International Pilates Certification has been committed to promoting the Pilates Method since 1972. Our objective is to pass our knowledge and experience onto you so that you may help others light their fire within.

I.P.C. integrates the New York/Santa Fe/London/Toronto approaches to the Pilates Method. The original exercise method, pioneered by Joseph and Clara Pilates, was an innovative fusion of the disciplines used in dance, yoga, body-building, calisthenics, gymnastics, and martial arts. I.P.C. challenges you to develop and bring Pilates to the next generation. We will give you tools of knowledge that are used by universities in the Science of Exercise Physiology. This encompasses Feldenkrais diagnostic and rehabilitative principles, dance techniques for grace and alignment, yoga for breath and flexibility, and body-building for strength, symmetry, and increased energy. Contraindicated movements are eliminated with the Delsarte Method.

I.P.C. empowers you to educate, inspire, and challenge your clientele in a safe and effective method taking you to an elite instructor level, leading to success. With our continuing professional support, I.P.C. graduates have: opened their own Pilates studios, been offered fitness video/television contracts, and doubled their income as chiropractors, physical therapists, masseurs, private weight trainers, aerobic instructors, gymnastic coaches, and dancers. The best teachers are always learning.

I.P.C. workshops are taught by a master level instructor. You will learn what cannot be taught and gain a deeper understanding and application of Pilates for the human condition. I.P.C. teaches you to see with "the dancer's eye" every little movement, to hear with "the immigrant's ear," understanding what is not said. We provide a safe, friendly, and respectful environment devoted to study in the Pilates method.

I.P.C. has taught internationally and can offer the course in Russian, French, German, Spanish, or English. The course can be given one-on-one or with a group for certification. Weekend workshops are available as is on-site training at your facility- both locally and internationally.

Below is an example of THE PILATES BIBLE, used in the IPC workshops

Future Pilates instructors are encouraged to read the following prior to attending workshops

 

THE INITIAL FUNDAMENTALS

The initial skills required to employ the Principles, which lead to the Concepts and result, with the benefits gained from using the Pilates’ Method.

Initially one must have the ability to utilize the fundamentals in order to do Pilates.  

I.        CONCENTRATION

II.       FOCUS

III.      AWARENESS

IV.      CONTROL

 

I.                  CONCENTRATION

An initial requirement to perform the Pilates Principles.

Concentration is a balance of the body’s action with the mind’s stillness by fortifying the will.

Some people are preoccupied with their daily responsibilities and use conversation during exercise for mental relaxation or diversion.

These people find concentration during a session difficult, their concentration demands are high and they may be mentally exhausted.

Sometimes; allowing them to talk for a few minutes before the workout is effective.

Other times enforcing a rule of no conversation for the first 15 minutes of the session works.

Learning proper workout concentration skills require diligence.

Good teaching techniques can accomplish this. 

The first step to learning good concentration is to identify which muscles are activated by each exercise. 

When you know which muscles are moving, you can begin to concentrate attention on the feeling of the movements.

Once you get to the point where your mind is quiet, you’ll have developed optimum concentration and will be getting the most out of mindful learning.

“One can achieve more than one thought possible, by concentrating the will!

Excentration is when the client is perfectly attuned to their technique, alignment, application of the Principals, the trainer and the environment, as needed in performing the jump board series on the Reformer.

 

II.      FOCUS

A precursor required to perform the Pilates Principles.

Focus is a point of concentration or directed attention.

“Where attention goes energy flows”.

Directed energy toward a specific muscle and not others, in effect; isolation of muscles used.

Emphasis on an objective is an exercise in it’s self, which can transfer to other areas of life.

Instructors often make the mistake of trying to get their clients to focus on everything at once, because they confuse focus with concentration, therefore, clients complain of too many things to think about.

It is better to have the client focus on the quality of movement or feelings of long & narrow or proximal stability with distal mobility than a quantity of things.

 

II.               AWARENESS

An awareness of the microcosm within & macrocosms without.

Being aware of the alignment of the body to the apparatus, spatial perceptions and the instructor while performing exercises and incorporating corrections without stopping to listen.

Awareness of excess tension is fundamental for better coordination and requires muscle isolations.

Through awareness we develop and reinforce pathways for mind-body-connections known as Neuro-muscular-facilitation, which contributes to desirable posture and movement patterns.

Awareness gives balance to our structural alignment with a sense of equilibrium.

Through awareness & control we can re-educate our bodies to a healthier more efficient status.

 

III.           CONTROL

An initial requirement to perform the Pilates’ Principles.

When we speak of control in Pilates we refer to self-control of one’s body, mind and emotions.

Kinesthetic control of the quality of a movement repairs or increases the number of muscles and nerves in muscle groups, creates a better systemic nerve system and reduces chance of injuries.

Use control for the purpose of simulating an activity, as in Specificity Training.

Control of the physical center is gained through the use of opposition contractions which give equal pressure from hips, abdominal and the back to stabilize the torso, and results in core stabilization, or holding the torso in good alignment, while having freedom of movement with the limbs.

 

 

 

PILATES PRINCIPLES

The required ingredients in the Pilates’ Method & the foundation on which the Pilates’ concepts are built.

Pilates’ effectiveness relies on application of these principles.

Every exercise must incorporate Pilates’ Principals to qualify it as a Pilates’ exercise.

Principals are inter-dependant and can not be used independently.

The principals listed below are a combination of terms from the Delsarte Method, Laban Dance Notations, current Exercise Physiology and Critical Educators. The original Pilates’ instructors had training in dance techniques.

Dancers were traditionally chosen to be Pilates’ instructors due to their experiential understanding of these principals.

A dancer instinctually understands and applies these principals in teaching the Pilates’ Method.

Whether or not every Pilates’ school recognizes these terms, they are applicable to every modality.

 

I.                  BREATH

II.               OPPOSITIONS

III.           FLEXION-DISTRACTION

IV.           RECIPROCAL ENERVATION

V.              SUCCESSIVE CONTRACTIONS

 

I.       BREATH

Pilates uses a breathing technique called; Clavicular breathing.

In yoga it is known as Ujjayi Prana Yama.

Physical Therapists refer to it as Segmental breathing.

Dancers use their Pull-up to make it happen automatically.

The terminology is different, but the results are the same.

 

There are 3 steps to Clavicular Breathing

1) Inhale through the nostrils and direct the breath to the upper thoracic area.

2) Activate the transverse abdominal muscles to pull the stomach in & up and then gently close the lower, floating ribs, by engaging the intercostals.

3) Exhale through the mouth & upper throat making a slight wind sound. This sound should not be rough and only barely audible to the breather.

 

NOTE

·        Equal importance is given to exhalation & inhalation.

·        Inhalation facilitates torso extension while exhalation facilitates torso flexion.

·        Inhale if the torso is stabilized in extension during rotation and exhale if the torso is stabilized in flexion during rotation.

·        When the torso is simply stabilized, exhale during concentric contractions of the limbs and inhale during eccentric or isometric contractions.

·        Breath initiates the action and sets the pace of each repetition. Synchronicity of breath to flowing movements creates Eurhythmics [graceful movement].

·        Never hold the Breath. Movements never stop, even when appearing to sustain positions.

 

THE PURPOSE OF PILATES’ CLAVICULAR BREATHING

a.       Encourages concentration

b.      Develops focus

c.       Helps one become centered and aware with presence of mind

d.      Calms the mind yet heighten one’s consciousness

e.       Increase the VO² max to prevent oxygen depletion

f.        Detoxifies the lymphatic system

g.       Builds energy for the body, mind and spiritual development

 

Breathing patterns are not necessarily natural

Men usually breathe abdominally, which gives them a deeper voice.

Singers breathe from the diaphragm for volume & control.

Both have a difficult time with Pilates’ Clavicular Breathing.

They often complain of shortness of breath and feel uncomfortable lying over the barrels.

Women tend to breath easier in Pilates because they are built to carry a fetus, which demands a higher breath.

 

Use observation & critical evaluation to determine HOW your clients breathe

Through close observation of our natural breathing process we discover a variety of natural breathing patterns.

Lying on the back with a slight decline is ideal for this purpose, in this position we can breath without using postural muscles, which may cause distention.

Have the client place one hand on the upper chest and the other on their abdomen to help them become aware of HOW they breathe.

If they naturally breathe into the stomach or from the diaphragm, ask them to direct the breath into their upper chest.

We first become aware of the expansion of the chest during inhalation, which causes a natural spinal extension, while exhalation creates a spinal flexion.

Notice if the breathing is forced and labored or ambient and passive.

Is there a hesitation after the inhalation or exhalation?

NOTE; Stopping causes a contraction of the throat, which can raise the blood pressure.

The irregularity of breathing is most noticeable when sobbing.

Holding the breath during physical exertion, may cause hemorrhoids or induce fainting; known as the Valsalva effect.

Time the breathing pattern; most people breathe at an average of 15 bpm, some give more time to the exhalation while others give more to the inhalation.

Many people tend to breath shallowly; about 2>3 seconds per inhalation.

Regulate the rhythm giving equal length of 5>10 seconds per inhalation and exhalation.

Are the nostrils, mouth or a combination used?

Ask the client to be aware of which nostril they are using more.

Usually breathing is dominant with one nostril and fluctuates from one to the other, every 1, 1/2 Hours.

When using the right nostril the body & mind are energized and metabolisms increase, which cause a rise in body temperatures.

When using the left nostril the mind quiets and the body cools [Closing the right nostril is an ancient method to induce sleep].

When breathing evenly from both nostrils we observe a natural spinal wave and the mind becomes alert but calm.

 

There are a variety of breathing techniques

Each one facilitates a different purpose.

Therefore there is not ONE correct way of breathing.

A breathing technique can only be wrong if it is contraindicative to the purpose.

 

·        Orson Welles once said the most effective tool that actors have is in the control of their breath.

‘By changing an actor’s breathing a director can change feelings of the actor and the audience.’

·        Singer’s breathe from the abdomen to create volume and to sustain notes or phrases.

·        Martial Arts exhale and grip the abdomen to ground them to throw or block punches.

·        Bodybuilders exhale to facilitate all concentric contractions.

·        Weight lifters use fast shallow breathing for energy and hold the breath for strength.

·        Dancers hold the abdomen in for balance & control and inhale to facilitate extension.

·        Gymnasts & swimmers breathe to increase the volume of oxygen and prevent muscle failure.

·        Indian yogis are interested in energizing the brain and developing a spiritual awareness.

·        The Chinese are concerned with breathing for energizing internal organs, limbs and enhancing the quality of life.

 

Breathing Modalities are not universal in the Pilates Method

Breath is probably the most controversial aspect of the Method.

Confusion may be due to the many techniques of breathing, but even when groups agree upon Clavicular breathing, there remains controversy over the HOW and WHY inhalation or exhalation is appropriate.

FOR EXAMPLE; inhalation facilitates spinal extension as in ‘Swan’; however, exhalation during ‘Swan’ prevents spinal hyper extension.

Never the less; all Pilates’ modalities agree that breathing patterns should facilitate the movement or prevent contraindications.

Segmental breathing [Clavicular breathing] is most widely used in Pilates, however; Physical Therapists caution not to initiate inspiration with the accessory muscles and that the upper chest should be relatively quiet during respiration.

Pursed-lip breathing during exhalation is considered a traditional Pilates technique, but Physical Thera­py protocols discourage forced exhalation with pursed-lips, because it encourages gasping for air, however; most therapists feel that gentle pursed lip inhalation breathing with passive expiration is useful to keep airways open by creating a backpressure in the airways.

Some Pilates’ instructors use Diaphragmatic breathing, which is designed to retrain the respiratory muscles, although research studies indicate that it may not affect alveolar ventilation and oxygenation.

Breathing exercises are designed to improve pulmo­nary status, overall endurance and function in daily activities.

Therefore, it is this author’s opinion that all breathing patterns should be deep, voluntarily controlled, relaxed, and adapted to the clients needs or ability, regardless of the pattern being taught to the client.

 

II.      OPPOSITIONS

Oppositions describe the direction of energy flow; to elongate muscles, protract joints or stabilize the core while performing Pilates’ exercises.

While dynamic stretch techniques elongate a muscle in one direction, Pilates stretches in opposite directions to stretch the muscle at its origin & insertion and pull the joints out in traction, to avoid joint compression during articulation.

Pilates also stabilizes the lower half of the torso by contracting muscles toward each other from opposite directions.

Therefore; experts classify oppositions in two categories

1) Those that extend in opposite directions to elongate

2) Those which contract toward each other to stabilize.

 

OPPOSITION ELONGATIONS

Imagine energy moving in opposite directions and then try to see it while watching others stretch.

Some people extend in only one direction; we call this a parallel contraction or a dynamic stretch.

Dancers & gymnasts stretch in two directions, used as a constant power to negotiate more extension away from the center and to create a longer moment-arm; as to give an architectural disadvantage so that the intrinsic muscles activate without stressing ligaments or joints.

This, two direction stretching also creates space between joints to relieve compression and avoid joint deterioration during movements.

When we apply these Opposition Elongations prior to & during joint mobilization they are called Flexion-Distraction.

 

OPPOSITION CONTRACTIONS

When opposing groups of muscles contract toward the median line [center] that area becomes stabilized and protracted.

In Pilates, we apply compressed tension, equal in pressure, toward the center, employing the hips, back, abdominals and perineum muscles to maintain a neutral spine & pelvis, this is called core stability.

While tension equally compressed would seem to have a compression effect on joints, it has just the opposite result.

Like Plate Tectonics the pressure is equally distributed out, in opposite directions, for movement within the joints, as in squeezing a tube of toothpaste in the center to create more length.

 

NOTE

Opposition elongations & contractions are in a continual renegotiation [a successive contraction] and never static as in locking out a joint.

This principal is adopted from the Delsarte Method, which research proves had a profound influence on Joseph Pilates’ Contrology, via Mary Wigman and Rudolph von Laban [who studied the Delsarte Method].

Opposition Principals were later reinforced by Carola Trier [one of the original Pilates’ teachers, who studied with Laban] and Ron Fletcher [a Pilates’ teacher who studied with Martha Graham; a famous dancer and choreographer, who studied the Delsarte Method].

Charles Atlas [1920-1950] integrated this Delsarte principal in calisthenics, and coined it Dynamic Tension.

 

IV.           FLEXION – DISTRACTION

The term, Flexion-distraction was coined by chiropractors who were concerned with synovial joint protraction, prior to and during mobilization, to avoid compressions & deterioration.

Mobilizing a compressed joint causes chronic inflammation, pain, bursitis and arthritis.

While most fitness modalities are satisfied with shortening one side of a joint in order to stretch antagonist muscles, or to increase the Range of Motion, Pilates & the health industry are more inclined to limit the ROM and create a protracted arc [gentle ‘C’ curves] to protect the joints’ articular surface.

Using opposition elongations to avoid axial & appendicular joint compression during flexion, extension or rotation is a Hallmark of the Pilates Method.

Traditional cueing exemplifies this; “Lift up to roll back”, “Spiral up to turn around” or “Lengthen out to lift the leg”.

Most Pilates’ schools teach a form of this principal, although most graduates don’t adhere to its application.

Never-the-less physicians recommend Pilates because of this principal.

This opening of joints creates a long arc of movement, but not at the expense of shortening the opposite side.

Teaching clients to pull out in traction prior to movements places less stress on their joints’ articular surface and demands more muscular strength, which is functionally efficient in strength training.

However; according to Kinesiology protocols, it is functionally inefficient when lifting heavy weight loads, especially if ligaments & tendons have been over stretched due to hyper flexion or hyper extension.

Therefore; all Pilates’ schools discourage working with excess spring resistant [heavy springs are often used for assisting the client].

NOTE; although many Pilate’s books suggest spring loads for each exercise, this author has decided to leave that discretion to the instructor, as the Perceived Exertion varies daily, and from person to person.

 

WARNING

Exercise Physiologists blacklisted many original Pilates’ exercises as contraindicative

 

FOR EXAMPLE

·        Full sit-ups [Roll-ups] create a strength imbalance and leads to pelvic instability.

·        Pulling the neck forward with the hands [Neck pull] strains & misaligns the cervical vertebra.

·        Double leg lifts [Teaser] expose the spine to injuries when in a ‘V’ balance.

·        Side bends [Mermaid] causes abnormal stress on the oblique muscles and spinal discs.

·        Spinal extensions [Swan] hyper extend & compress vertebra and leads to lordosis.

·        Spinal rotation [Spine Twist] compresses and deteriorates vertebral discs, leading to arthritis.

·        Twisting in flexion [Saw] has shearing effects and may cause herniated discs.

·        Straight leg toe touches [Spine Stretch Forward] over stretch retaining ligaments of the spine.

 

NOTE

Today’s Pilates must be taught with Flexion-distraction to avoid client injuries

Experts agree, application of this principal is intelligent and a sophisticated approach to fitness

 

 

V.              RECIPROCAL ENERVATION

Reciprocal Enervation concerns agon & antagonist muscle relationships.

Exercise Physiologists & Physical Therapists use enervation modalities to stretch muscles and innervate the systemic system by engaging opposing muscles.

FOR EXAMPLE; hip flexion with knee extension uses the hip flexors and quadriceps to stretch the gluteus maximus & hamstrings.

This technique is known as an Activated Isolated Stretch Technique in the fitness industry.

However; Reciprocal Enervation is even more sophisticated in that it also activates isometric contractions of both agon & antagonist muscles simultaneously. Employing opposition contractions during movements reduces the ROM, in order to avoid joint hyper flexion or hyper extension, and ligament impingements.

By teaching reciprocal enervation, clients learn the difference between locking out a joint and extending it.

They also realize that they are not fighting the Pilates’ apparatus, but creating a force from within themselves.

This use of synergistic muscles [intrinsic & extrinsic], increases strength reciprocally to the agon & antagonist muscles dramatically by working them in an elongated state [a hallmark of the Pilates Method].

Application of this principal restores & maintains a normal balance of symmetry & proportion of muscles and equalizes the strength > flexibility ratio of a muscle. FOR EXAMPLE; it tightens & strengthens muscles, which have become Hyper-flexible, and stretches & strengthens muscles, which have become Hypertonic. Most exercise methods focus on stretching or strengthening muscles, however Pilates strengthens muscles in an elongated state.

Research proves that engaging a stretched muscle requires 20 % more energy [strength] than traditional exercises that only use concentric contractions.

Reciprocal enervation balances the strength flexibility ratio of each muscle used [the tight ones get stretched while the weak get stronger].

Some Pilates’ instructors refer to this principal as Power-Pilates, however; it has always been a part of every good Pilates’ program.

Most sports & fitness programs emphasis the already dominate muscles while ignoring the not so talented ones.

Pilates’ creates balanced, tubular muscle shapes that are long, strong, firm, flexible and defined, like dancers or natural athletes, as opposed to the bulging round muscles of a weight lifter.

Pilates Concepts of Coordination, Efficiency, and Quality of Movement are due to the application of this Principal.

 

VI.           SUCCESSIVE CONTRACTIONS

Successive contractions are the sequence of muscle recruitment for movement progression as reflected in the cueing.

These sequential contractions are a natural progression, originating proximally and extending distally.

Francois Delsarte called these waves of organic actions which stem from the center and move outward, Authentic Movement.

Both the Delsarte & Pilates Methods encourage using the body & mind as a whole, unlike the Plastic Movement of current fitness trends.

Successive contractions are responsible for the Pilates concepts of Flow & Being Centered, both physically & mentally.

Sophisticated fitness programs encourage working smarter, not harder, for an intelligent workout.

This is why Pilates is known for working from inside, out.

Today, mind-body work is referred to as Soma Therapy.

Successive contractions are not only used to work from the center, but are employed in Opposition Contractions & Elongations.

Pilates never uses static positions, as in traditional Yoga exercises, but activates Successive contractions to renegotiate length and reenergize core stability. Successive contractions are also used in transitions between different Pilates’ exercises.

[Successive Contractions were integrated in 1979 to Ashtanga Yoga, to create Power Yoga, for strength and flowing transitions.]

While most fitness programs depend on supplemental cardio exercise to fulfill endurance requirements [one of the five components of a complete fitness program], Pilates uses flowing transitions from one exercise to the next, for an accumulative affect of endurance training.

The Pilates principals are always integrated in their use & application.

 

 

 

PILATES CONCEPTS

Something conceived in the mind: THOUGHT, NOTION or IDEA.

An abstract or idea generalized from particular instances.

Pilates Concepts are integral components of the Pilates method.

Concepts are the result of applying the Pilates Principals.

 

I. BEING CENTERED

II. CORE STABILIZATION

III. FUNCTIONAL EFFICIENCY

IV. QUALITY OF MOVEMENT

 

I.       BEING CENTERED

Being centered is a result of applying Breathing Principles.

Being centered is a clear, calm and aware mind with inward concentration & outward awareness. 

It is having thoughts or emotions without owning them, and allowing the body to work efficiently.

Good posture is a result of being centered physically.

The intrinsic postural muscles, transverse abdominis, soleus, psoas and erector spinae provide the infrastructure to balance.

 

II.      CORE STABILIZATION

Core stability is a result of applying Opposition Contractions & Successive Contractions.

Engaging muscles of the torso & hips to hold in good alignment, while having freedom of movement with the limbs i.e. ‘Proximal stability with distal mobility’.

Core stability is integration of the Powerhouse, Center & pelvic floor in isometric contractions to hold a neutral spine & pelvis.

Core stability is not a position but rather a constant renegotiation & establishment

 

III.    FUNCTIONAL EFFICIENCY

Functional efficiency is a result of applying Flexion-Distraction & Reciprocal Enervation Principles.

Pilates demands an economy of energy to perform the exercises.

Use only the amount of tension necessary to achieve an action.

“Don’t use cannons to kill flies.”

Precise control of muscle isolation, alignment and visualizations are also required to do the work.

If one activates unnecessary muscles, the purpose of the exercise is compromised.

We often see this at the point of muscular fatigue.

No wasted motion like squirming should be allowed.

Giving value to rest and the work time demands a change in energy and educates the body, to release excessive tension of extrinsic muscles and build energy during the interval.

Giving equal importance to rest & action gives variation to the workout and challenges the mind to activate intrinsic muscles.

A pause at the end of each repetition releases excess extrinsic muscle tension so that intrinsic muscles are activated.

Relaxation is a result & precursor of each exercise.

EXAMPLE; ‘The Law of Octaves’ used by musicians, architects and writers, from ancient times, governs the space, time & energy successions.

 

IV.    QUALITY OF MOVEMENT

Movement flows from the intrinsic muscles in a controlled fashion outwards.

When we coordinate the mind & body to function efficiently, with a cooperative effort of movement & breath, and an equalization of concentrated effort with minimum stress we create Eurhythmics.

Control of time, space and energy, creates a graceful dynamic, builds stamina and can change muscles on a cellular level from F.O.G. to S.O.G.

When we do Pilates, the quality of the movement is immediately recognized as becoming and aesthetically pleasing.

This quality of movement distinguishes the Pilates’ sophisticated approach in fitness.

The qualities of flowing, graceful, controlled, connected movements are less likely to strain muscles or damage joints & tendons.

The mind can change how our bodies perform a task by integrating visualization, imagination & intuition.

Focus on the quality of your actions to understand the joy of movement.

If your clients are moving beautifully, they’re probably doing Pilates.

Remember; Beautiful movements develop beautiful muscles.

 

 

 

TEACHING TECHNIQUES

I. Demonstration

·        RCRC [Repeating Cycles and Reviewing Choreography]

o       Show the exercise clearly and tell the client exactly what you are doing

o       Have the client perform the exercise with you

o       Showing what they did

o       Showing how you want them to perform the exercise

o       Have the client perform the exercise solo

·       Show & Tell

o       Having two people perform an exercise

o       Pick one person to demonstrate the exercise to the other

o       Point out what they are doing that is different

o       Having the two people perform the exercise again

II. Touch System

·        The instructor places the client in alignment or molds them in position   

·        The client places their hands on the area of their body where they are to focus

·        The trainer touches the client at the point of focus to activate a mind-body connection

·        Use auxiliary apparatus for Modifications; adjust the client with props

·        Trainer assisted spotting; give hands-on support, while performing exercises

·        Manipulate or manually assist the client to perform the action properly

·        Direct the client through touch

o       ‘Follow my Hand’

o       ‘Reach out for my Hand’

o       ‘Push my Hand’

III. Verbal Cueing

·        The tone of your voice or the emphasis you place on a word or phrase can change how a client performs

·        The pace at which you deliver your words [l-e-ngth-en-ing], makes a difference

·        Choice of words; chose your words wisely

o       What you mean and what the client understands may be different

o       Get clients’ feedback; often the clients can provide a better word or phrase for them to understand

·        Don’t let clients stop to listen to instruction; correcting the clients’ technique while they are performing the exercise helps build a mind-body connection

·        Pilates is a very positive method of exercise; most people work well with positive reinforcement. Leave the Drill Sargent Mentality to the weight trainers.                                                     

IV. Graduate System

·        Teach progressively from easy warm-up exercises to more challenging exercises; some Pilates’ teachers claim the secret is in the sequencing, rather than the technique

·        Archi-kinetic; Build on what was already taught [choreography or principles]

·        Give the client variations only when they proficiently execute the previous exercise           

V. Technical Training

·        Technique Training

o       Expounding with anatomical jargon; not appropriate for most clients

o       Focusing on the technique of an exercise; enhances sports or dance skills

·        Tech-Training is how some Pilates’ schools train their instructors. While Tech-Training is an effective way to process teachers, Physicians & health practitioners discourage this Routine Method because it doesn’t promote critical analysis or thought. This Method doesn’t consider the individual and may be harmful to clients

o       Teaching sequenced routines

o       Teaching with pre-scripted cues

o       Applying the same spring load resistance to every client regardless of fitness level

o       Applying the same repetitions to every client, regardless of ability or goals  

VI. K.I.S.S. System also known as ‘Keep-It-Simply-Simple’ or ‘Keep It Simple, Stupid’

·        Teach in the most efficient and simple way for the client to understand

Getting the results you want without making it rocket science

·        One learns to teach simplistically when teaching in a foreign languages

VII. Inspirational Teaching

Gestures and the instructors body language, are very affective

o       Pretend to zip-up the front of your body

o       Extend your arms in opposite directions, as if pulling apart

·        Motivated the client with encouragement and support

o       “Better your Best”

o       A productive approach, reminds clients of their goals and progress

o       When the instructor remains focused, the clients are motivated to focus also

·        Visualization can be very inspirational to all

·        Pretending, helps the client get in touch with the inner child

·        The atmosphere or ambiance that the environment creates will affect the teaching

·        Equipment of different manufacturers may dictate how and what an instructor teaches

·        Sounds can be inspirational or disruptive, sounds affect us consciously and subconsciously; studies have been made of the effect of sound on the body at the cellular level, research shows that sound can raise blood pressure, heart rate, and muscles will contract to the rhythm of sounds

o       Music

o       Voices of trainers and clients

o       Outside noises

 

 

STRETCH TECHNIQUES

 

Golgi Tendon Reflex: Aka; the Stretch Reflex

The Stretch Reflex is the operation of the Golgi tendon to prevent muscle injury by moving in too large a range of movement.

Stretching is actually slow, controlled tearing of muscle tissue.

The muscle or tendon can snap, when stretching quickly or harshly.

However, the stretch reflex also limits maximum flexibility.

Activation of the stretch reflex causes contraction of the muscle one is trying to stretch.

If the muscle is contracted, it is far more difficult and painful to stretch the connective tissue of that muscle.

Holding a maximum stretch longer than 3min. also activates the stretch reflex and results in a tighter muscle.      

 

BALLISTIC STRETCHES

Ballistic stretches rely on momentum of aggressive bouncing to provide the stretch.

Violent bouncing carries considerable risk of injury and continually activates the stretch reflex.

Therefore, the individual is trying to stretch the connective tissue, but at the same time he is getting a contraction of the muscle fibers, resulting in an inefficient method of stretching connective tissue.

Ballistics were used in traditional Pilates’ exercises but are unacceptable in today’s evolved Pilates’ Method.

 

STATIC STRETCHES

This long sustained passive stretch is more effective than ballistics.

Passive stretches rely on sustained relaxation.

To apply this method, as­sume a stretch position, then con­sciously trying to relax the target muscles, relax a little more with each exhalation into the stretch.

The stretch reflex is still activated to a lesser degree and so prevents maximal flexibility. 

Static stretches are used in traditional Yoga exercises, and only for relaxation in the Pilates’ Method.

 

DYNAMIC STRETCHES

This is an active stretch.

When we reach in one direction, we can feel a lengthening of the muscles involved.

This type of dynamic stretch is used in sports training.

Extending joints in opposite directions creates a Dynamic Tension to stretch muscles at their origin & insertion.

Charles Atlas & Joseph Pilates applied this Delsarte Method of Opposition Elongations to stretch muscles more effectively.

In 1979 Opposition Elongations was adapted to Yoga [Power Yoga by Bryan Kest].

An active extension has a synergistic affect on muscle tissue, enhancing their strength and flexibility.

However, a maximal contraction of the antagonist muscle is still necessary to block the stretch reflex effectively.

 

PROPRIOCEPTIVE NEUROMUSCLAR FACILITATION: Aka; PNF;

PNF relates to a complex stretch technique used in medical stroke rehabilitation.

What’s called PNF in sports and Pilates is a much simpler version of that technique.

PNF stretches rely on a more complicated protocol in­volving alternately contracting, then relaxing and stretching the target muscle.

PNF stretch techniques may be unsuitable for use in the early stages of a rehabilitation program because it involves a high-intensity contraction of the injured target muscle.

PNF is most suitable in promoting dramatic flexibility increases in major muscle groups.

A muscle is more apt to relax after strenuous work.

In order to understand this technique, contract your target muscle then stretch the same muscle in the opposite direction, now keeping the muscle within 60-80% of its stretch capacity, block the return action by some external force and contract against it again, then release it into a deeper stretch.

In other words, maximal contraction of the antagonist blocks stretch reflex. 

However, if the muscle is hyper tonic to begin with adding more stress may cause a strain, not a release.

 

ACTIVE ISOLATED STRETCH: Aka; AIS

Contracting one muscle to stretch the opposing muscle blocks the stretch reflex activation. 

In accordance with this physiological principle, when a muscle contracts, its antagonist automatically relaxes.

An antagonist is a muscle which causes the opposite movement from that of the agon, the muscle acting as mover.

Thus in a movement of flexion, the flexors are the movers and the extensors are the antagonists.

Pilates’ Principal of Reciprocal Enervation employs this stretch technique.

However Reciprocal Enervation has other aspects which also innervates nerves and balances the strength, flexibility ratios of a muscle.

The active isolated stretch technique can be employed to attain maximal stretch when the antagonist muscle mass is smaller than the muscle size of the agon, and held for 30 sec.> 3 min.

INTERNATIONAL PILATES CERTIFICATION

Limits the right to reproduce any portion of The Pilates Bible © by any means, including any information storage or retrieval system without permission from the author.