Pilates

The Best Tool To Support Dancers: Pilates

By Vikki Harris, Polestar Pilates Mentor and Practitioner

Supplemental cross-training, alongside technical dance training, is an essential ingredient to developing and enhancing a dancer’s learning and longevity.  With the increasing athletic demands and challenging choreography on dancers’ bodies, the Pilates environment provides an opportunity to support optimal performance and reduce the risk of injury. 

Many Pilates teachers are seeking advice as dancers venture into their studios for support with their technique, strength, flexibility, management of hyper-mobility, or rehabilitation from injury.

As Pilates teachers, we have valuable tools to support their learning. Of course, this is not new as many dancers sought the support of Joseph Pilates in his New York studio. Though Contrology was not specifically designed for dancers, George Balanchine and Martha Graham were clients of Joe’s who then sent their dancers to his studio for support with their strength or rehabilitation.  In this article, we venture into the nature and demands of a dancer in the current age to explore an approach for this population.  


The Dancer’s Goals

There are a wide variety of dance styles and techniques ranging from classical ballet, contemporary, commercial, street, ballroom, Latin, tap, jazz, musical theatre, and many more. For the purpose of this article, we will focus on the classical ballet technique, which forms the foundation of many dance programs. When approached by a dancer it is important to understand the nature of the dancer and their goals.

  • Are they professional dancers currently performing?
  • Is their training schedule full or part-time?
  • Are they dancing for recreational purposes?

The age of the dancer is incredibly relevant, as the length and quality of their dance training. What is the dancer’s capacity?

A thorough screening assessment and interview, with support from the dance teacher, choreographer, or therapist will gather valuable information.  Dancers are often driven, committed, and motivated with perfectionist traits and have busy training or performance schedules. Supporting a dancer’s mental health as well as physical health is hugely important. 

The Demands On The Dancers

The demands of the dancer require a balance of flexibility and strength. Desire is for full ranges at joints within the capability of control throughout the range. Dancers learn through barre work, adage, and allegro exercises to develop a well-tuned repertoire of proprioceptive kinesthetic awareness. A well-programmed dancer has good motor skill recall, an attuned sense of balance, ear and eye vestibular turning skills, and all navigated within gravitational changes and forces with the required speed and reactivity.  

This is all possible by utilizing a full-body approach and integration of core stability, along with understanding good breathing dynamics of the diaphragm. This provides benefits for the heart and lungs to fuel muscular activity and for artistic expression and stability. 

Pilates & Dance Research

A famous study at Lenox Hill Hospital in New York (1975) compared all forms of sports, including dance, in terms of the athletes’ physical fitness capacities.  Ballet, boxing, and hockey were ranked at the top. These activities require high levels of strength, endurance, flexibility, cardiovascular fitness, and other measures of fitness. 

An experimental study by McMillan and associates found that a 14-week Pilates intervention improved dynamic alignment in ballet students.

As well, a study by Amorim and Wyon found that dancers who participated in a 12-week Pilates mat intervention increased their levels of muscular strength and flexibility. This is compared to a control group who showed no changes in participating in normal dance class. Due to these muscular adaptations, dancers were able to hold a developpé position for an average of 9 seconds longer and increased their height 4-10°. McMillan A, Proteau L, Lebe R: The effect of Pilates-based training on dancers’ dynamic posture. J Dance Med Sci. 1998;2(3):101-7. 

The placement and alignment of the structure and understanding of the bone rhythms educate the dancers’ mechanical relationships for congruency, ease, and control. For example, the pelvic bone relationship to the femur to support optimal turnout in external rotation required for classical ballet.

This also allows for maximum movement efficiency using the myofascial communication network for storing and releasing potential and kinetic energy resources, reducing stress on joints and tissues. The rhythm of the lower extremity bones of the knee, ankle, and foot, for example, supports the strength when standing en pointe.  The use of the foot and ankle is vital for speed, agility, and awareness of the supple plié for maximum ground force reaction that is necessary for allegro elevation. 

The Complexity Of Dance Training

Instructors working with dancers must also remember the use of the ports de bras, carriage of the arms lines, the head, neck, and upper extremity, and understanding the integration to the torso for support.  The dancer is required to look effortless with strength for lifting, floor work, choreographed falls, rolls, and dynamic powerful acrobatic skills. 

Dancers are required to learn and remember complex challenging enchainments, or sequences of choreography. These include changes of direction and weight transfers, sometimes off-balance, suspended with a center of gravity shift.

Alongside the speed and accuracy, the dancer must have an innate sense of spatial awareness and what is known as the dancer’s radar, not only for themselves but others on the dance floor.

Dancers are often aware and need support with compensation strategies that appear due to their individual structural design or mobility issues.  For example, rolling or sickling in the ankles or feet: a pronated, supinated, inverted, everted alignment issue. Dancers may develop shin splints from poor dance flooring, raked stages, or lack of ballon bounce or elevation. It is also common to develop an inability to land with their heels down from a jump from the over-tensioned Achilles tendon.

Supporting Young Dancers

It is important to understand the adolescent dancer and the growth pattern where bones grow faster than tissues reducing flexibility for a period of time. The speed of growth may also affect the awareness of the center of gravity, and suddenly pirouettes turns aren’t as easy as they were. Dancers may also be working with changing hormonal maturity at this time.  Osgood-Schlatter disease is common in young dancers and most often occurs during growth spurts when bones, muscles, tendons, and other structures are changing rapidly.  

Starting pointe work too young or pushing the body into extreme positions can limit dancers’ careers and damage young bodies for life. Supporting dancers to be individuals, and therefore encouraging positive experiences and building self-esteem, with sound training, attention to detail, and anatomical awareness is the basis of health in any body and its longevity, especially from the athletic demands on dancers in the profession today.


Vikki Harris is a Polestar Pilates Mentor for Polestar UK and ex-professional Principal Dancer of the Drusilla Duffill Theatre School  and owner of V Pilates Studio Burgess Hill

Graduate Highlight: Chrissy Lomax

To me, the principles of Pilates are present in my every move, everyday, and go with me everywhere. I am forever a student. Whether on the Reformer, race-walking or recording vocals in the studio, the principles are always active. The more I learn, the more I learn what I don’t know. Everybody and every body can do Pilates, and that is what I share. – Chrissy Lomax

Watch Pilates Hour, Episode #90 with Chrissy Lomax, “Breast Cancer Awareness”.


Polestar: What do you love about teaching Pilates and owning a studio?  Where did you take your training and who was the educator?          

CL: I have always been passionate about helping others achieve goals, overcome physical limitations, become stronger, and believe in themselves. Pilates ties together everything that I have ever worked toward to bring me the balance I need to stay whole and in tune with myself.      

My fitness & well-being journey began over 30 years ago when I spent 4 years recovering from a serious car accident. I had to dig deep and heal from broken ribs, a punctured lung, a collapsed lung, a ruptured spleen, and multiple skull fractures that took away my vision and memory for a few months. On top of that I was told that I may never walk again due to the injuries in my legs. I educated myself on rebuilding and healing my body, mind, and spirit.     

I called them “floor exercises” then, and I committed myself and worked hard to walk again- without a cane! It really was a miraculous recovery. During my recovery, my 41 year-old mother was diagnosed with colon cancer that took her 9 weeks later. My journey now included helping others prevent cancer.     

My music career brought me to California from Toronto, and I continued my quest to help others get fit and healthy and stay cancer free. I was a fundraiser for the Jonnson Cancer Center/UCLA, an Ambassador and Leader for Weight Watchers, a marathon coach for The Leukemia & Lymphoma Society’s TNT, and an AFAA personal fitness trainer.       

In 2005 I had my first official mat Pilates teacher training and realized that this is what I had been doing all along. The healing powers of Pilates in body, mind & spirit was something I was already embracing, so I knew this was a good fit.      

6 years later a friend invited me to partner with her to become a Polestar certified instructor. Until that day I had never even been on a reformer. A year later I started teaching reformer classes at a physical therapy/rehabilitation facility where I did my training. 

Polestar: What are your current inspirations?

CL: I just beat HER2-positive breast cancer; 20% of BC diagnoses are this aggressive type. I am so inspired to help others diagnosed with breast cancer get through treatment as well as I did.

As challenging, painful, and sickening as it was, I did the work I had to do to make it through the dark tunnels of treatment. Some days I could move and some days I just couldn’t get out of bed. I took advantage of the good days and moved as much as possible, whether it was cleaning the house and doing laundry or preparing bland but nourishing soups in my Vitamix. My treatment lasted a whole year and just ended last July in 2018. I had six rounds of strong chemotherapy including Herceptin and Neulasta, then surgery, then 35 radiation treatments. My targeted therapy Herceptin was infused every three weeks for a whole year through a port in my chest.

My last infusion was July, 2018, and my last surgery to remove the port followed. I had the best possible outcome from my treatment – a pathologic complete response. I believe this is because I allowed my oncology team to do what they needed to do to fight the disease while I did my job of nourishing my body, mind, and spirit. I feel responsible to help others do the same, show them how easy it is when you make a choice, and treat yourself with as much love as you do everyone else in your life.         

Polestar: What do you hope to convey in your teaching?

CL: To be honest, I think I talk constantly while I am teaching. There is so much going on in our bodies when we move, and I get excited about it! I hope my teaching encourages others to be thoughtful as they move not just on the reformer or mat, but as they move throughout their day.       

Polestar: Where would you love to vacation?

CL: Hawaii is my favorite place to go on vacation. I use visualization to make it through challenges like getting to a marathon finish line, so I visualized it during my radiation treatments. I would visualize my toes in the sand under the banyan tree in Waikiki. It has been years since I have been there, and when I do get there again I will welcome the sunrise on the beach with a morning mat workout! 

Polestar: What is your favorite quote?  How do you live or embody this?

CL: My favorite quote changes all the time, but I do love the blessings of John O’Donohue. Currently, I read this one daily as I continue to heal: 

“May I have the courage today To live the life that I would love, To postpone my dream no longer/ But to do at last what I came here for/ And waste my heart on fear no more.” 

John O’Donohue

And this is on the back of my business card: “Physical fitness is the first requisite of happiness” -Joseph Pilates

Polestar: Describe your movement style.

CL: Thoughtful, purposeful with intention.

Polestar: What is your favorite apparatus or favorite way to move?

CL: There is such a playground of toys to use, and although I do believe the Pilates Reformer workout is all you ever need in life, the Pilates Ring (Magic Circle) has been my most valuable apparatus during treatment and recovery.

With my blood counts compromised and low during treatment, going into a gym or Pilates Studio was out of the question, and I don’t have a reformer at home. In bed, sitting on the side of the bed I was able to work just about every part of my body, with or without the ring; throw in a band and BOOM- you have a great total-body workout. I always recommend that my clients put a ring and a band in their suitcase first when packing to travel and they can workout anywhere. 

Polestar: What are you reading or learning about?

CL: I am currently reading Tripping Over The Truth, which is about the metabolic theory of cancer. I am learning everything that I possibly can to stay cancer-free and to help others do the same. To me, Pilates movement is so thoughtful, methodical, self-loving, and healing. 

Polestar: How does Pilates inform your profession?

CL: To me, the principles of Pilates are present in my every move, every day, and go with me everywhere. I am forever a student. Whether on the Reformer, race-walking, or recording vocals in the studio, the principles are always active. The more I learn, the more I learn what I don’t know. Everybody and everybody can do Pilates, and that is what I share. 


You can find Chrissy at Daily Breath Pilates and check out her awesome music at ChrissyLomax.com

Discover The 3 Elements That Make Up Motor Control

Polestar Pilates Teacher Training not only teaches you how to teach exercise choreography but also to see and evaluate the biomechanics of movement, and understand coordination and motor control. This excerpt is from Pilates Hour, a free webinar series hosted by Dr. Brent Anderson that broadcasts weekly.

Brent Recommends Anne Shumway-Cook’s Book “Motor Control”: I always recommend this addition to your movement library especially if you are interested in movement science and motor control. – Brent


Questions:   

How do the principles of coordination relate to the quality of movement versus the quantity of movement?  

Where does “Awareness” fit into movement integration?  

How do alignment, mobility, control, and load relate to understanding coordination and motor control?  

What is the best way to understand coordination to optimize our teaching strategies as Pilates teachers? 

How is movement learned in the best way possible for long-term retention? 

Motor learning has to do with the awareness of internal and external feedback provided both by the Pilates teacher and also from inside the client.  

Movement integration is the principle that synthesizes all the Principles of Movement.  It gives us the tools and understanding for new movement acquisition and learning new strategies to replace older and less efficient ones.  As we better understand coordination and the science of motor control and motor learning, we start to use a different set of tools than what might traditionally be used in the fitness, athletic, and rehabilitation sciences.  

How do we create an environment that allows someone to learn new movements most effectively?  

We often see clients come into the studio with guarded, compensated movement that continues to plague them with an unnecessary expenditure of energy. This can cause a predisposition to things like repetitive strain problems or injuries from those old patterns.   

Think about how you might always cross your leg right over left when you sit – this creates a torsional force in the body and the tissues adapt to this movement or posture from the daily habits we might have.  Improving movement is not necessarily about increasing flexibility, range of motion, or strength, but learning to take a different look at how we in the Pilates environment can really optimize the client’s understanding and learning experience.   

Motor Control is this mixture of the individual, the task, and their environment. When the three of these are working together synergistically, we see movement that has both quality and effectiveness.  (Motor Control: Anne Shumway Cook). 

The Individual: Action, Perception, Cognition 

Action: We define movement in terms of human actions or tasks, whereas we can define motor control as the science that tries to identify how the many degrees of freedom are controlled pertaining to human actions. 

-Anne Shumway-Cook 

Some examples of human action are getting the mail, taking the dog for a walk, and putting on clothing.  You can imagine the almost infinite possibilities in our bodies of the timing of doing simple activities such as these or another example, touching your ear.  The arm can go in many different patterns, perhaps millions, in the attempt to touch the ear.  How does the body navigate that?  

It used to be believed that we were purely reflexive animals. For example, if we step on something sharp and have a reciprocal reflexive response, the leg that is not stepping on something sharp presses down, and the leg that is stepping on something sharp lifts up. It’s the same if you touch something hot.  

Then the science moved to a more hierarchical perspective where individuals think about things with the cortex (brain), have desires to do things, and send commands to the body to do them. For example, if you are thirsty you are going to grab your cup and use a “Motor Plan” to bring the cup to your lips and take a sip of water.   

Consider the act of signing your name on a small piece of paper, which uses a different set of fine motor skills as compared to drinking from a glass.  When I attempt to sign my name on a big chalkboard, I end up using different muscles and different strategies that result in the same signature (hopefully).  What if I tried to sign my name with my foot? 

Perception: The integration of sensory impressions into psychologically meaningful information.  

What is it that we perceive? Where does the sensory information come from? What do we see, hear taste, and smell, what do we feel in our skin and proprioception – where is the body in space? Where are the shoulders and where is the head? 

As Pilates teachers, we are essentially teachers of awareness and perception. That is important! 

My original physical therapy research was looking at perception. Does the client believe they are going to get better?  Clients who believed they would get better had an 80% likelihood that they would indeed show signs of improvement with their low back pain.  Individuals who believed they would not get better also had an 80% correlation that they would indeed not get better.   My challenge was to see if I could shift their perception to one where they were able to move successfully without the pain.  When they had a successful movement experience without the pain and their perspective shifted to one of “I believe I can move without pain”, it made all the difference. 

Cognition: Includes attention, motivation, and emotional aspects of motor control.   

This is something I want I am afraid of falling and don’t want to – It always hurts when I do this movement… We are constantly problem-solving to get what we want.  

Think of the language we use with clients: be careful, don’t fall down, don’t let your legs go too low, and don’t spill the milk. This kind of language doesn’t tell them what you would like them to do, nor how to do it.  And think of the language we use to communicate with ourselves.  

We sometimes use language that creates a negative perception or concept that then impacts the clients cognitively and eventually impacts their actions.  And this is why at Polestar we are so fanatical about avoiding the “negativity” in our teaching language. We practice the skill of being able to tell clients what we want them to do or to see in their movement and asking them “What do you notice?” rather than telling them “Your pelvis is out of alignment”.  And if they are out of alignment and don’t notice it, we can give them more useful information like “lengthen your right waist” to help them gain better alignment and eventually an internal awareness.  

How do we manipulate the environment or the task at hand to be able to impact the individual’s perception, belief, and cognition of movement? 

Improving awareness is going to be one of our most powerful tools. We speak about this in the rehabilitation world, mainly in the neurological rehabilitation field however, I feel this should be a key focus of language and strategies for anyone teaching or facilitating movement. Our job is to help our clients turn external feedback cues and information into internal awareness so they can become more efficient and more unconsciously competent.  

The Task 

One of the first questions I ask my clients is “What do you believe you should be participating in that you believe you are not able to participate in?”.  

In the International Classification of Function Model “ICF”, we ask them “What do you want to participate in”? If they wish to participate in golf at 90 years old, I have to be thinking “what does this individual’s body require to be able to play golf at 90 years old? 

And we need to be mindful of the “gap”.  Where are they today, where do they see themselves, where they want to be, and how do we help them develop that task that is part of their ability to function and reach their goals.  

Mobility vs Stability 

What is the mobility and stability required for the task? 

If you are on a flat ground performing a movement it will have a different motor program than if you perform the same movement on an uneven surface while someone is throwing things to you.  

We often make tasks too basic and unstimulating and don’t progress the activity or change the environment. The more complex and more variables involved with the movement, the better they learn in the long run. These factors influence how an individual learns to move. It needs to be appropriately challenging from the start.  

When we stop babying our clients and create an environment that may be a little more challenging, they gain independence and begin to do something that they believed they couldn’t do.    

The Environment 

How does the Environment affect movement performance? 

Consider the weight of an object such as the weight of a backpack. Hiking with a 30lb pack will potentially shorten the distance someone can hike compared to hiking without a pack.   Or consider lighting – when it gets dark, movement can become more challenging for some individuals.  When the darkness of the environment takes away the sense of eyesight, they are relying on their vestibular and proprioceptive systems which may be deficient.   

We need to take into consideration: 

  • The weight of different props or devices  
  • Different textures of surfaces (playing basketball on a rubber court verses wooden or cement court) 
  • Practicing Pilates in a dimly lit studio 
  • Air quality or wearing a face mask 
  • Exercising outside or inside with different temperatures 
  • Uneven surfaces 

The surface has a lot to do with the environment and so does the temperature.  Temperatures can impair the way that we move.  If it is very hot and humid or too cold the body can have a difficult time moving.  

The Takeaway 

All three aspects of motor control, the individual, the task, and the environment are all important to us as movement teachers and analysts. 

Is there a right and a wrong way to move? No, there are an infinite number of ways to perform a task or movement.  The question we should be asking is how do we as movement teachers assess our client’s needs, create the optimal environment for learning, and support them in accomplishing any task they may throw our way? 

We need to use tools of interviewing, informative cueing, assistance, props, manipulating load, tempo changing the environment, and challenging clients with choreography.  If we do this, we and our clients stay engaged and energized and clients accomplish not only their original goals but new goals they didn’t even know they had.   


Brent Anderson PhD, PT, OCS, NCPT is a Physical Therapist, Pilates Educator and Founder of Polestar Pilates. Brent received his degree in Physical Therapy at the University of California, San Francisco in 1989 and his PhD. in Physical Therapy at the University of Miami in 2005. His doctoral thesis explored the impact of Pilates rehabilitation on chronic low back pain using psycho-emotional wellness and quality of life measures. He is currently Assistant Professor faculty at the University of Saint Augustine, College of Rehabilitative Sciences.

9 Tips to Self-Regulate your Nervous System

Written by Polestar Graduate and Mentor for Polestar Pilates UK, Kristin Loeer.


There are many reasons for why we become Pilates Teachers. A love for public speaking does not tend to be one of them.

Kristin Loeer

As soon as we start teaching, groups, in particular, we realize that there is a side to this profession that is rather nerve-wracking. Day in, day out we walk into a large room filled with people who are all looking back at us expectantly. We feel the pressure to deliver something amazing and begin to tense up. We don’t know what to do with our hands and we can’t quite look people in the eye. We crack a nervous joke and blank unamused faces stare back at us in response. Too scared to repeat such an awkward display of disconnect we buckle down and escape into our “Pilates Teacher Mode”. 

We speed up a little as we talk, somehow needing to fill the silence and give people more to do, to make sure they are satisfied and do not have time to decide that they don’t like us. 

Somehow, we manage to get through the hour and as people leave, we hope desperately for a smile or a “thanks” from someone, so we know we did a good job after all. What sticks in our mind are all those people that leave without even looking at us. ‘Do they hate me?’ – we wonder. And while we are still wondering that, the next group of people are coming in and it starts all over again. At the end of the day, we are confused and exhausted and beginning to accept that there is a side to this job that makes us feel rather exposed and disconnected. 

While the described above is perhaps an extreme scenario as far as Pilates Teaching experiences go, I can say that I have certainly been there during the early years and I know that many of you have been too. This kind of challenging teaching experience is particularly common at the start of our career when we take on cover classes or work for health clubs where groups are large and unfamiliar.

And while things may improve with time and experience, many of us can not quite shake off the protective “Pilates Teacher Mode” completely and never quite feel fully authentic and at ease when we teach. 

It is no surprise that we feel so challenged in situations like this. Stepping in front of an expectant crowd and allowing ourselves to be seen can evoke a fight or flight response in our nervous system. This deeply instinctive mechanism causes us to lose the ability to rest into ourselves and socially engage with other people. In the end, we have spent an hour trying to manage our own stress while in the public eye, trying to connect with people and teach them healthy movement. Accumulatively this is a jarring process that could well be the first step to burnout if work situations like this persist. 

We can use Stephen Porges’ Polyvagal Theory to get a better understanding of what is happening to us in classes as described above. 

When we are at peace and enjoying the company of others we are in a ventral vagal state. We feel grounded, calm, and at ease. Our body is able to take care of all internal processes like digestion, restoration, musculoskeletal and cognitive function in an easy and balanced way. We feel connected to and seen by others in ways that make us feel safe and validated. This ability to socially engage with other people is something that fuels our ventral vagal state further. We have a sense of “I can.” about us and our ambitions. Most of us will have an experience of this and some of us feel at home in this state of being more so than others. 

If we are under a lot of stress, experiencing pain, or managing difficult relationships, we may not find a ventral vagal state easy to maintain. When we then enter the studio in this state, we quickly begin to pick up the signals that trigger a sympathetic nervous system response. We perceive many unfamiliar eyes suddenly looking at us expectantly or even challengingly.

We are suddenly under public scrutiny and feel the pressure to perform and deliver. We tense up, our eyes go wider, and we cannot see the room as a whole anymore as we fixate on this or that. We become a little uncoordinated or even walk into things.

We get a mental block and cannot think properly. Our voice and movements speed up and our breath becomes shallow. We cannot look people in the eye. Even if we are aware of these changes, it is difficult to control or influence them. The body has gone into a sympathetic nervous system state associated with expecting or preparing for a fight or flight situation in a moment when we are desperate to connect with people and create an environment for health and well-being. 

How frustrating is this? In our attempt to make it work, we put more pressure on ourselves, and our sense of “I can” changes to “I must.” 

Unfortunately, no matter how much we try to hide how we really feel 70-80% of our communication with others is non-verbal and a lot of it is subconscious and instinctive.

Chances are that the class participants pick up on our sympathetic nervous system state, which means that now neither of us are able to socially engage with each other or find a state of well-being. 

If this experience is repeated again and again, we may eventually collapse into a dorsal vagal state, a form of nervous system shut down. We may experience symptoms like headaches, chronic tension, stiffness and pain, voice problems, and chronic exhaustion. At this point we have a sense of “I can’t.” and something has to seriously change for us to be able to get back to “I can.” 

What can we do about this? Ideally, we want to be and remain in a ventral vagal state as much as possible when we work with our clients. We want to be able to connect with them, put them at ease and role model physical and mental well-being. 

Below are a few simple tips that can help you self-regulate your nervous system in preparation of those challenging classes as well as during your teaching.

Before The Class:Take A 15 Minute Time Out

Perhaps the most important question we want to ask ourselves is: how do we enter the studio? Are we already in a sympathetic nervous system state when we arrive? If we are, it will be very difficult for us to shift this while under the pressure of a teaching situation. Schedule 15 minutes before the class in which you can take time out for yourself where you are undisturbed. 

Grounding

Grounding is extremely powerful in helping us shift into a ventral vagal state. Spend some time acknowledging the contact and support you are receiving from the ground and other areas in which you are making contact. Feel your feet on the floor and perhaps lean into a wall or back of a chair and feel the sense of support and holding this gives you. 

Self-Contact

Give your body some support by making gentle contact with your hand on your heart, stomach, or thighs. Follow your instinct, keep it simple and give this time. Track the sensations that arise. 

Identify A Resource

Ask yourself what else might help you settle and feel more the way you want to feel. Would a hot drink be helpful or maybe your favorite music on your mp3 player? Maybe you put on your favorite leggings that make you feel great? It is those little things that can be a great resource to us when it comes to settling our nervous system. You can also connect to a resourceful memory of a time when you felt the way you want to feel now. As we connect to such memories, our body resonates.

Track Your Sensations

You may observe energy rising. This is okay. Allow it to travel through you and keep acknowledging your soothing resources and the contact and containment from the ground, your surroundings and self-contact. Chances are that energy will settle if you allow a little time for this. Once you feel calmer and more relaxed, spend another moment to really soak up this nervous system state with your awareness before you enter the studio. 

This 15-minute preparation will make a huge difference to your following teaching experience as it will be easier for you to maintain your ventral vagal state and your clients may also feel more inclined to connect with you from the get-go. 

During the Class

Notice your Triggers and Slow Down

When you feel the very first triggers that challenge your calm, allow yourself to slow down. You have more time than you think. We quickly feel under pressure to act, especially in a fight or flight state. Know that you have time to attend to yourself. 

Acknowledge the Ground

You also have contact with the ground here, just like before. Notice it and allow it to support you. You do have the time to sense the ground and acknowledge that it is always there to support you. Notice how it feels to acknowledge this. 

Self-contact  

Placing your hand to your heart, putting one hand into another, touching the back of your neck, whatever helped you soothe yourself before, is perfectly acceptable to do while teaching a Pilates class. There are plenty of those gestures that we do subconsciously all the time, so chances are nobody will notice as you get a powerful reminder of your ability to self-soothe. 

 Remember that you can 

If you notice yourself thinking that you must make it through or that you must give people a positive experience, take a breath and remember that you actually don’t have to do anything at all, but that you can absolutely do this, otherwise you would not be where you are, doing what you do.

If you can follow the above steps in full you will find your teaching experience change. Not only in these challenging teaching scenarios, but also in your work with private clients and more familiar or smaller groups. However, if you are easily stressed or uncomfortable when teaching, don’t be discouraged if the above steps are not solving your problem completely right away. Often a little more support, guidance and practice is needed to help our nervous system regulate itself in challenging situations. Feel free to contact me if you would like more information on this subject or if you are seeking further support. 


Kristin Loeer is a Polestar Graduate, Mentor for Polestar Pilates UK, and a Somatic Movement Coach. You can find Kristin at her website and on social media at @kristinloeer_movement

Community Highlight: Edwin Carvalho de Oliveria

What Three Words come to mind when you think of Polestar?

  • Community
  • Movement
  • Quality

What do you love about teaching Pilates?

ECO: I love the possibility to offer people a better and more active lifestyle.

Where did you take your Training and who was the educator?

ECO: I am going through the comprehensive teacher training in Jacksonville, FL with Polestar Educator Lynn Peterson.

Why Pilates?  How did you find the practice?

ECO: I started to practice Pilates when I was performing in a dance company with my Pilates teacher, Selma França, an educator from Brazil.

Why Polestar Pilates?  How did you come to join the Polestar Community?

ECO: I used to practice Pilates and many other systems of movement we had to in the dance company. In our schedule, we had Pilates three times per week. Years after practicing with Selma at Bale Jovem de Salvador, I started going to Physio Pilates Ondina with Alice Becker to watch and assist her classes.

What do you hope to convey in your teaching?

ECO: Hope and reliability.

What is your favorite Quote? 

ECO:

“Choose a job you love and you will never have to work a day in your life”.

ECO: I apply this teaching 4 days a week, I also move my body every day. I love what I do.

What is your Favorite Apparatus or favorite way to move?

ECO: I love Mat work because of all the possibilities it offers, it also gives you autonomy to practice no matter where you are!


You can find Edwin on Social media @edwiincarvalhoo

For more information on Teacher Training visit our website polestarpilates.com

Pre & Post Natal Pilates: Tips For Providing The Best Session

Polestar Faculty and COO Andreina Santaella, NCPT shares her insight and experience as a mother and Pilates teacher. For more on Pilates and pregnancy watch Pilates Hour Episode “Third Trimester Pregnancy”.


A pregnant person’s body goes through many changes that may generate some pain and discomfort; thankfully, there are exercises that can help address these issues. Giving a future mom the opportunity to practice Pilates helps her focus on the joys of becoming a mother while reducing the discomforts of pregnancy.

Doing the right kind of exercise during pregnancy can significantly improve the way you feel, be very beneficial for delivery, and help you get in shape faster after your baby is born.

Breath Training in Pilates and Labor

What sets Pilates apart from other types of exercise is that its benefits go beyond physical conditioning. Pilates teaches you how to control your breathing, which promotes a feeling of peace with your body and mind.  It gives you a mechanism to keep calm during stressful situations and fall asleep at night when you feel uncomfortable. Even more importantly, it assists your labor breathing exercises, which, as you know, are key for safe and less stressful delivery.

If you are pregnant and thinking of starting an exercise routine, consider trying Pilates. If somebody you know is pregnant or just gave birth, encourage them to try a Pilates class.

Andreina’s Breathing Sequence

Belly Breathing:

With your hands on your abdomen inhale and feel your abdomen expand into your hands. Exhale and feel your abdomen narrow. Continue to increase the volume of your breath with each repetition. See if you can take more in and expel more air out.

Chest Breathing:

With one hand on your breastbone and one hand between your shoulder blades, breathe into the upper part of your torso. Feel your sternum lift into your front hand while your upper ribs expand into your back hand. Notice if it’s easier for you to breathe in the front or the back.

Ribcage Breathing:

With your hands on either side of your ribcage, inhale and expand your ribs into your hands, exhale and use your hands to help expel the air by narrowing your ribcage. Try to increase the excursion of your ribcage from the narrowest point to the most expanded point.

Strength and Alignment

Women report back pain when carrying a child. The main reason for this is due to bad posture and imposed stress in the spine and back muscles. Pilates helps you strengthen your core and back muscles, distributing the extra weight of the pregnancy through the entire spine.

Andreina’s Strength Sequence

Dead Bug: With upper body supported

Single Leg Stretch: Sitting upright

Quadruped: Leg reaches

Arm reaches:

Combination arm and leg reaches:

 

Pilates and the Pelvic Floor

Pregnancy causes an increase in pressure on your pelvic floor muscles. This is due to hormonal changes and the increasing weight of your growing baby.  Pilates offers an integrated approach to health and well-being. It focuses on creating alignment through the body which translates to efficient movement with ease, strength, and control.

For expecting mothers, one of the perks of practicing Pilates is pelvic floor strength, efficiency, and control.  Having an integrated and strong pelvic floor can assist during labor, as well as help prevent urinary incontinence later. The following exercises create the right amount of load to create spontaneous activation of the pelvic floor while lengthening hip flexors which classically get tight and restricted during pregnancy. Learn more about the pelvic floor here.

Thigh Stretch: mat variation. Work towards opening the fronts of your hips while sliding your sit bones towards the floor as you float up. If the range is too deep, you can place a block or pillow on your ankles to reduce the range.

Chest Expansion Reverse: This take on a Pilates classic uses hand weights to increase the load on the pelvic floor. It also creates a pull towards the floor that helps with opening the collar bones and upper shoulder.


Ready to learn more? Try our #PilatesHour episode 110 “Pelvic Talk”. We want to hear from you! Try these moves at home or with your pregnant clients. Share your photos and videos with us on social media @polestarpilates for a chance to be featured.