Voices of Classical Pilates

Collected Essays

PETER Ph.D. FIASCA, Suzanne Michele M.A. Diffine, PETER Ph.D. FIASCA, Suzanne Michele M.A. Diffine

• Publisher: Peter Fiasca
• Year: 2013
• eBook ISBN: 9780989369305
• Edition: 1
• Topic: Biological Sciences
• Subtopic: Sport & Exercise Science
• Index: Biological Sciences

In Voices of Classical Pilates, twenty-eight accomplished 2nd generation Classical Pilates teachers write candidly about their lives and work. These professionals share ideas and experiences in ways that show intriguing diversity amongh teachers who are devoted to Joseph Pilates' traditional system of body conditioning.

Chapter V

Pilates and Academia

Preserving Classical Pilates

By Marianne Adams and Rebecca Quin

...five principles that we believe to be common and imperative...

Since the loss of the trademark almost a decade ago, it seems time to call for a unified organization in the field for the continuing body of practitioners who have stayed with the lineage that came to them from Joseph and Clara Pilates through Romana Kryzanowska. We have faced many challenges since the disbandment of the guild; the splintering of philosophies and practices has led the way for the development of a variety of commercial teacher training programs. In addition, public misconceptions over the trademark battle and misuse of the terms “Classical, Authentic, or Traditional Pilates” have muddied the field. We hope that the commonalities that we share with lineage through Romana are greater than our differences.

Could we, the classical, traditional, and authentic Pilates teachers start a Guild again? A strong alliance organization, with skilled and experienced teachers, to meet and share regularly for continuing education, develop applicable standards for the field, including the final training of apprentices? Of course, we realize this may be an idealized dream, as Romana Kryzanowska’s teaching was the heartbeat of the Guild for most of us, and that font of passion, knowledge of tradition and exuberance does not exist as it did in the past.

Now, there are slight differences in the exercise system that was created over 80 years ago, and there are a wide variety of programs claiming to be classical. However, the legacy is strong and as evidenced, the passion and interest in The Method continues to flourish 25 years after Joseph Pilates’ death. We would like to propose a possible philosophical framework that could begin to deepen the dialogue and strengthen the alliance and an adherence to a classical, traditional, and authentic lineage.

Of course, those of us who had lengthy study with Romana saw many variations and perhaps even witnessed some Romana-isms. And so, we must ask ourselves the difficult question: when and where should the line be drawn to say The Method itself has been corrupted? And who is to be the rightful judge? Can there be a rightful judge years after Joseph Pilates’ death? More importantly, what are the philosophical principles that we can still agree on and adhere to? What is really central to our core practices and theories?

Here are five principles that we believe to be common and imperative to an authentic, classical, and traditional approach to Pilates:

•The Pilates system is whole, indivisible, and unblended.

•The Pilates method works with the whole person.

•The oral tradition of teaching Pilates is imperative.

•In Pilates, the client must be kept moving.

•Pilates teachers must always see the person before them.

I. The Pilates system is whole, indivisible and unblended

Of course this assertion is sticky as many training programs today currently offer piecemeal approaches. However, there are fundamental losses to those who study The Method in this way; the divided parts rarely add up to the rich, interconnected whole. There are too many teachers from piecemeal programs who never invest the time or money that it takes to be a comprehensively trained and certified teacher. So they advertise as a “classically” trained Pilates teacher, and know only the Mat I, or the Reformer I or II. However, anyone who does not know and work on all the apparatus really cannot have an overall concept of the interwoven nature of the entire Method. And most likely, a divided approach will entirely miss smaller components such as the Foot Corrector, the abdominal series on the Wunda chair, the Beanbags, and the Magic Square.

As an example of the important principle of interconnectedness, let’s look at the Teaser. It is one of the most recognizable exercises in The Method, and it is often quoted as a nemesis for those struggling to master it. Most all varieties of Pilates classes or lessons have a version of the Teaser. But to understand why the Teaser is such a hallmark of The Method, let’s look at a partial list of how the Teaser is woven within four apparatuses and the Mat, from basic to super advanced. This example is given to illustrate a perspective that would be difficult to really understand from a piecemeal program.

Here is a possible sequential order in which the Teaser exercises could be woven into lessons ranging from basic to super advanced:

•Wunda Chair: Press Down Teaser and Teaser Stretch

•Cadillac: Teaser (preparation, shoulder stretch and upper body rollup)

•Spine Corrector: Teaser I, on the step, facing the Barrel

•Mat: Teaser I, with instructor assistance, (Romana would also have us work with the Swedish Bars)

•Reformer: Teaser on the Long Box, seated, without straps, adding legs straightening and straps

•Spine Corrector: Teaser II & III on the step, torso facing away from the Barrel

•Wunda Chair: Reverse Swan/Teaser I & II

•Mat: Teaser I, adding II & IIII

•Reformer: Teaser from layout position, add arm circles, forward and back

•Spine Corrector: (Instructor Assisted) Teaser Stretch

•Cadillac: Teaser, adding Teaser II & III

•Reformer: Teaser, from layout position, arm circles forward and back, add Shaving

•Guillotine: Teaser I-III

•Mat: Teaser into rocking Swan, repeatedly, then reverse directions

Within the classical Method, this exercise is introduced and worked on in many, many levels and on a wide variety of apparatus. Although one would vary the sequence of this list for a particular individual, this is a general interrelated list that would be studied and its logical development understood. Within the general progression of the exercises, there exists a basic framework or map guiding how to work on, and truly benefit from the Teaser exercises.

While the Teaser works on building strength in core flexion and homologous coordination, the Swan is another exercise that recurs frequently throughout the system, building on the core strength, increasing back extension and adding spinal flexibility in a similarly methodical way, as evidenced by this progressive list using five different apparatuses and the Mat:

•Mat: Neck Roll for Swan Preparation

•Ladder Barrel: Modified Swan/Swan

•Wunda Chair: Flying Eagle

•Cadillac: Half Swan

•Ladder Barrel: Backward Hang, since this exercise simply changes the plane of the backward extension and uses the pull of gravity for increased stretch of the back, the case could be made for including it in this list as well

•Mat: Rocking Swan

•Cadillac: Full Swan

•Wunda Chair: Swan/Swan Dive

•Cadillac: Flying Eagle could be included, which adds the challenge of three dimensional arm circles and rotator cuff ROM or shoulder rotation, to add more strength and stretch to the upper body and arms

•Spine Corrector: Swan, which adds more precise balance challenges

•Reformer: Swan on the Long Box

•Mat: Rocking Swan into Teaser

•Reformer: Breaststroke could be included as well, based on a similar rationale as used for the Cadillac Flying Eagle

Of course, similar progressions could be studied and explored to develop and understand lateral flexion, side bends, spinal rotations, twists, or to focus on the development of the upper body, lower body or contralateral strength, flexibility and awareness. A comprehensive training approach offers the apprentice the possibility of understanding the interrelatedness of The Method on this level, effectively demonstrating that changing the apparatus can add challenge or offer help. Other concepts that are explored in depth are the benefits of working in a variety of planes—sitting, lying, or standing. Several other conceptual advantages arise from changing conditions such as adding straps/springs, working on a spatially restricted surface, or the introduction of working on a moving apparatus. Revisiting related but different exercises all test and deepen the overall understanding of The Method and the purpose behind each exercise.

The cross-pollination between levels that happens when a person studies the whole system comprehensively is never accessible if someone only studies the Reformer, or the Mat, or if the person has had exposure only to the basic or intermediate material. Not to understand the Pilates method as a deeply related and indivisible whole is to miss much of what the trademark wars were fought over.

It is part of the genius of Joseph Pilates that there are many such exercises that are cousins. In the hands of a skillful teacher, these related exercises have great capacity to offer endlessly diverse, sequentially challenging lessons to help clients truly progress. For this reason, the exercises that are taught are not “Pilates-based”; they are simply chosen from the vast array of Pilates exercises that Joseph Pilates developed and taught on apparatus made in the tradition of Joseph Pilates.

Most practitioners who try to combine Pilates with other methods, like Yoga, Alexander Technique, swimming, don’t do the Pilates method justice; we don’t know of a classical teacher who teaches the Pilates method from a blended approach. We know many teachers (including ourselves), who cross-train and teach in different body ways since many body practices are complementary to one another; however, true depth of understanding and mastery is needed in each, and most who blend within lessons, don’t have enough depth to draw on.

II. The Pilates method works with the whole person

How do you work the whole person? Romana Kryzanowska said over and over, “Start with the core and work outward to the limbs,” not bogging down in anatomical l...

Table of contents

• Cover
• Title Page
• Copyright Page
• Table of Contents
• Dedication
• Foreword
• I. Defining and Preserving Pilates
• II. On (Our) Teachers
• III. Methodology
• IV. Athletic Applications for Pilates
• V. Pilates and Academia
• VI. History and Apparatus
• Hidden Treasures of Pilates