this Oh, nice poetry in action. And really it does make a difference out. You see all the little muscles kind of working through move. See that translation over there. Extend little circles. One, make it smaller too. So yeah, this, this right leg wants to turn out all four, make it smaller and five good. And one, two, three, four, five bend. Place the foot down.

Soften, roll, roll, roll, release. Drop the tail one for the last time. Neil. Way create space for the Palo Saraca lift. Extend. And now move to the right to roll in through and then roll yourself back up again. Push.

So you're working from this outer edge to roll you back to center and she works from the right side of her face or roll down. Now the hamstring and the lateral muscles really work to roll her back and center last one through and reaching out and soften to the side. And then that rocking motion back again. Good place the [inaudible] stop for a moment. Grow out of the back ribs into the hips and the knees. Then you roll back down again.

It beautiful on the side of my idea, which is going to be a little tougher, but that's all right. You want to do the same leg again? Sure. Okay. Gotcha. So, okay. No, very important as where her hand is. Yes. So again, from a hand to the tailbone, you on that wonderful sense of length and lift. Good. And to start with the sense of drawing the knee in towards you, reach the leg out and just stay there. Stretch the leg out, toss you want to gently push down, worked with the adductors, draw, bend in towards you and then pushing out.

Grow. Push down with the heat as well. Push down, grow out. Grodd grub this. A lot of work happening. Last one through breathing in and back is beautifully open and wide and she pushes down. Stop there for a month. Okay. Conversation. Yeah, that's my cue. Okay. So when I'm reaching out, it's very important to continue to be pressing down so I can just straighten my knee that it's not, it's not.

The articulation comes from the femur, right? The knee and the heel. Different than just straightening the knee. So we're again articulating through the domain, talk about amplifying. We're really amplifying into the spaces. Yeah. And that's really important. But again, you have to move. There is a, it's consecutive movement. It's, it's, it's systematic. Yes. As she bends back, and again, she's creating space in the hip, drawn by pushing them behind the knee.

There's a lot of space behind the knee and as she lifts in towards that, again, I'm, I'm keeping that space in the hip. She pushes down from the heel into the back of the knee and creates space out here and I keeping that space. She starts lifting the left hip up and she rolls down the ribs, the waist and the hip and again, reaching out and I'm going to give her a small pull at sensation. She's hanging off a tree, hanging off a tree brunch. That's the feeling. And again, so this whole side she's lying on. Yeah, it's going to be so well challenged to support these people with scoliosis and the rest the works. It's like it's divided.

You just feel wonderful at the time. You finish good all back up again if they not comes to hard work. So she's had her fun. Now she's going to make her lift her leg to meet one and lower the leg down. Good.

Two and three and four. Look at that hard work happening. Other five. We're going to go for one more and six got lower. Okay, now we're can get it to relax a little bit and she's going to roll in and to her hip. I'm just going to give a bit of a of a nice forte action.

So again, in the hip socket, rocking her and reaching last one through and rocking her down and reaching. Then the other way around, I'm going to rotate. Good and center. Keep, keep bending this knee. So I want to sneak bend, cut and Ash. You roll Akiba again. I'm gently nudging the female out of the socket.

The back last one through and manly and center. Excellent. Other side. Good. What happened to leg circle? Alexa calls now we do that later on. Okay. Can I reach out? Oh, we didn't do the Alexa, the other side. It's all right, but I've been to a few deductions. Yeah, it's more than necessary. Good. Okay. So watching very carefully to start with, she bends the knee in towards her.

She pushes down and she lands and she pushes Scott and again, Ben, um, pushing dancey. Can you see that? Notice the cheekiness that only happens when you kind of keep that wonderful kind of gluten work happening all the way through. Yeah, and out reach and Madeline think of the arm reaching away at the same time. Yeah. Oh, it's reaching together. Wonderful sense of stretch between the floating ribs and the hipbones. I really want that lamp here. You'll tend to kind of short Navea.

That's not going to really help you in the long run. That's as much length as you can kind of get from the leg to the arm, the opposite leg. Goodness. Stay there. Good. And start lifting the hip hop. So grow out of the heel to lift and then you soften back down again. Good. And pushing that and grow. Lift, move, move, move, move. Good Lord. And Lenten out. Lift God. Now what?

I'd like my lovely Madeline to do. She's go lift up tall. Now can you open these ribs out more? So lift from these reps as well? Yeah, there you go. And then you come back down again. Good. So there's a lot of work happening as I pull and she lifts. Got off the rifle, absorb more. Lift the riders up at the ceiling, the floating ribs. Flooding ropes. Yes. And then down last one, angle open. [inaudible] yeah, keeping that lifted. None of the underneath leg.

I'm asking her to do the impossible. Yeah, but it's, it's, you know, that's what Madeline's all about. Good. And again, lift one last one through. Lift lower and lower the leg. Good. And then soften and come back down. Good. Stay there. And then all I wanted to do is move into the hip socket down. Roll onto your packet, um, and roll back out again. Again, Ross, I'm creating lots of space in the crease out to the front and then I've got lots of space and then back and the other way around. Reach, not dumb. Don't straighten the leg bend.

Keep the knee bent in a small attic position. That's the feeling. And back again. Yeah. So it's more in the hip socket. That's the feeling. Go ahead and through and in the hip socket. One more and good and weld. God. All right, let's get you out of that.

I, but I want you lie back down again for a moment and I back on your back on your back and place your feet. The right foot through. Yeah. Lengthen down through and just rest for awhile because I want to next move into the whole rotation. So the whole 40 action from the foot into the ribs and the ribs into the foot. Madden, let's go for a forte stretch.

So your hands are going to move all the way back to the bar. Good. And as you push the push through borrower good, push it away, push the leg in to the fluffy and you started rolling all the way around from the foot into the hip, into the ribs. Let's just hold it over them and really stretch this leg out as well. And again, start rolling down from the foot, the hip, the ribs, and come back down to center. How does that feel? Would you rather do it from the hand? Cause you're gonna work from both ways. Yeah, let's try it. So start on the foot, soften the foot. And as you, let's just go for a half a circle. So you sort a foot, reach out, grew up from the hip, the ribs, the shoulder, not Paul with the left hand and push or the right. So it's a pull, push action.

Good. And then to roll back, start to push pull. So you can start from the hands, the upper back, the ribs, and then find the foot. That feels quite good, doesn't it? Yeah. So start foot pelvis, ribs, push, pull Nat. Keep heap working on the left side as a right hand comes off. Yeah, the hand comes through it against the side and push all the way around. Good. Then start pushing the arm rollback, um, pushes ribs, hip and you sent them. But start that one again and pull. Push with the arms. Reach all the way through. Good. Then let go of the bar. Bring the arm that you're on. You're on the bed, reaching across.

Get that sense. I'm going to just come in over here, give you that extra bit of stretch. Good. And as you push away with the left arm, start rolling back. Send the right. I'm pulling the right arm because it allows you to yes, to roll back out and center. What have you started a little further out to the right. Good. Now try this one. Okay. Now go pull. Push on your own. Go pull. Push. [inaudible] good turn.

Good. And bring the arm and you can keep going. Keep going. Keep going. Keep going. Keep going. Keep going. Good. Now what are you going to with the left arm? You're going to push away, push away, create space, create space, push away, and then as the left or the right arm comes, then you start pulling with it and you reach back again. How is that? Very good. Yeah, let's change sides. Good. So you really had to move to one side. That was very helpful being over here.

Yeah, so start the first one's quite slowly. So remember this is a side you're going to roll onto them. That's going to be the pushing side. Yeah. So as you roll on to the right, you push the right to pull with the left. Yeah. That sense of rolling good. And then you change the grasp as you roll back first from the ribs, the waist, and then finally the leg. Good. One more time. Push, pull, go, go, go, go, go, go, go, go, go, go, go.

God reached [inaudible] and then come back again around reach and center and again rotating and try and take this like a little further forward as you can. Of course it gives you something to push against as you go. We're bring the hand around, keep going, move into this hip, move down into this hip. Yes. And then from there as you roll back, reach your hand back. Good. And then push rollback and center. Last one through and on your own.

It's really feels very nice because you're working through the rotation. Reach, push, create, lots of space. Good. And as your role keeper, can you see how she's pushed up that she's creating space. There you go. She reaches. Now stop that for a moment. Move in between the shoulder blades, moving to the back of the ribs, move into the floating rooms. Then as you pull in, push, feel like you're growing out of the legs.

Out of the back. Keep, keep landing, keep landing in the back, the back, keep landing. Brilliant. Well done. Good. Yes. So the pushing of the arm that you're rolling towards opens up the ribs, which creates that translation which helps you roll over, but then when you release this arm and you press into the table is going to create a rib translation in the other direction to rotate to the right and see if you see, if you notice how wide her back ribs are. Also allows it to move into the waist. Yeah. And then the counter is to push against the table and creates left translation and then the reach of the, as you're rotating back to the left, you're reaching with this arm and pulling with this arm as you roll back. Just to clarify that. Good. Well done. Good.

Let's get your foot out of there and let's go into some standing work. Yeah. Okay, good. Madeline,

Chapter 6

Standing Cadillac Exercises

let's have you standing on the disc. Good. And placing your right foot through on, I actually won the art of the futon. Good. Okay. Now stand on your leg. Good. I'm going to start by Ben, the right knee in towards you, bend it, and the idea is that all at wonderful space we create in the hip is what we're going to see now could reach out through the leg. Keep it dropping down.

Now lean out in with the movement. Good and use the foot and the back of the leg to bring yourself back onto your center. Now you have the disc underneath you to keep your leg parallel. That's going to be really clear about that. So first, bend the knee in towards you. Okay, do that one more time. Now don't think of the front body as you bend the knee, widen on the backrooms, grow into the back body. That's better. That front lifts underneath you. Then you stretch the leg out from behind the back.

Now as you lean out, lean out of the front of the body. Don't lean into it. Lean out of it. Good. And then from there, pushing down, find the back leg. Excellent. I don't know what's you're on your own and good bend the knee. First inter did again, Ben, open flare. The back rubs are to bend the knee. Thank you.

And that really activates more of so as feeling yeah. And when I, when I do that, great. Yeah. Let me go back again. That was brilliant. Do that one more time up. So bend the knee in towards you. Good. Now don't be complacent about setting the leg. Drop it into that source. Drop down to the lesser trocanter. Good. Then you reach out. Excellent.

Stop there for a moment. It's the same thing. Open the back ribs. Have to go back, back. Ribs are to go back. Brilliant. Add on to that. You have no Ben the front. Mia. Exactly. Bend the front knee by creating space out the back ribs and then stretch the leg back out again. Good Ben, the standing leg. Sit. Sit and then back up again. Good.

Move out of the front of the leg. Good. Stop there and rotate the work. The standing next to without ya. So you're actually kind of keeping the lesser trick, kind of drawing down to the pubic one, but you're rooting out from the greater canter rooted back again into parallel. This is hard work people and then lengthen. Lean back out of the back ribs. Fantastic.

The feeling is the femurs turning out to the left, but my pubic bone is relatively rotating too to the right. Yeah. Good start. Bend the knee in towards you. Backrooms good. Stretch the leg out. Keep those back ribs open as you bend the standing up. Go back there, bend on the standing leg bend.

Excellent. And grow out the leg back again into the back. Ribs in the back of the head. Now as you move forward, keep the expanse of your backrooms good. Pushing down greater Cantor rotator, but the lesser counter pulls in an opposition. Good, rapid back and again, good grow. Open the sacrament as you wrap it, then reach back. Lean back and center. Fantastic. Let's do it on the other side. That's good work. Yeah, it's all about the backroom. So thick.

We were talking about the thoracolumbar fascia behind, so really kind of feel it. Stretch all the way down, almost all the way down the back into the back of the legs and into the soles of the feet. That's where you really want to tell them to connect. I can feel that connection to the heel, the heel, but also to the back of that. And so you're pulling it up and over your head. That's just like a hood. Yeah. So feel the hood of the thoracolumbar fascia moving all the way up in the crown of the head. Okay. Align yourself. Drop the left hip, create space in the waist. Good. Make the connection in the foot. There you go.

Now as you draw the knee in towards you first, create space in the back to draw the knee in towards you. Good as you stretch out. Is that drawing down to grow? As you reach out, think of the pubic bond, giving the whole thing direction. Good back ribs widen to find that space to get onto your, on your legs now. Brilliant. And again, bend the knee in towards you. Great. Keep, keep a parallel position. Good.

And then you stretch the leg back out again. Go with it. Purely born hot photo space. Landing out. So lengthen back. That was well. Correct. Thank you. I wish the cameras feel the disc moving, which is not, you know, that's what's giving me the cue. The cue to correct it. Yeah. Good. Add on to that. Then this, then they're working like and then you push out. Then the standing leg excellent and up. Ah, as you send the leg out first, send the leg out. Good.

Now this leg stays in place. She's going to start rotating with the lesser trick Canada. Right. Lesser trend is going to still pull towards the pubic one as a greater kind of pushes up a lot of wonderful work happening around the glutes and as she pushes down and in the heel, she aligns herself open up through the lumbar spine and you lend them back to center one more time. But Nene towards you create space simulator tall. Sit and grow. Move out into the front. Good. Leave that good and keeping that rotate. Go, go, go, go, go, go. Rotated back again. Good. Deepen into good.

And then take it all back and come down. Well done. Good. Let's now move sideways. You're going to back the camera's good. Yeah. Good. It should feel really nice and lengthened out and, and strong. Yeah. Gotcha.

Hi. Good. Now, for those of you who've already kind of watched the reformer work, yeah. And like I asked van to kind of get on to hip and onto the side ribs. That's exactly the standing we want of you. Especially she's on a leg. I'd like her to drop this hip a little bit. Hey, that's a feeling good. And going to start. Bend the knee in towards you.

Now the back ribs still stay open and fled. She lengthens out. Good. Uh, she reaches out. She keeps that rotation coming through. Keep keep, keep going. Take the right ribs out with you. Good now to come back. Find the left ribs good. Start again. Bend the knee in and reach the leg out. Good. Go with it. Now. Take not, don't shorten it. Yes. As you got all open, these right ribs that they create most, they give you space to move out of. Good. Thank you. Good. And as you get back on your leg, find these right floating ribs. Brilliant. Start the same way.

Bend the knee in towards you and stretch the leg out. Ben. The bend, it sits. It sits, it go between the two legs. Go between sit more. Work more on rotation. Good. You've got the distance. You might as well use them goods at. Thank you. I know you can cry away and mercy.

Come back up and find those rooms now. Go out. Out tall, tall, tall, tall. Excellent. Nice ribs of here. Now what's the work over here? Rooted in? Rotate, rotate, rotate, rotate, rotate and rotate out. And then finally your standing leg. Good. Excellent. Last ones would bend the knee in towards you and reached out in a way. Sits between the two legs. [inaudible] many Bence it sits, it sits, sits it. Don't clue. There you go.

There you go. That's the feeling of those ribs too. That's it. Now you're about between. Do the wrong thing. Set your ribs out there. Yeah, that's not right. Get that CID good and come back up again. Get on the leg. Good. Now as you move out, get those ribs too. There you go. Can I see work happening up from the in the FEMA? Good and then use the side of the foot to reach back out again.

Good as you come back and use that force. Use the heel. Excellent. Well done. Lots of work over there already. Well done. Good. Then the other side, I want to bring this back a little. It's good. Wonderful. Good. Now facing the other hip. Always a different story. No, there is no good side is only a better side. Yeah, we go and bend the knee in towards God dropping [inaudible] and recheck the leg art. Good.

Move out from the keep rotating the lettuce. You can keep the legs to come back. Keep like pushing down to come up. Good and well done. And again, bend, eh, um, digging into her. Gluten's sorry. The back and reaching out. Reach out. Reach out, reach out, reach out. Good. See she's moved her ribs with her and then to come back. Catch it. Well done. I don't do that.

Please bend and reach out. Ah, now I want to see a deep, juicy Ben so that go between the legs, between sit, see in the second position, clear. Good. And then come back on your standing leg. Good. Now move out with the leg. Move, move, move, move. Good from you. Rotate and rotate back. Push down to rotate. Good.

And find your standing like I pushed a really bit too hard, but I'm good. This back view. Fant it's just you're bloated. You've got the back and you've got, it's a feel so strong. Good. And reach out. Good. Ben, sit into your second nap. Feel both the knees, partying field, what that means. Party. Remember, open these ribs out as well as you sit. Go ahead and get back on the leg. God got, reach out, reach out, reach out, reach out, reach out, reach out. Good. And I rotate that foot in for the big toe. Rotated him, rotate him, pull it up into the top of the femur. Pulls him, and then it, Oh, there you go. And then finding it back up.

Catch it up, drop it. Good and well done. All right, facing back. Just give your legs a bit of a shake. They're already shaken. Shaken, not stirred. All right, here we go. It's a bit of a stove. Yeah. Good. So I think we need to bring this, actually that's jumping back a tad. Yeah. I like this one. This one you've really going to get to hang out of your hip.

So if you think of your diaphragm and the back of here, the wider you you have, you open the diaphragm, the more the spindles of your, of your so asking to get lifted up. Yeah. So widening lifts them up. Now to get that lift in the same time, you feel that lift moving to the lesser counter. And if you feel that knee drawing down, you have this great sense of lend to the size. And that's what I really want you to feel. Yes. Is that deep sense of lifting. You see a back, a sacrum, and a bra line already. Nice and open. Good.

So first things first, she bins. Now she bent slightly, pushed back. Try not to send your knee for that's good. Yeah. And then you come back on your standing leg. God good. She's got that nice parallel position. Good. And again, she bends good and she stands back up again on the leg. Now. This next one, she goes out into bank.

Maybe don't bend so much. That's enough. She opens and rotates both legs out. Good and she rotates back in again. Centers not in parallel. Sorry, and then she comes back again out or you want to do it twice. Thank you. I was being nice to you center. Let's do it one more time then and again.

Rotates out. Go, go, go, sit open. Open the up more. That's it. And close it. Parallel. Good. And an up. Find your standing leg. Good. We'll do one more where you go, extended behind. You start the same way. Bend and rotate the legs out. Good. And stretch that like I'm Jarvis already. Kept. Push down, back of the knee. Stretch it out, stretch it out. Stretch it out. Let's see. Stretch out.

It doesn't matter. It doesn't matter if you've lost it. Bend the knee again into attitude. Keep it, keep it, keep it, keep it, keep it, keep it, keep it. Keep it good. Tenant power, LOL. Both legs working, drop good. And then bring us off forward and well done. Good. Jane sucks. Good work though. Good. No. Firstly, I get the sense of length out of the hip. Good.

But then get the sense of hanging into the knee. That's really important. Good. And here we go. Send the leg out behind you and you bet. Don't shotgun in the back at this beautiful and you come back. Pubic bone drives you up. Good. Sacrum bra line, back of the head. Widen as you go back into the good and the pubic bone widens.

Yup. Good. Excellent. Go back again into sitting back. Find that wonderful sense of sitting into that chair. Now let's go for those turning out action. Open both knee and back. And then back to center. Good. And again, open, open, open and back to center to more open. I know you need a three on the other side, but I'm being horrible to you. One last one. I said keep going on. Good. Excellent. Excellent.

Excellent down. Good. And take us up. Pubic one fought. Good. Last set and move back in. Back. Good. And rotate both legs. Good. Gently send the leg cotton down. I've got it. I've got it. Yes. I'm so horrible to you. Sorry.

Cut it. Parable. No, that's good stimulation. I don't know. But it just kind of, it makes you, let me do it one more time. Just kind of don't, I wasn't being harder. It looks like I'm brutal with her, but actually I'm quite gentle and so, and again, think of sending the theme of walk out into the knee and then the foot reaching into the pencil a little bit. Not a little bit, not good. And then open the out. God, turn it parallel, rotate it, drop, drop the heaviness, the, that's it. And then pubic bone, that's it. Take a foot out. Madeline. That was brilliant. That was really, really good. Uh, any, any feedback? Any kind of thoughts? Yes. Let's, um, so that's amplification of all the joints in the body as you just witnessed.

And um, tissue work cause well, the dropping, the dropping, yeah. We say joints, but you can separate them out. Fascia with the, with the joints or, so with that idea of, of my intention of the sequence of the joints and how I'm moving through them to the final pose. I mean we're so in a hurry to get to a pose, right? So instead of thinking about I've got to get this pose, I'm thinking about the hanging, you know, the, the ribs. That for me is very important. And then moving through those joints to achieve finally kind of a still point that's not even a held position. And then the coming back and finding kind of your weight and your center.

And I find that for the tightness of my body and the restrictions in my, um, myo fascia areas that I have personally, it's actually helped me kind of bring back more of that VISPO last date, kind of quality to my tissue that I started to lose from doing maybe too much athletics and not enough movement and things like that. So, um, and I hope that the teachers watching this, um, can just really spend the time, really listened to James cues and observe the hands on. Uh, he's been doing this for many, many years. So, you know, uh, just use caution, be confident with your hands or better yet, come take a workshop with myself or James to learn these very particular ways of doing the hands on. But hands-on is important to give feedback to the tissues so that you can actually create a change. Yeah. Queuing, queuing tooth. Yes. Very seeing the right thing at the right time. I think too much information can get lost as well.

So it's really important that you're clear about who you're working with. Madeline, I know, I know all her had nooks and crannies and I know all the corners and TMI, but it's, it's true but not, and we have such a great center and we work together, we laugh together. And in between all of that, we kind of, we try and fix each other's bodies up, which we're really prone to. We've had so much injury in the past. So it's really working around it, working with it. And each day brings a new, yeah, and you can joy a new awakening and you breaking down and we have to fix ourselves back. So it's really important too. But the most important thing is it's how, again, it's really working through those joints, celebrating those long bones in your body as to how they kind of just into different places. And then, yeah. And then moving, moving with joy.

So I hope you take all this on board, and should you have any queries right to us, happy to comment. You make comments and we'll be very happy to answer. Yeah. Thank you.

Comments

5 people like this.
I have to smile when I see and hear James teaching. He is a master in queuing and sculpting the person into the movement.
Anke I agree with you on James D'Silva 's mastery at cueing!

3 people like this.
My God!!!interesting! challenging!!!and such a beautiful and fun collaboration!!! Thank you Madeline Black and Thank you James D'Silva
1 person likes this.
beautiful hands on! great work for the small muscles!  interesting massage and combinations with yoga :) I will do it!
Well, I may have to go against the grain here. The moment James put his hand on her pubic bone I stopped the video, scrolled back, watchdd again. As a movement teacher, I think this was unacceptable, no matter how well you know eachother! This is a personal area, and if a client needs cueing in this area, their OWN hands guided here or a prop like the weighted disc will help them feel what is happening. But cueing an elite mover such as Madeline Black probably only requires a careful word or an image! I felt it was in very poor taste, and got the sense that sometimes he is heavy-handed...there was another moment where it looked like he was pushing a bit on her spine! Sorry, folks, lovely imaginative choreography to find different movement, but his version of hands-on left a poor taste. I am Polestar-trained, BTW, and tactile cueing a significant part of our training. But Not like this.
And I haven’t even made it to the caddy segment yet!
I agree there are guidelines on touch in many Pilates trainings, some more restrictive than others. In other movement trainings such as Gyrotonic and yoga, the training includes indepth practice of hands-on while a person is moving. I wish to make you aware that James is highly trained in bodywork, tai chi, and has the most sensitive and clear touch that I have experienced. It is not possible for a viewer, especially on video, to feel the pressure, force direction, fascial unwinding in someone’s touch since the viewer is not the receiver. James and I have an agreement of working together. It is that agreement allows me to receive movement in my body that it is appropriate. My body responds well and he has restored my tissue resiliency by moving me the right amount out of my comfort zone. This training affect has recalibrated my relationship with pain. We all have choices. I appreciate sharing my personal experience under his hands.
1 person likes this.
That was absolutely fantastic. I have been away from teaching pilates now for three years and I am looking to get back into it again this year and James d'silva's teaching style just reminded me of how I used to get completely immersed in teaching that person in front of me, it takes it out of you but its so enriching. Fantastic energy and perfect tactile cueing. Well done both of you! 
JAMES and Madeline. Wonderful work especially on the Cadillac. I had to add clips to lower the trapeze since at Westside Dance Physical Therapy is an old one. My clients and myself feel wonderful with those wonderful sequencing of the spine. Thanks.
Thanks Lesley! I am happy you are using the movements and getting positive feedback. Best to you!
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