Issue #404 – Wednesday, June 14, 2023
Developing Body Awareness – Learning to Let Go
by Suzanne Guttersson
If a student comes to Pilates with some knowledge of dance, yoga, Feldenkrais and/or various bodywork methods, the student will probably have some sense of body awareness and should be easier to guide into deeper mind-body connections as they advance through the Pilates vocabulary. If, however, the student hasn’t even an inkling that there IS any connection (and the attitude is “let’s just get on with the workout” or “I want washboard abs”), it is the teacher’s job to explore ways of guiding them into a journey they must be willing to take. One way would be to start backwards and give them an exercise they can do and then make it a bit more challenging. When they are able to perform it with confidence, add inhale and exhale patterns and placement. If all goes well, they will be ready to get off the equipment and go to the mat for a guided path to connecting the breath to the body with awareness.
Here are some suggestions on ways to help guide students (I call them students rather than clients as I hope they come to learn). Using a passive vocabulary and imagery – an outside force, such as a breeze – to initiate the movement,avoids pushing and over-exertion while permitting the movement to flow through the body. Above all, pay attention to what is occurring with your student and take it from there. They will sense your empathy and understand that you are there to help, not judge.
IMPRINTING: Supine – knees bent – feet on floor hip’s width apart
The term imprinting as defined by Eve Gentry was a use of the breath to initiate a gentle relaxation of a specific body part – low, middle, upper back – that relaxes and, on a soft exhale, makes an imprint into the mat. (Eve often used the image of sinking into sand and making an imprint). We did NOT define imprinting as a pelvic tilt.
If the student is unable to connect, lying on a thick foam pad into which they can sink can help. Asking “how does it feel?” leads them into thinking about what I happening – staying in the present
DIAPHRAGMATIC BREATHING: Supine – knees bent – feet on floor hip’s width apart
a. One hand over belly – other hand under sternum, using the breath to fill and empty while moving up and down. Repeat without hands and using a deeper, sharper- faster breath pattern
b. Hands on each side of rib cage. Feel the breath moving the ribs into lateral expansion and contracting inward.
c. Sit – feet on floor – in front of mirror – Theraband around rib cage. See ribs expand and contract.
d. Sit – feet on floor. Arms akimbo. On inhale, expand elbows outward, expanding rib-cage; on exhale, closing the arms to center and feeling ribs returning to center.
e. Using above arm pattern, expand and contract torso, head moving in harmony with it, connecting breath and movement.
ADVANCING INTO 100 BREATH WITH PERCUSSIVE BREATH: Arms bent same as above – open on 4 counts sniffing– return 4 counts -blowing. Advance to 5 counts. NOTE: I have found the One hundred a challenging movement with arms going one way and breath another, feet in the air while keeping arm pumping placement steady and within range. I find it helpful to break it down into increments before teaching it as a whole. This is also true for many other movements.
SIDE LYING RIB CAGE BREATH: Rib cage expands laterally on inhale – shortens on exhale (initially, student may use hand across body and under waist to assist movement.)
ALL OF THE ABOVE ARE EXECUTED IN STAGES OF ADVANCEMENT
The teacher is constantly assessing where holding patterns are releasing or gripping. The teacher, along with the student, is engaged in a learning process
If the student can experience what is called for, it saves a lot of wordy directions that often don’t connect with the student. For the next movement, hold one or both of the student’s ankles and gently rock their body up and down, so they experience an undulation done passively. Then we proceed to self-initiated spinal rocking.
SPINAL ROCK: Supine – knees bent and lifted toward chest
a. Using hands, pull knees back and forth rocking the pelvis in rapid movements
b. Repeat without hands
c. Repeat with feet on floor
c. Straight legs – knees slightly bent: point and flex feet to rock through total spine, allowing
head to go with the flow.
NOTE: IN ALL OF THE ABOVE ACTIVITIES, ALL OF THE ITEMIZED STEPS MAY NOT BE NEEDED – ONLY TAKE THE STUDENT WHERE THEY NEED TO GO
MICRO MOVEMENT: Of use only if the student is able to visualize
Sit – feet on floor
Imagine an oblong pan 1/2 filled with water that is inside your back. Feel the water sloshing back and forth sideways – then up and down – then around in the pan. How does it feel? Keep reinforcing the water as a passive force causing the movement
These are just a few examples as to how body awareness may be gained. The principles can be applied to different positions – such as hands and knees or standing. The idea has simply been to illustrate how by paying attention to what is happening with the student, you can gently help them to find a wonderful new experience of tuning into and gaining ease in movement — a delightful introduction to Contrology.
Born in NYC…Formative years spent in suburbs of Washington DC where Suzanne began her first dance lessons at age 5 . Her training continued through her teens and at Bennington College where she studied with Bill Bales of the Bales, Dudley Manslow Trio, later in New York studied Ballet and Jazz; Alvin Ailey technique in classes at west side YMCA (before they had their own studio) ; Creative Movment for Children at the YMHA under leaders in the field, Virginia Tanner and Bonnie Byrd; Feldenkrais in Santa Fe….and Pilates, mainly with Eve Gentry.
Owner-Director of Suznne Gutterson School of Dance in Port Washington, NY in the early 1960’s.
Beginning in the late 60’s, taught dance at Eve Gentry’s studio in Santa Fe. Also studied Hanya Holm technique, choreography and Pilates with Eve. Was appointed her Assistant after one year. Learned Eve Gentry corrective work and taught both correctives and Pilates in her studio. Working alongside Eve as she worked separately with another client proved to be a wonderful opportunity to observe Eve as she guided her clients through their lessons.
Co-author with Eve Gentry on a booklet that categorized the original system of corrective exercise that she developed. This booklet was utilized for students who had particular problems as well as a vital tool for breaking down and simplifying what was called for in order to perform the body of Joseph Pilates system with clarity of mind and body. I call it “Pre-Pilates”.
Taught dance and Pilates on both coasts, Europe and Mexico. Workshops given at PMA (Pilates Method Alliance) conferences; Guest teacher at various spas including Rancho la Puerta and Santuary at Camel back Mountain. Listed as distinguished teacher and presenter on Pilatesanytime website
Performed with USO during WWII ; concert at YMHA in New York; actor and dancer in little theaters in New York State and Virginia; dance concert in Santa Fe in an original work choreographed by Eve.
On Advisory Board of Pilates Style Magazine. Published Dance and Theater critic, including TheAlbuquerque Journal.
Through the years Eve’s words and philosophy have guided my teaching. Teaching for me never gets stale as there is an intrinsic richness that is profound and fosters my own creativity.
While I have developed a number of variations on equipment. and mat, all bear the influence of both Eve Gentry and Joseph Pilates in both form and philosophy.