140 replies to this topic

[Carole Amend]

Historically, let's remember that Eve Gentry was involved with the Laban Institute, and that the first pilates "certification" held by Eve and the Institute for the Pilates Method, developed into Physical Mind Institute. No need to reinvent the wheel on relating pilates to Laban/Bartenieff (Irmgard Bartenieff's book: Body Movement) as, yes, these are "established." You'll find plenty of folks who have done that already and even more who believe they've found gold when they hear of it. Incidentally, "tabletop" may have developed from that mindset as an explanation or way into hundreds, and it may prove helpful to some but, that's not how J.H.Pilates explains it in his book. To me, after exploring a while, the route from Laban to the principles Pilates wrote about and to what I felt and observed in my practice seemed circuitous, so, I chose another.

Interestingly, there's another thread on the board right now: "What Is Happening To Pilates Being About Movement? Are we starting to over-analyze the work?" (MKJ, have you been reading this thread?) which dovetails into this one, as often happens here, but, I'll continue here.
PMI gets a lot of flack for modifying and breaking down the exercises, however, I'd say that trying to define pilates by McGill's research, or Blandine's, or Myers', or by PT terminology is no different...although, PMI, in the beginning, was looking for language that would validate the good things about pilates; they/we were not looking for what we do wrong in pilates...and I really appreciate that (just like I appreciate the link I gave a few posts back about how yoga will NOT hurt your body.)

From my vantage point, pilates07 is right on target using a direct link to music and I loved the reference to telling jokes. Not a day goes by that I do not laugh with my clients or sing a tune with someone...today it was the snake charmer's tune, as I was teaching how to stabilize the tail and move the ribs "side to side" on the Ladder Barrel.

The musical definitions are actually more than metaphorical...for example, "tone" has several different meanings, and since the cat's already out of the bag...I'll share a bit more. If you want to define the work beyond general movement quality terms, you could absolutely investigate Scapulo-Humeral "Rhythm" theory from Bartenieff, however, in practice, bones don't move without muscle and other soft tissue...and...it's very rarely, if ever, observed that muscle tone is a neurological event, not just a biomechanical one...and this is what gets us back to what J.H.Pilates wrote about, and where I've spent my time in defining pilates for myself and my clients: the NS, especially the CNS. Of course, I don't need to explain this to all of my clients, however, some find it interesting, some find it really beneficial, and I'd venture to say that fully understanding the work at this level of theory is absolutely imperative for others.

Yes, I do understand that equating music to muscle seems a bit of a stretch...and that's why I have resisted talking about dynamics online...until now: I'm happy to say that you can expect me to post more info about this perspective after we hold the intro weekend in March in PA.

I hope this brings it back to practice for you. To get back to the original post, I use any and all resources to get through to my clients. Getting through to 30 people in a class situation is really tough, if not impossible. The onus ends up on the client to take care of themselves...to check the background of the teacher...to inform themselves as much as possible. I said earlier that personality-based marketing doesn't help me much, since, at this point in my career, I can work with any body/person coming in my door; however, it may be helping class-format instructors to attract the types of clients they are best suited to teach. It's not perfect, but it's on its way.

[pilates07]

Historically, let's remember that Eve Gentry was involved with the Laban Institute, and that the first pilates "certification" held by Eve and the Institute for the Pilates Method, developed into Physical Mind Institute. No need to reinvent the wheel on relating pilates to Laban/Bartenieff (Irmgard Bartenieff's book: Body Movement) as, yes, these are "established." You'll find plenty of folks who have done that already and even more who believe they've found gold when they hear of it. Incidentally, "tabletop" may have developed from that mindset as an explanation or way into hundreds, and it may prove helpful to some but, that's not how J.H.Pilates explains it in his book. To me, after exploring a while, the route from Laban to the principles Pilates wrote about and to what I felt and observed in my practice seemed circuitous, so, I chose another.

Interestingly, there's another thread on the board right now: "What Is Happening To Pilates Being About Movement? Are we starting to over-analyze the work?" (MKJ, have you been reading this thread?) which dovetails into this one, as often happens here, but, I'll continue here.
PMI gets a lot of flack for modifying and breaking down the exercises, however, I'd say that trying to define pilates by McGill's research, or Blandine's, or Myers', or by PT terminology is no different...although, PMI, in the beginning, was looking for language that would validate the good things about pilates; they/we were not looking for what we do wrong in pilates...and I really appreciate that (just like I appreciate the link I gave a few posts back about how yoga will NOT hurt your body.)

From my vantage point, pilates07 is right on target using a direct link to music and I loved the reference to telling jokes. Not a day goes by that I do not laugh with my clients or sing a tune with someone...today it was the snake charmer's tune, as I was teaching how to stabilize the tail and move the ribs "side to side" on the Ladder Barrel.

The musical definitions are actually more than metaphorical...for example, "tone" has several different meanings, and since the cat's already out of the bag...I'll share a bit more. If you want to define the work beyond general movement quality terms, you could absolutely investigate Scapulo-Humeral "Rhythm" theory from Bartenieff, however, in practice, bones don't move without muscle and other soft tissue...and...it's very rarely, if ever, observed that muscle tone is a neurological event, not just a biomechanical one...and this is what gets us back to what J.H.Pilates wrote about, and where I've spent my time in defining pilates for myself and my clients: the NS, especially the CNS. Of course, I don't need to explain this to all of my clients, however, some find it interesting, some find it really beneficial, and I'd venture to say that fully understanding the work at this level of theory is absolutely imperative for others.

Yes, I do understand that equating music to muscle seems a bit of a stretch...and that's why I have resisted talking about dynamics online...until now: I'm happy to say that you can expect me to post more info about this perspective after we hold the intro weekend in March in PA.

I hope this brings it back to practice for you. To get back to the original post, I use any and all resources to get through to my clients. Getting through to 30 people in a class situation is really tough, if not impossible. The onus ends up on the client to take care of themselves...to check the background of the teacher...to inform themselves as much as possible. I said earlier that personality-based marketing doesn't help me much, since, at this point in my career, I can work with any body/person coming in my door; however, it may be helping class-format instructors to attract the types of clients they are best suited to teach. It's not perfect, but it's on its way.

Wow.... I'm fairly flabbergasted. Have you seen The Matrix? Carole, I think you might be Morpheus There's lots I'd like to say in response but I don't know where to start, or even if it's necessary. My gut has told me for a while that all the things you mentioned above were not only linked but imperative to Joe's Pilates, but to organize it and verbalize it is obviously a painstakingly long process. A *huge* Thank You for this contribution, and what's to come in March!!

I had an example ready for "timing" that I was going to share and see if anyone wanted to play around with, but I'm a little eclipsed at the moment LOL

[taowave]

I was teasing you regarding joe.When I watch his archival work,the last thing I see is Joe Waltzing side to side...I cant comment on the music volume/isometrics as that flew right over my left brain head.

I understand Joe didn't do Side to Side. He did move with rhythm, though. And I'm not getting into Laban here, just saying that there are established ways to talk about movement quality that make more sense to me than equating musical volume with isometrics.

Edited by taowave, 20 January 2012 - 06:13 AM.

[Geniusall]

okay, much to think about...thank you "T" for opening this discussion further, Lizzie for bringing forth the thought, and Carole and 07 for your brillant insight....let me try and describe what I mean by rhythym....by the way, I do sing when I teach....I, too will do almost anything to get through to my clients....soooo one mat class I had everyone standing, in a narrow forward straddle, and I was trying to get them to shift their weight forward and back, forward and back in even tempo pattern....it was very interesting how many people had trouble with this simple standing exercise....and several who were able to do it had a "timing" issue....meaning they were not able to shift their weight (they basically looked like Frankenstien...stiff and awkward (sp) to tempo...so I know this is very rudamentary, but I realized I take my sense of rythym for granted and not everyone has it...
So I will take a stab at 07's question on the teaser and how the body can change the dynamics....would it be a shift in weight...ie arms going from shoulder hieght to in line with ears....or legs lowering and lifting? I also am feeling like a "grasshopper" here, but that is what I asked for.....

[taowave]

C,most of your seemingly informative post flew right over my head,except for this part.

Myers work as we know is vastly different than that of biomechanical engineers.Biomechanical engineers look at stresses,loads,force and other fun things that can be quantified.In their eyes,pilates=yoga=gymnastics etc.

Its kind of silly for anyone apply a universal definition of Pilates.As illustrated on the thread there are many perspectives and they should all be respected.

What is constant and is universal regardless of ones perspective is biomechanical principles.

From Wikpedia

In sports biomechanics(i.e yoga,pilates,gymnastics), the laws of mechanics are applied in order to gain a greater understanding of athletic performance and to reduce sport injuries as well

PMI gets a lot of flack for modifying and breaking down the exercises, however, I'd say that trying to define pilates by McGill's research, or Blandine's, or Myers', or by PT terminology is no different...although, PMI, in the beginning, was looking for language that would validate the good things about pilates; they/we were not looking for what we do wrong in pilates...and I really appreciate that (just like I appreciate the link I gave a few posts back about how yoga will NOT hurt your body.)

[taowave]

I think P07 was asking how one makes an exercise "harder" keeping all variables the same,but she lost me while connecting the dots.

This is what happens when the right brain people are in charge

okay, much to think about...thank you "T" for opening this discussion further, Lizzie for bringing forth the thought, and Carole and 07 for your brillant insight....let me try and describe what I mean by rhythym....by the way, I do sing when I teach....I, too will do almost anything to get through to my clients....soooo one mat class I had everyone standing, in a narrow forward straddle, and I was trying to get them to shift their weight forward and back, forward and back in even tempo pattern....it was very interesting how many people had trouble with this simple standing exercise....and several who were able to do it had a "timing" issue....meaning they were not able to shift their weight (they basically looked like Frankenstien...stiff and awkward (sp) to tempo...so I know this is very rudamentary, but I realized I take my sense of rythym for granted and not everyone has it...
So I will take a stab at 07's question on the teaser and how the body can change the dynamics....would it be a shift in weight...ie arms going from shoulder hieght to in line with ears....or legs lowering and lifting? I also am feeling like a "grasshopper" here, but that is what I asked for.....

[Carole Amend]

C,most of your seemingly informative post flew right over my head,except for this part.

Maybe the theory does, at the moment, but don't write it off until you've had a chance to experience what I mean in practice.

Its kind of silly for anyone apply a universal definition of Pilates.

That's a really loaded comment. Not touching it right now.
(pun intended, btw)

As illustrated on the thread there are many perspectives and they should all be respected.

I absolutely agree!

Edited by Carole Amend, 20 January 2012 - 07:52 AM.

[gaile]

Mmm Im not going to get into rythm and Pilates but going back to the orginal thread dont you feel its not usually the yoga/pilates or whatever thats at fault but a 50/50 split of inexperienced teacher and ego driven client? I have been practising Bikram yoga for close on a year,Ive been taught by new teachers who have given me the rhetoric exhorting me to push harder,go further without explaining what that means and I have been taught by teachers who have known exactly what to correct on my body to "push harder,".The experienced teachers stop the class explain what they want and demand it,the new teachers have no clue they just get the class through regardless.Theres the first problem.I also should know better than most what I can and cant do but Ive let ego get the better of me and wanted to do as "well" as the person in front and hurt myself in the process but thats my fault for not listening and not applying both commensense and basic yoga rules of not competing with others.



My experience with Pilates is the same,constantly being told to pull my ribs in because thats what the manual and the training school teach has caused huge problems in my spine which actually yoga has helped to undo.Thats down to the teachers not understanding what they are teaching,just repeating a cue without looking to see if the body needs that.I was taught last year by Neindra Gabrial and she changed everything about the way I do Pilates,feel about Pilates,teach Pilates.Since then Ive realised that being dogmatic about what you were taught does not work,you have to find your path to understanding the work and everyone in this discussion has found their way to understanding the work and becoming better teachers because of it.Any client who studied with T,Carol or 07 would learn something different from each but would have been given a safe and effective workout because all three have taken the time to study their work.If they then studied with a new teacher the experience might be very different not necessarily bad or hurtful but without the depth of knowledge its going through the motions whether you need to or not.

[Carole Amend]

Mmm Im not going to get into rythm and Pilates but going back to the orginal thread dont you feel its not usually the yoga/pilates or whatever thats at fault but a 50/50 split of inexperienced teacher and ego driven client?

Speaking professionally, I am not a psychologist, so I am not going to make comment on anyone's ego. I am a movement/exercise teacher and, from my studies, I've learned how our physiology drives us and that's where I keep my focus. When more people can understand and get behind *that* idea, I do believe that things will change.

[Geniusall]

thanks Gaile,
I think that is how we got off topic to an extent in that "T" was looking at it from a more biomechinical perspective and I was looking at it from a more client/teacher perspective and all the factors which come into play....as someone stated earlier...what one teacher may say to you may "change" your perspective but the same words may not be heard by someone else....so I always wonder, why did it take me getting hurt before I decided to question what was being told to me? In the end, I am grateful for the injury and the "dogma" of my training as it has made me a much better teacher and student of movement....

[pilates07]

C,most of your seemingly informative post flew right over my head

Maybe the theory does, at the moment, but don't write it off until you've had a chance to experience what I mean in practice.

It doesn't seem to be a big secret that there's an element of musicality and artistry to Pilates (including but not limited to dynamics, rhythm, timing, tempo, speed, flow etc.). It seems all or most of us agree to that, whether we intuitively feel it's true, been taught it in our courses, or seen it in advertising. But because I am not content to do what I'm told or take someone's word for it, and I have a need to investigate things, I've often wondered WHY those elements are said (or felt) to be important in practice and in teaching. Is it possible that there is a biomechanical need for those elements? My gut tells me yes, based on *some* experiences and *some* knowledge, but I don't have all the background to explain it, so I thought I'd pick others brains and see where the rabbit hole would go (Morpheus). Remember the thread started with an article about safety in yoga, the resulting discussion being whether a practitioner's injury was solely due to the discipline on the whole being injurious or a result of how the discipline was being taught or practiced. (originally yoga, T brought in Pilates).

I'll give one more example of how and why I think an element of musicality and artistry reads thru biomechanically and can affect safety *for certain bodies*, then I'll let it go and if anyone is keen to dig further, drop me a line.

Take "timing". The dictionary definition Carole offered: "the choice, judgment, or control of when something should be done". In terms of music, if an orchestra conductor did not keep all his instrumental sections in perfect "time" with each other, you'd hear a big mess. I also mention timing in comedy, you can go back and read it if you like. In terms of movement, it would be *when* a person moved different body parts relative to the others. Here's how I would relate that to Pilates (I'm going to use my personal experience so I can give a first hand account): In Overhead, the "ideal" timing is that the arms descend AS the hips lift off the mat. The top and bottom move simultaneously. However, when I first learned this exercise, of course I was learning the gross motor pattern and I wasn't well co-ordinated with it. Also, because I have *ahem* a thickly built and heavy lower body, I didn't quite have the powerhouse strength to lift my hips up while my arms were pulling the straps down. Did that mean I shouldn't learn the exersice? No, my teacher changed the *timing* for me so my arms descended first, to give me the leverage (if I'm using the term correctly) to get my bottom up. That doesn't mean my arms were doing the work, but providing assistance while my body figured itself out and my powerhouse increased in strength.

If you're with it so far, awesome. So here's where timing can *possibly* make or break the safety of an exercise (remember that I'm speaking about MY body, as we should always speak about the individual body when discussing how an exercise should be done). I have had significant injury and damage to my L4/5 and right SI joint. I'll even be specific about the injury so everyone can understand why an exercise like this *could* cause me problems. First injury, the right side of my pelvis was jammed forward over my sacrum. Additionally, twice I had my L4/5 jammed in flexion, rotated to the left. All three times I had to be pulled back into place, taped for some time, and modified workouts for weeks to months. I'm sure you can all imagine the state of my ligaments after. OK so back to Overhead: If I had been forced to use the "ideal" timing for Overhead like I first described, the risk to me would have been dropping the weight of my heavy bottom into a formerly damaged and subsequently hyper mobile and weak lumbar spine. Although I would have been healed enough that it wouldn't have necessarily injured me, best case it certainly wouldn't have been the healthiest approach for *my body, at that time*, worst case I would have been uncomfortable after.

I don't think there's a teacher reading this that would not have made the same change in timing for me, in this circumstance. However, my point is that "timing", an element of musicality and artistry, can also be explained in biomechanical terms; related directly to Pilates; and argued as necessary for safety. I believe the same process can be used for the other elements of musicality that are espoused in Pilates as well. I also want to make it absolutely clear that my perspective is not fear of being injured or creating an injury, but to ensure any Pilates exercise is not only safe but actually beneficial.

That's all, take it FWIW

[taowave]

Gaile,in my eyes,you hit the nail on the head and was a bit more direct than I was.

It didnt take me very long to realise exactly what Gaile has experienced.I simply questioned what I was led to believe,and more often than not was not satisfied with the answer.

In Gailes specific example,exactly why should we "pull in the ribs"?Of what benefit is it to pull in the ribs? Do we pull them in during hyper-extension? Is a fellow Pilates practitioner/teacher the best source for that subject,or is a Phd in a related movement field a better candidte?

I can say Kendall has taught me more about the roll up than any teacher I have ever studied with.

Question what you have been led to believe is true.You have nothing to lose and much to gain.

[b]My experience with Pilates is the same,constantly being told to pull my ribs in because thats what the manual and the training school teach has caused huge problems in my spine which actually yoga has helped to undo.Thats down to the teachers not understanding what they are teaching,just repeating a cue without looking to see if the body needs that[/b

[taowave]

Oh NO you dindnt!!!!!

Taowave didnt bring in "Pilates".He brought in movement arts of which Pilates is one,and "someone" got their back bowed,and it wsnt only G

Sweet,Innocent Taowave wrote

The simple fact is if you read any of McGills work or any other biomechanical researcher,you will begin to question many of the things we have been led to believe were beneficial to our well being.

It is not just yoga.It exists in weightlifting,Pilates and many other modalities.

Yoga(generally speaking) just happens to be the worst as many of their postures border on the absurd.

T

And "someone" responded

In my opinion, if McGill or *anyone else* makes me question Pilates, I would question my own understanding of the work or the application thereof.

I then lost my innocence

Remember the thread started with an article about safety in yoga, the resulting discussion being whether a practitioner's injury was solely due to the discipline on the whole being injurious or a result of how the discipline was being taught or practiced. (originally yoga, T brought in Pilates).

Edited by taowave, 20 January 2012 - 10:55 AM.

[taowave]

I dare you to touch it you big chicken(egging you on:)

That's a really loaded comment. Not touching it right now.
(pun intended, btw)

[pilates07]

Oh NO you dindnt!!!!!

Taowave didnt bring in "Pilates".He brought in movement arts and "someone" got their back bowed,and it wsnt G



Do you happen to rememeber that someones responce?

Sorry T, I don't get your confusion. As you quoted, you said (called it a FACT) that if we read McGill we would begin to question what we have been told is good for us, in yoga, Pilates, etc. I simply doubted that anyone outside the field could have a full enough understanding of how our discipline is intended to work to pass judgement on safety (and I just gave examples of elements of our discipline and their possible safety implications that someone outside the field *might* not be aware of). Instead of assuming the work is wrong, I personally try to understand how the work is intended. If my attempt at explaining my position didn't make sense, or you don't agree with, I apologize for the time and space wasted.

[taowave]

I wasnt specifically referring to Pilates,nor was I trying to bring in any specific movement art.I am fully aware that this is a verrrrry sensitive board

I do notice that McGill is a sensitive name to some..

smiley guys are used to lighten the mood...

but as we are on the topic,I wrote McGill or any other biomechanical researcher.I probably should have written any other leading biomechanical researcher in the world.What I cant understand is if you doubt that the WORLDS leading authorities on biomechanics (and related injuries),who should we "defer" to? I just dont understand the doubt that is cast because he/she "is outside the field".

What about the elite skiers,gymnasts,runners,pro athletes,dancers,olympians that reguarly attend McGills clinic? MsGill isnt any of those,should they have doubt as well?

Does the same logic apply to elite orthopedic surgeons who are not familiar with Pilates?

So I ask you,whose expertise should one seek regarding injuries in movement arts..

Sorry T, I don't get your confusion. As you quoted, you said (called it a FACT) that if we read McGill we would begin to question what we have been told is good for us, in yoga, Pilates, etc. I simply doubted that anyone outside the field could have a full enough understanding of how our discipline is intended to work to pass judgement on safety (and I just gave examples of elements of our discipline and their possible safety implications that someone outside the field *might* not be aware of). Instead of assuming the work is wrong, I personally try to understand how the work is intended. If my attempt at explaining my position didn't make sense, or you don't agree with, I apologize for the time and space wasted.

[pilates07]

I wasnt specifically referring to Pilates,nor was I trying to bring in any specific movement art.I am fully aware that this is a verrrrry sensitive board

I do notice that McGill is a sensitive name to some..

smiley guys are used to lighten the mood...

but as we are on the topic,I wrote McGill or any other biomechanical researcher.I probably should have written any other leading biomechanical researcher in the world.What I cant understand is if you doubt that the WORLDS leading authorities on biomechanics (and related injuries),who should we "defer" to? I just dont understand the doubt that is cast because he/she "is outside the field".

What about the elite skiers,gymnasts,runners,pro athletes,dancers,olympians that reguarly attend McGills clinic? MsGill isnt any of those,should they have doubt as well?

Does the same logic apply to elite orthopedic surgeons who are not familiar with Pilates?

So I ask you,whose expertise should one seek regarding injuries in movement arts..

I also said "McGill and any other", no sensitivity here to that individual. You don't understand why I cast doubt, that's ok. It really is. I e mailed you off board with specific examples because I didn't want to take up public space with a ridiculous amount of blah blah blah. I ended up doing so anyway, which I kinda regret. If it didn't make sense, it didn't make sense. I don't think anyone wants to hear any more.

I will answer your last question in parts. Generally, a person should seek out whoever they think can help them. Personally speaking: when I was injured I went to a physio. For long term care he said I knew enough as a Pilates teacher (which I consider to be part general movement teacher) to rehab myself (this, based on our conversations, not his assumption about what I knew based on my title). If I feel anything "off" that may or may not be left over from my injury, since I am a Pilates practitioner, I take a look at where I might be going wrong with my Pilates practice and/or my general movement and postural mechanics throughout the day. Simply put, I use what Pilates has taught me. Joe called his work corrective, and so far I have no reason to believe that's incorrect as it's kept me intact.

Edited by pilates07, 20 January 2012 - 01:09 PM.

[Pilates Core]

I'm mostly just lurking in this thread...but I'd be interested to read your examples, if you don't mind sharing them publicly.

[taowave]

I like your perspective and haven't received any mail.P,I like hearing what you have to say,and it does present a perspective,and one I can learn from.keep it coming

I also said "McGill and any other", no sensitivity here to that individual. You don't understand why I cast doubt, that's ok. It really is. I e mailed you off board with specific examples because I didn't want to take up public space with a ridiculous amount of blah blah blah. I ended up doing so anyway, which I kinda regret. If it didn't make sense, it didn't make sense. I don't think anyone wants to hear any more.

I will answer your last question in parts. Generally, a person should seek out whoever they think can help them. Personally speaking: when I was injured I went to a physio. For long term care he said I knew enough as a Pilates teacher (which I consider to be part general movement teacher) to rehab myself (this, based on our conversations, not his assumption about what I knew based on my title). If I feel anything "off" that may or may not be left over from my injury, since I am a Pilates practitioner, I take a look at where I might be going wrong with my Pilates practice and/or my general movement and postural mechanics throughout the day. Simply put, I use what Pilates has taught me. Joe called his work corrective, and so far I have no reason to believe that's incorrect as it's kept me intact.

[pilates07]

Sure, it'll be a day or so, I'm back to DIY renovation mode for the weekend.

Quickly though, I like Gaile's addition of the rib cage placement. Here again, a how, when and why question. Ribs may or may not have needed to be *changed in alignment*. Maybe they needed to be changed, but were changed with too much muscular force. Maybe they needed to be changed but the opposing muscle group was holding on to too much tension and it created strain. Or maybe the change produced a "sink" somewhere in the spine that created compression. Or maybe they should have been left alone and the pelvis changed instead. Hard to say without having been there. T, to touch on what you said about questioning what you're told, yes courses have general cues like pulling in the ribs, but learning how to teach Pilates in a course is akin to learning how to do Pilates in a group with no private lessons. There is much broad based cuing, and many *cuing options* offered to the teacher trainee to use. Hopefully a good course will give tips as to when certain cues should be used ("timing"!!!) and encourage their teacher trainees to THINK about what cue to give, to whom and when. Additionally, after courses are over, new teachers need to continue to educate themselves on individual needs. So, it's not that what the course told the teacher trainee to tell the client to do is inherently wrong, it's whether or not it was a correct cue for the body at the moment, how the verbal cue was turned into movement by the client, and whether the change that was produced was mechanically safe.

Incidentally, if I were a medical-model professional, like a PT or a biomechanical researcher, and I was under the impression that ALL PILATES was taught like Gaile's rib cage placement situation, I would either A. be inclined to question the safety of the whole discipline or B. investigate further to see if it was the discipline itself that was unsafe OR the way it was presented, because Gaile's situation would *most definitely* make me cringe!!! Food for thought.

Also, thanks G and Lizzie for offering thoughts on rhythm and dynamics. Rhythm, timing, dynamics, etc. IMO are individually definable, but not always mutually exclusive, and most definitely can be understood intuitively without need for individual definitions, although it can be helpful (certainly in this environment) to have them, which is why I asked initially. I talked about "timing" in terms of execution of an exercise, and again above in terms of teaching. I think most of us on this board recognize the wisdom of the right cue at the right *time*, and whether we understand "timing" intuitively or can consciously identify it as an element of "artistry" and "musicality" is irrelevant, it exists nonetheless.

I think P07 was asking how one makes an exercise "harder" keeping all variables the same

Yes, that is correct.

Happy weekend!

Edited by pilates07, 21 January 2012 - 09:17 AM.