Introduction 27 65

Lolita’s Legacy™
Teaching Pilates
Benefits & Philosophy
29
BENEFITS OF PRACTICING THE PILATES METHOD
The benefits of practicing The Pilates Method are many, from the obvious to the not so obvious
physical and psychological manifestations, from improving the circulation to improving self-esteem and
well-being. Regular practice of The Pilates Method improves posture and flexibility as well as sports
performance and sexual function, and can be practiced anytime, anywhere, with little or no equipment.
The Pilates Method addresses the various systems of the body – respiratory, circulatory, muscular
and nervous systems. Changes to the respiratory system include improved blood oxygenation. The use of
diaphragmatic breathing1 throughout the practice increases both inspiratory reserve volume (the amount
of air we inhale) and expiratory reserve volume (amount of air we exhale) effectively increasing the
amount of toxins removed from the body and improving blood circulation. Deep breathing also increases
Benefits of Practicing The Pilates Method
the flexibility of the thoracic cage and the muscles that attach to it. It also massages the internal organs
because of the attachment of the diaphragm to the heart, lungs, low back and abdomen2. Other benefits
include reduction or removal of pain, tension and stress thereby improving mood and mental clarity.
All can agree that practicing Pilates shapes the body by focusing on the core, or “powerhouse”
as it is often called, and working the limbs through a full range of motion that builds long, lean muscles.
Strengthening the powerhouse (abdominals, pelvic floor, gluteals, multifidis) creates balance in the body
with no one body part dominating the others and body awareness that promotes good posture, ease and
fluidity.
A strong core supports and aligns the spine. It not only helps with conditions such as chronic
low back pain from faulty movement patterns or muscle imbalances, but also stenosis, spondylolysis,
spondylosis, spondylolisthesis and osteoporosis.
The Pilates Method improves balance and proprioception or knowing where one’s body is in
space. This awareness benefits everyone from the athlete to the aged. It creates an awareness of proper
posture and how to maintain it throughout one’s activities of daily living. Proper foot placement and
body alignment are also fundamental to proper posture. These are addressed throughout the work.
Pilates improves or removes the faulty habits that prohibit us from attaining proper posture.
Rounded shoulders, anterior head carriage, kyphosis, lordosis, scoliosis – all of these conditions can be
improved by strengthening the core and stretching tight musculature.
Pilates can be practiced by all ages and fitness levels. It not only benefits the young and athletic,
but especially the aged in building bone density through the use of the springs and the participant’s
own body weight. The complexity of the moves trains the body and engages the mind to improve
concentration, promote relaxation, and to create a mind-body focus, thus integrating the spirit.
Pilates has been practiced over the years by the wealthy (Joseph Pilates trained The Vanderbilts)
to Hollywood stars like Madonna and Sharon Stone, boxer Max Schmeling, golfer Tiger Woods and
tennis legends Venus and Serena Williams to name a few.
1.Benefits of Deep Breathing. 18 Benefits of Deep Breathing. http://www.onepowerfulword.com/2010/10/18-benefits-of-

deep-breathing-and-how.html. Accessed July 5, 2012
2.Calais-Germain B. Anatomy of Breathing. Seattle, WA: Editions DesIris, 2006
30
PILATES' LIFESTYLE PHILOSOPHY
JOSEPH PILATES' SIX GUIDING PRINCIPLES: Although the following are commonly called his
principles, based on the references in his book "Return to Life Through Contrology," I never heard Joe
call them this and they are not enumerated in his writings. I first became aware of these as his principles in
the book "The Pilates Method of Physical and Mental Conditioning" by Philip Friedman and Gail Eisen,
students of Romana Kryzanowska, which was published by Doubleday and Company, Inc., Garden City,
New York, 1980.
Breathing – Joseph Pilates believed that you must maximize your breathing by completely inhaling to fill
your lungs with fresh air and emptying your lungs fully as if wringing out a wet towel during exhalation.
He often said you must “outs the air so you can ins the air.”
Centering – The use of the center of the body, or powerhouse, as it is called, is the foundation of all Pilates
movements and includes the abdominals, “abdomen in”, pelvic floor, gluteals and multifidi and “lifting
the abdomen and taking it toward the spine.”
Pilates' Lifestyle Philosophy

Control – He named his method “Contrology” since he believed in precise, disciplined, controlled
movements under the direction of the mind. “It is the mind that controls the body,” he said.
Concentration – In order to achieve control, your mind must be focused, aware and undistracted in order
to best integrate the body, mind and spirit. He therefore did not use music in the studio since he felt this
would be a distraction to the well-integrated execution of the movement.
Precision – Movement without additional effort or misdirected energy performed consistently.
Flowing Movement – When all of these principles are integrated the result should be smooth, fluid,
rhythmic movements. These should not be jerky and should follow a graceful progression. It is at this
stage that the true integration of body, mind and spirit is achieved.
PILATES OTHER PRINCIPLES (According to Lolita):
Hygiene - As part of his lifestyle philosophy, he often spoke of hygiene and the importance of breathing
through the pores of the skin and keeping them clean. He also felt it was important to use a brush without
a handle to bathe and stimulate circulation. He said that a brush without a handle would make you twist
and stretch to reach all the parts of the body.
Fresh Air – He would often stand in front of an open window and inhale and exhale fully as well as go
for quick walks in the neighborhood of his studio.
Balance – He referred to balance in life as equal parts of rest, work, and play.
Sleep – A good night’s rest is essential for mental and physical health.
The Three P’s – Practice, Patience, and Perseverance. As he reminded us, “Rome was not built in a day.”
Joseph Pilates had a holistic approach to the body which often frustrated those that wanted to be treated
for a specific injury. He had a remarkable “eye” for assessing body imbalances and correcting them.
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PILATES' METHOD ALLIANCE PRINCIPLES
Breathing
Whole Body Health
Whole Body Commitment
POLESTAR PILATES PRINCIPLES
Breathing
Axial Elongation/Core Control
Efficiency of Movement Through: Organization of the Shoulder Girdle, Thoracic and Cervical
Spine
Spine Articulation
Alignment and Weight Bearing of Lower Extremity and Upper Extremity
Movement Integration of Pelvis, Thorax, Head and Extremities
LOLITA’S LEGACY PHILOSOPHY

Alignment – Proper organization of the body. The correct placement of the bones and joints resembling
building blocks, beginning with the alignment of the feet and the legs, the spine and the upper body and
extremities vital to achieving proper posture and weight distribution.
Axial Elongation (Lengthening, Pulling Up, Axial Dynamism, Resistance of Gravity, Oppositional
Energy) – An essential part of all movement, which lengthens the body away from the gravitational pull
of the earth. Axial elongation, as called by Polestar Pilates, accompanies proper alignment.
Breathing – The Method makes use of diaphragmatic breathing to fully inflate and empty the lungs to
cleanse the body and improve circulation. The breath serves as a guide for all movements. (See Breathing
in Pre-Pilates.)
Posture - Correct placement and alignment of the body. From the side, imagine a plumb line that runs
from the crown of the head through the ear, shoulder, hip, knee and ankle (lateral malleolus). Proper
posture is a 24/7 activity that requires constant reminders. One of the greatest goals of the Pilates method
is to achieve and integrate correct posture in all daily activities such as sitting, standing, sleeping, etc. To
me, Pilates equals proper posture.
Concentration and Relaxation – Upon entering the studio, integrate the mind and body with the approach
that there is nothing more important at that moment than your time in the studio. Use your breathing as the
principal tool toward achieving relaxation and release of stress.
Coordination - Organizing the different sections of the body under the guidance of the mind to attain
muscular control
Core Control – Abdominals, pelvic floor, gluteals, multifidi. In Pilates we believe that the correct use and
the integration of the abdominals is vital to the proper performance of all exercises. It is initiated by lifting
the belly button up and in toward the spine.
Feet – The base upon which we stand which suffers greatly through incorrect shoes and alignment. The
proper placement and weight distribution will affect the alignment of the entire body.
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Gaze – The eyes should initiate and guide the movement of the head, neck, and spine. Peripheral vision
is very important in activities of daily living. In dance, the eyes are key players in dynamic projection,
turning or spinning, elongation and guiding the body.
Mind/Body Integration – Avoid distractions while performing your exercises so that your mind is
integrated with your body, thus maximizing your workout. Remember, “It is the mind that guides the
body.” I still prefer to work without music as Joe Pilates taught me.
Precision and Controlled Movement – Keep in mind Joseph Pilates’ principles and the importance he
gave to controlled, precise movements.
Rhythm and Flowing Movement – I think of Pilates as a dance that unites the rhythm of the body, the
breath, with the coordination and integration of the muscles and the mind to achieve flow and grace.
Shoulder Girdle Organization – Correct placement of the upper body: head, neck and shoulders. The
shoulders should be placed above the hip sockets with the ribs drawn into the body with length in the neck
and the chin parallel to the floor. I often refer to this with the imagery of a rectangular box that runs from

the pelvis to the shoulders, hip to shoulder, shoulder to shoulder, shoulder to hip, and hip to hip.
Spine Articulation and Mobility – Using the spine as a wheel was the imagery that Joseph Pilates taught
us. Isolating each vertebra the way animals do creates a wonderful sense of decompression and lengthening.
We often hear our clients say how they feel taller after their sessions. Many actually experience growth in
height.
The many rolling movements in the Pilates repertoire massage the spine and aid in its articulation and
mobility. Movements of the spine are at the heart of the Method. As he often said, “You are as old as your
spine is flexible. If your spine is inflexibly stiff at 30, you are old; if it is completely flexible at 60, you
are young.”
Total Body Integration – The ability to apply all of these principles that is developed through practice,
persistence and patience. This goal requires time and dedication. Whole body commitment and health is
its goal.
Visualization and Imagery – The ability to “see” and apply our aims and goals to the body through the
use of imagination, concentration and visualization. The wonderful way in which Joseph Pilates named
his exercises for example, the seal and the elephant, allows us to see and feel the movement, helping us to
achieve the desired goal.
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LOLITA'S LEGACY
As we begin our journey with Pilates, I want you to understand that I feel that The Pilates Method has
changed very little over almost 50 years, a credit to Joseph Pilates’ genius. Nevertheless, our society has
changed greatly and we have acquired considerable knowledge about the movement of the human body
through Kinesiology and Sports Science, and through the cumulative experiential results of practicing the
method. I think it only logical that we should try to incorporate some of these findings that enhance The
Pilates Method for the benefit of our clients—which is our ultimate goal.
Some of these are:
1) Flat Back or Completely Imprinted Spine —I do not teach “flat back,” although that’s what I was
taught. The curves of the spine act as the shock absorbers of the body and a flat back and neck are neither
natural nor healthy. I work with a natural, optimal or neutral spine position which is adjusted depending
on the exercise and teach lifting the abdominals without flattening the vertebrae. Common to dancers such
as myself, is flat back and neck from working to lengthen excessively, especially to those that start young.
I had a flat spine and cervicals when I started Pilates and therefore, flat back seemed natural to me.
2) Cervicals —I believe that we should not place excessive strain on our cervicals. In my day, I was
stretched on a rollover below the level of the mat, which was 14 inches from the floor. Today, I maintain
Lolita's Legacy
the client’s legs parallel to the floor and keep pressure off the neck when the legs are overhead, as in a
Rollover. We should be much more aware and protective of the cervicals and avoiding their compression.
When flexing the head, neck and shoulders forward, maintain a “tutu of air,” or you can think a kiwi or an
apple under the chin. I do not touch the chin to the chest or let the weight of the head drop back onto the
cervicals in neck extension.
3) Posture and Changes in Lifestyles —Contrary to the times when Joe lived in the busy city of New
York, where walking and climbing stairs were very common, today most people spend their time seated in
front of a computer, driving on a freeway, and in front of a television. The disease of “couch potato-itis”
is not only prevalent, but dominant in most households. Our “comfortable,” modern, sedentary lifestyle
has created a forward head position and rounded overall positioning of the body (kyphosis) in epidemic
proportions that require greater and more specific attention.
4) Bouncing —I do not believe that we achieve more flexibility by bouncing or what is referred to as
ballistic stretching. Sport Science has taught us that moving into a pose or stretch, pausing, reaching and
breathing are more efficient and beneficial in lengthening.
5) Pre-Pilates —I believe the Pre-Pilates work is very important for several reasons:
• To familiarize our clients with the principles of the method.

• To warm the body up prior to performing the Pilates exercises.
• To awaken and integrate the body and mind...
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6) Matwork —I believe that the Matwork, although very challenging, is the basis of The Pilates Method .
7) Sequencing —I believe to start a new client with The Hundred as was historically taught, the Roll-up
and the Rollover is not beneficial and could be harmful, especially considering how out of condition the
majority of our clients are today. Therefore I sequence and do some transitions differently from the way
I was originally taught.
8) Variety — I believe in varying the exercises and not establishing a rote approach to the method start
most classes with Breathing, Spine Movements and the Mat Foot Sequence, and from there on I vary
the selection of the exercises as they progress and demonstrate mastery. I also feel that Pilates should be
tailor-made for the client. I do not wish clients to establish an “automatic pilot” habit, but to keep their
minds alert and integrated with the body. The client should enjoy the progressive challenge of the method
as their bodies become stronger.
While varying exercises can be important we need to make sure each client is given a specific sequence
of exercises to learn and only after the client begins to have mastery of those exercises should they then
Lolita's Legacy
begin to add variety.
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BREATHING
By Disciple patricia stevenson
“Breathing is the first act of life, and the last. Our very life depends on it . . . Therefore, above all
learn how to breathe correctly . . . completely exhale and inhale, always trying very hard to ‘squeeze’
every atom of impure air from your lungs in much the same manner that you would wring every drop of
water from a wet cloth.” Joseph Pilates taught us this in his book "Return to Life Through Contrology."
Joseph knew the benefits of correct breathing, and used his experience as an athlete to incorporate proper
breathing into The Pilates Method .
Normal respiration makes use of the diaphragm. We can also use the intercostals, rectus abdominus,
internal and external obliques and transversus abdominis in diaphragmatic breathing. When we use
these muscles to their greatest effect, we can achieve the full benefit of which Joseph Pilates spoke.
ANATOMY OF THE DIAPHRAGM
The diaphragm attaches to the lower rib cage, the bottom of the sternum
and into the low back via the right and left crus (crura) of the broad central
tendon. It is the only muscle that inserts into itself via the central tendon
which attaches into the first through third lumbar vertebrae and extends
downward from the diaphragm in front of the psoas major and the quadratus
lumborum. (See Fig. 1) These muscle fibers have a vertical orientation.
Breathing
The diaphragm also has attachments into the pericardium that surrounds the
heart, the pleura which surrounds the lungs, and the peritoneuem which
surrounds the abdominal viscera: stomach, intestines, bladder.
Fig. 1
INHALATION
As we inhale, this dome shaped muscle moves downward toward the abdominal cavity. The tone
in the abdominal muscles changes in order to allow this downward movement. In Pilates style breathing the
abdominal muscles do not totally relax however, in order to take the inhalation into the rib cage, causing
the ribs to expand much like a bucket handle would move out and up. Known as a costal inhalation, bucket
handle breathing is directed laterally and posteriorly. (See “A Kinematic Perspective of Human Anatomy,”
p. 111, Fig. 128)
Also involved in inhalation are the internal and external intercostals. The external intercostals
contract while the internal intercostals relax. The reverse is true upon exhalation.
EXHALATION
The abdominal muscles are the muscles of exhalation, primarily the

transversus abdominis. The transversus abdominis muscle (gold) originates in
the thoracolumbar fascia, the iliac crest and the last six ribs, lying at right
angles to the diaphragm at the costal origins. It inserts into the linea alba and
the pubic crest with the internal obliques. The horizontal orientation of these
muscle fibers minimizes the waistline. (See Fig. 2)
The primary action of the transversus is to draw the belly button to the
spine, or “putting on the girdle”as Joseph Pilates called it. One only needs to
laugh, cough, or sneeze to feel the drawing in mechanism of the transversus. Fig. 2
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Because of its position in the lower body, it also acts to support the abdominal viscera.
With exhalation, the diaphragm moves back up by elastic recoil. The rib cage returns to its
original shape and the organs return to their position in the abdominal cavity.
The internal (magenta) and external (red) obliques, rectus abdominus (blue) and internal
intercostals contract to draw the ribs toward each other and down toward the pelvis. Pilates called this
action “putting on the corset.”
IMAGERY
If we think of the muscular attachments of the diaphragm during inhalation, it is easy to call upon
the various images to engage the mind over the body.
If we imagine the fixed lumbar attachment, taking the breath into the lumbar spine while statically
contracting the transversus abdomnis, we can imagine the ribs as a bellows, an accordion, or the handle
of a bucket.
If we imagine the abdomen surrounded by a girdle and the torso enveloped by a corset, we can
imagine drawing all points to the navel as we exhale.
DIFFERENT TYPES OF BREATHING
Pump Handle Breathing: This type of breathing causes a rise in the sternum and the thorax,
Breathing
increasing the girth of the rib cage from front to back, as opposed to bucket handle breathing, which
widens the rib cage from side to side as well as posteriorly.
One Sided Costal Breathing: It is possible to direct the breath to one lung so that the rib cage
expands on one side only. The external intercostals of one side of the rib cage will remain relaxed while
on the opposite side they will contract to open up the rib cage.
This is of special benefit to those with scoliosis or muscle shortness on one side of the rib
cage. Breathing into the concave parts of the rib cage mobilizes restricted ribs. This technique is at the
foundation of The Schroth Method, developed by Katharina Schroth in her Three-Dimensional Treatment
for Scoliosis, and is called Rotational Angular Breathing.
Accessory Breathing: In this type of breathing the accessory muscles are used to elevate the
chest. (See Table 1) The breath is insufficient and occurs only in the chest and not the rest of the thoracic
or abdominal cavities. It is usually a short, excited breath or labored breath as in running. This type of
breathing creates tension in the upper body musculature as can be seen by the muscles engaged. Many
other muscles may be used as in accessory breathing (See Table 1) but these often lead to tension and
incomplete breath.
MUSCLES USED IN ACCESSORY BREATHING
TABLE 1
Sternocleidomastoid Pectoralis Major Latissimus Dorsi Quadratus Lumborum
Scalenes Pectoralis Minor Erector Spinae Serratus Posterior
Transverus Thoracis Subclavius Levatores Costarum
Serratus Anterior Upper Trapezius Levatores Costarum
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STYLES OF BREATHING WITHIN THE PILATES COMMUNITY
In practicing The Pilates Method, inhalations are usually made through the nose and exhalations are made
through the mouth with relaxed or parted lips. Exhalations are usually audible. Some, however, inhale and
exhale through the nose as in yoga.
Percussive breath, or breath with rhythm and sound was developed by Ron Fletcher. This is a breath
style in which anywhere from one to several inhalations occur through the nose like a “sniff”. Air is then
exhaled from the mouth through parted lips for anywhere from one to several exhalations. The tip of the
tongue is placed on the lower teeth so that a “chew” sound occurs with exhalation. Fletcher believed the
breath to be a by-product of core activation and should flow with the particular movement it accompanied.
In yoga there are many types of breathing. One can practice inhaling and exhaling through the nose as in
“ujjayi” (pronounced oo-JAH-ee) breathing. In this style of breathing the glottis is partially closed and
creates an ocean or a snoring sound with the breath moving through the back of the throat. Breaths are
sustained for a slow count for both inhalation and exhalation. This type of breath helps create inner focus
and calms the mind.
There are also many other forms of Pranayama pronounced (prah-nah-YAH-mah, referring to breathing)
such as kapalbhati, or forced exhalations (pronounced kah-pah-lah-BAH-tee) or nadi shodhana, right or
left nostril inhaling/exhaling, (pronounced NAH-dee-SHO-dah-nah) to name a few.
WHO USES DIAPHRAGMATIC BREATHING

Breathing
Singers practice diaphragmatic breathing, but must inhale quickly low into the belly in order to exhale
slowly as they sing, maintaining the expansion of the chest. Proper posture is emphasized to allow for a
deep, full breath. Swimmers must also learn proper breathing: inhaling through the mouth while the head
is out of the water quickly and exhaling slowly through the nose while the head is underwater. Of utmost
importance is regulating the breath so that water does not enter the nose and keeping air in the lungs to
create more buoyancy.
POSITIONS TO DISCOVER PROPER BREATHING
Lying supine, knees bent, feet hip width apart, place one hand on the abdomen and one hand on the chest.
A towel or pillow may be placed under the occiput to bring about proper cervical alignment. Practice
breathing into each hand. (See Fig. 3) Next place both hands on the lower rib cage. Inhale into the hands
to feel the rib cage expanding sideways and into the mat. (See Fig. 4)
Fig. 3 Fig. 4
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Seated with legs crossed or standing, place hands in the front of the rib cage
with the heel of the hand pressing into the sides. Inhale into the hands to
feel the rib cage pressing against the palms while keeping shoulders down.
(See Fig. 5) You may also wrap a sheath type band around your rib cage,
crossing it in front of you and pulling the ends of the bands taut to feel the rib
cage stretching the band as it expands. Seated,
rounding forward over crossed legs, practice
breathing into the back of the lower ribs. (See
Fig. 6) You may have a partner stand behind you
and place their hands on your back just above
the waist.
Fig 5
Fig. 6
BENEFITS OF PROPER BREATHING
We have been discussing external respiration, or the exchange of gas between the lungs and the atmosphere.
True respiration, or internal respiration occurs at the cellular level where oxygen rich air interfaces with
the blood at the alveolar sacs, the terminal structures of the lungs. Here the gas exchange takes place.
The by-product of this exchange is carbon dioxide, expelled from the body through exhalation. This is
where the cleansing effects of breathing occur, improving the circulation and strengthening the immune
system.
Breathing
Proper breathing has many benefits, from reducing and improving focus, to combating fatigue. Proper
breathing also improves lung function and posture and assists in proper exercise technique.
Aside from removing toxins from the body, a full exhalation actually stretches the diaphragm. Because
of the lower attachment into the lumbar spine, when keeping the pelvis fixed, a full exhalation will bring
the diaphragm to its highest, lengthened position in the chest cavity.
To perform this stretch lying down, retract the chin and tilt the pelvis posteriorly while stretching the
arms overhead. A full inhalation and elevation of the rib cage will bring about a full exhalation. Keep
the glottis open in the back of the throat. This can also be performed standing taking care not to arch the
back.
Deep breathing also mobilizes the thoracic cavity, keeping the ribs and the thoracic spine more flexible.
MAXIMIZING YOUR BREATHING
I dedicate several minutes at the beginning of every class to breathing as I feel it brings their mind into
the studio with me, thus creating a relaxing body-mind-spirit integration. I emphasize feeling the ribs
in the back expanding backwards as you inhale and relaxing when you exhale. I refer to this as three
dimensional breathing. I progress most clients from 8-12 for several sessions and encourage them to
practice this breathing technique as homework. Most teachers should be able with practice to reach a
count of eighteen and practice toward a goal of thirty counts.”
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SELECTED REFERENCES
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Thousand Oaks. 2000
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abdominal muscle.htm. Updated De. 18, 2010. Accessed June 7, 2012.
• Beginner Triathlete.com Breathing for Swimming. http://beginnertriathlete.com/cms/article-detail.
asp?articleid=2318. Accessed June 8, 2012
• Calais-Germain B. Anatomy of Breathing. Seattle, WA: Editions DesIris, 2006
• Donnelly J.
• Living Anatomy 2 ed. Champaign: Human Kinetics, 1990
• Dummies.com. Breathing for Singing. http://www.dummies.com/how-to/content/breathing-basics-
for singing.html. Accessed June 7, 2012
• Enclyclopedia Brittania. Diaphragm. http://www.brittanica.com/EBchecked/topic/161595/
diaphragm. Accessed May 28, 2012
• Franklin E. Dynamic Alignment Through Imagery. Champaign: Human Kinetics, 1996
• Gal Anon A, Solberg, G. http://www.functionalanatomy.net. Multifit, 2005. Accessed June 7, 2012
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• Kendall F, McCreary E. MUSCLES Testing and Function 3 ed. Baltimore: Williams & Wilkins,
1983
• Lehnert-Schroth C. Three Dimensional Treatment for Scoliosis. Palo Alto, CA: Martindale Press,
2007
• Livestrong.com. Types of Breathing. http://www.livestrong.com/article/102925-types-breathing-
Breathing
exercises. Accessed May 28, 2012

• Office of Academic Computing. Johns Hopkins University. http://oac.med.jhmi.edu/red_phys/
Encyclopedia/Diaphragm/Diaphragm.HTML. Accessed May 28, 2012
• Office of Academic Computing. Johns Hopkins University. http://oac.med.jhmi.edu/res_phys/
Enclyclopedia/MusclesOf Resp/MusclesOf Resp.HTML. Accessed May 28, 2012
• Pilates J, Miller WJ. Return to Life Through Contrology. Miami, FL: Pilates Method Alliance, Inc.
2003
• Swim Smooth. Breathing for Swimming. http://www.swimsmooth.com/breathing.html. Accessed
June 8, 2012
• Wikipedia. Diaphragmatic breathing. http://en.wikipedia.org/wiki/Diaphragmatic_Breathing.
Accessed May 28, 2012
• Wikipedia. Muscles of Respiration. http://en.wikipedia.org/wiki/Main_Page. Accessed May 28,
2012
• Wikepedia. Thoracic Diaphragm. http://en.wikipedia.org/wiki/Thoracic_diaphragm Accessed
May 28, 2012
• Yoga Flavored Life. Diaphragmatic Breathing. http://www.yogaflavoredlife.com/relaxation/6-
reasons-to-practice-dciaphrag. Accessed June 7, 2012
• Yoga Health Center. Nadi Shodhana. http://www.yogahealthceneter.net/Pranayama/nadi-shodhana-
pranayama.html. Accessed June 8, 2012
• Yoga Health Center. Pranayama Breathing. http://www.yogahelthcenter.net/pranayama/kapalbhati-
• You Tube. Isolated View of Diaphragm in Motion Video Demo. The Mechanics of Respiration
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TEACHING PILATES
In the Teaching Pilates section of the Manual we will provide an overview of some the necessary skills and
information that you need in order to be a safe and effective teacher of the Pilates method. This information
is here to provide a basic general overview of the skills that you will need to acquire and develop in your
journey as a professional Pilates instructor. These skills will assist you in your teaching and will provide
a deeper understanding of your clients and how all of us learn as humans.
Throughout the course we will review these knowledge and skill sets, however your proficiency at
developing and honing these skills is up to you and dependent upon your dedication, practice and study.
Due to the great success that the Pilates Method now enjoys, as well as the economic challenges many
people now face, group classes are very popular. If at all possible, classes should be grouped to address
level (beginner, intermediate, advanced), special populations (Osteoporosis and other Spine Issues, Pre-
and Post-Pregnancy, Seniors, etc.) as well as classes for men and athletes.
Beginnings
Teaching Pilates
As you begin to teach be aware of the following:
1. You should not exercise when you are very tired, after eating, or ill.
2. Rome wasn’t built in a day, therefore do not give movements that are too challenging or beyond
the client’s abilities.
3.The Pilates method does not believe that multiple repetitions are beneficial. Do not exercise
till you feel strain and avoid muscular fatigue as it is not beneficial. The “no pain, no gain”
mentality is contrary to the method.
4. Any time of day or evening that fits your schedule is acceptable for exercise.
5. Pre-Pilates and Mat and Wall exercises can be performed in your office, hotel, airplanes,
against a wall, while waiting for a bus – anywhere.
6. We are fortunate to have a great variety and quantity of exercises in the Pilates Method.
Therefore, vary your exercises to avoid boredom.
Lolita’s Legacy Body Positions
Placement of Arms
1. Arms close to the body
a. Arms are close to the body, across the chest with the fingers coming toward the
shoulders (least challenging arm position).
b. Hands holding opposite elbows under the chest resting against the
rib cage.
c. Hands holding elbows away from body, slightly under shoulders.
(aka: Genie, Trepak (a Russian dance), e.g.: Short Box Series.
2. Rounded arms in front of chest (Basic Ballet First Position) - Arms in line with sternum,
shoulders down, lifted elbows, fingertips facing each other but not touching,
e.g.: Hug a Tree.
3. Hands behind the head - Palms overlapping at the occiput, elbows open. Hands should not
41
be placed at the neck. For those with shoulder issues, hands may be separated,
e.g.: Short Box Series.
4. Arms opened to the side (Ballet Second Position)

a. Arms opened directly to the sides in front of shoulders with lifted elbows, biceps
and triceps engaged, and hands slightly below elbow in a descending line from the
shoulders, e.g.: Lateral Flexion, Mermaid.
b. Arms lengthened out to sides, slightly in front of the body and below the shoulders,
palms facing down, lengthening through wrists and fingertips,
e.g.: Seated Twist, The Saw.
5. Arms above head next to the ears

a. Straight arms, shoulders lowered, insides of elbows facing each other, palms facing
forward or each other, energy flowing through wrists and fingertips, e.g.: Holding a Prop
Overhead, Spine Flexion.
b. Rounded arms, above head next to ears, shoulders lowered, insides of
elbows facing each other like crowning the head, palms facing down, fingertips
slightly apart, energy flowing through wrists and fingertips, (Fifth Position in Ballet)
e.g.: Arm Movements (Ballet Port de Bras), Tendon Stretch, Ballet Stretches.
6. Weight-bearing arms
Teaching Pilates
a. Straight arms, fingertips pointed forward, inside of elbows facing

each other, e.g.: Quadruped, Pushup.
b. Straight arms, beside the hips, fingertips pointing to the side, hips lifted, e.g.:
Leg Pull.
c. Straight arms back, behind hips, open through the chest, fingertips pointing
away from the body, e.g.: Hip Circles, Twist.
Note: The placement of arms will also adjust movement challenge.
Positions of the Body
1. Standing – See Posture. Feet may be placed together, slightly apart under the hips,
externally rotated as in Pilates “V” with heels together, or in a ballet second position,
legs opened and externally rotated, feet wider than hips.
2. Seated, Legs Bent

a. Chair Sit - Feet under the knees, knees aligned with hips, lengthened torso
reaching through the crown of the head toward the ceiling.
b. Diamond-Shaped Sit -Seated, legs bent, externally rotated, soles of feet
together.
c. Crossed Legs – Knees bent, Tailor Sit, Indian Leg Style.
3. Seated, Legs Straight, Forward

a. Legs together, parallel or externally rotated.
b. Legs open in a “V”, parallel or externally rotated.
42
4. Supine – Lying on your back, legs bent or straight, hips, knees and ankles aligned,
parallel or externally rotated. parallel or externally rotated.
5. Prone – Lying face down, legs together or opened, parallel or externally rotated. Arms may
be behind you, palms down or up, open to the sides, palms down or in front of the
head, palms down or supported on elbows.
6. Side-Lying – Shoulders, hips, knees, and ankles stacked. Arm can be bent, hand
supporting head, other arm bent, hand in front of sternum, palm down. Bottom arm can be
lengthened and head placed on forearm. Legs can be in line with the torso or slightly
in front of body forming a triangle.
7. Quadruped – On hands and knees, hands aligned under shoulders, fingers opened,
“pinky” on floor, fingertips pointed forward, insides of elbows facing each other, knees
bent and opened, aligned with hips, knees and ankles.
8. Kneeling – Knees under hips, feet aligned with knees or together.
9. Rest Pose – A rest pose, which flexes the spine while sitting back on heels. Arms can
be placed forward or relaxed by hips.
Teaching Pilates
How to Adjust an Exercise for a Client
The following are ways to adjust movement for more or less challenge according to the needs of the client:
Range of Motion (ROM)– Smaller ranges of movement are generally less challenging and require less
stability and control.
Length of Lever – Bringing the limbs closer to the midline of the body decreases the challenge, e.g.:
bending knees or elbows. Extending and reaching through the limbs increases the challenge, Supine Knee
Bends versus Double Leg Lower & Lift.
Base of Support – Points of contact with the mat will dictate how stable one will be, e.g.: weight on both
legs versus one leg, lengthening bottom arm on Side Lying Leg Series versus head propped on hand with
bent elbow, quadruped position versus tripod position, etc.
Proximity to Gravity – The lower the legs, and or torso go toward the mat, the greater the degree of
control and challenge needed, e.g.: Double Leg Lower & Lift, deep squats.
Rhythm – Exercises can be made more or less challenging by a slower or faster tempo.
43
TEACHING PILATES
STANDING POSTURE ASSESSMENT AND AWARENESS
Another useful tool for the Pilates Instructor is the standing posture awareness. By asking your client to
stand naturally, one can take note of various asymmetries and deviations in the client’s posture.
The standing posture awareness is performed with the client standing. Refer to ideal posture and the plumb
line in the different postural viewpoints. (See Glossary.) In many situations, however, the instructor can
also make use of the floor and the ceiling as frames of reference, as well as palpation (with permission
from your client) to determine misalignments. The instructor should view the client’s posture from the
front, side and back. My first Pilates teacher Carola Trier started every client’s first visit with a posture
Standing Posture Assessment and Awareness
check and I have followed her example. Emphasize the importance of axial elongation as thinking tall,
lifting two inches in height, resisting gravity, etc. Make sure your client is aware of how important correct
posture is at all times. As Joseph Pilates said in a Readers’ Digest article, October, 1934 “Pull in your
abdomen. Hold it in as long as you can . . . while standing up tall. ” During the first session we want to
introduce the concept of correct posture awareness and give the opportunity to the teacher to perform an
initial posture assessment of the client.
Visual Assessment Skills
Pilates teacher it is very important to develop your eye so that you can readily be able to perform a simple
visual alignment assessment of your client. This visual assessment will allow you to see imbalances,
rotations and postural misalignments. Understanding what you note during this visual assessment will
give you a clue as to your client’s strengths, weaknesses, tightness, muscular imbalances etc. This in turn
will then allow you to develop an exercise series to help address these issues and create balance, strength,
flexibility, improved posture and function.
Visual Assessment skills are also utilized throughout your teaching on a ‘real time’ basis in order for you
to be able to simultaneously to assess your client during exercise movement as well as for you to be able
to give specific clear corrections and direction during a client’s workout experience.
Here are some general guidelines and information that will assist you in this process.
The Shoulders, Hips, Knees and Ankles are load-bearing joints and as the name suggests they are to bear
our weight in an upright position.
They are in their optimal position when:
The shoulders are level with one another and parallel to the ground (think horizontal for these guidelines)
The hip joints are level with one another and parallel to the ground The knees are level with one another
and parallel to the ground, and the ankles are level with one another and parallel to the ground.
Vertically, the shoulders, hips, knees and ankles should also be in line with each other.
Which means that if we were to take a pen and draw a straight line through the horizontal load-bearing
joints and down through the two verticals of the load-bearing joints, a series of right angles would emerge.
44
Observation and Assessment
Front view:
Do the feet roll in or out (pronation or supination)?
Is one foot or both feet turned inward or outward?
Look for flat arches, bunions, hammertoes, or toes that grip the floor.
Do the knees move inward (genu valgum, knock-knees) or outward (genu varum, bow-legs)?
Ask your client to bend the knees slightly (demi-plié) to check for hip, knee and ankle alignment
(tracking)
Are the kneecaps level?
Is one hip higher than the other?
Are the hips and shoulders on the same level (rectangular box)?
Is the bodyweight shifted more to one side?

Do the hands face the body or are the palms pronated or supinated?
Do the ribs flare?
Are the shoulders rounded forward, excessively pulled back, or is one higher than the other?
Does the head tilt to one side?
Is the nose tilted up or is the chin tucked to the chest?
Side view:
Is the weight of the body resting too much on the heels or is it centered forward from the ankle bone?
Are the knees hyperextended?
Is there kyphosis and/or lordosis in the spine?
Is the pelvis anteriorly or posteriorly tilted?
Are the shoulders rounded, excessively pulled back, or lifted?
Is the chin parallel to the floor and slightly retracted or does it jut forward or downward?
Rear view:
Is one glute higher or more developed than the other?
Is one hip or shoulder higher than the other?*
Are the shoulder blades winging or overly protracted?*
Ask your client to gently roll spine forward into flexion (not necessary to touch floor) and following
the length of the spine, look or palpate to check for scoliosis or other abnormalities. Casually inquire
of your client, especially ladies, if they have had a recent bone density test. Recommend bone density
tests for small boned, fragile, post-menopausal clients. Be careful however, not to diagnose or suggest
treatment.
Standing posture assessment is useful to you in determining program design for the client. Observing your
client move will also add to your conclusions. Depending on client’s personality, share some or all of your
findings with your client, but be careful not to sound critical or technical. Being critical or too technical
could make your client feel inadequate, embarrassed, or confused. Use phrases such as “think of opening
across the chest” or “lift through the top of the head,” or “bend your knees when you walk”, or “be aware
of the shoes you wear.”
Wall exercises for posture and alignment are an excellent recommendation for the beginning client
if they are receptive to doing homework. (See Post-Pilates.)
*confirmed through palpation
45
46
Front
Side
Plumb Line
Back
GAIT ASSESSMENT
Walking, or gait, is the process of coordination of the body involved in propulsion and moving forward
with restraint to avoid falling. Without adequate flexibility, coordination, and strength, however, walking
becomes a laborious activity lacking grace and fluidity. As instructors, we observe the gait to reveal areas
of inadequacy that manifest in faulty movement patterns and postural deviations in order to develop an
effective exercise prescription for our clients.
Phases of Gait -Gait consists of a stance phase and a swing phase. The end of one phase marks the
beginning of the next. (For the movement sections within these phases consult Selected References
at the end of the text.) Double limb support (standing on both legs) accounts for 20-24% of thegait
cycle. The gait cycle begins when one foot contacts the ground at heel strike and ends when the
same foot contacts the ground again, and is comprised of two complete steps. The remaining 76-
80% is comprised of single leg support and propulsion.
Correct Gait - From a double leg stance, correct gait begins with hip, knee and ankle flexion (dorsi
flexion), followed by knee extension of the right leg and dorsi flexion of the right ankle while standing
on the left leg. As the right heel strikes, the left leg moves into hip extension. The heel strike of the right
foot is accompanied by plantar flexion of the left foot to push off from the first and second toes and lift
the left leg. As the left leg lifts and there is single right leg support, the left hip, knee and ankle flex,
Gait Assessment
followed by left knee extension and subsequent dorsi flexion of the left ankle followed by the left heel
strike.
In walking, one should have an awareness of the placement of the rectangular box: shoulders aligned
over hips, without the ribs flaring. Both shoulders should be in the same line above the hips.
Neck and head placement are essential to proper gait as in your posture analysis. Common faults are a
forward head, flexing neck to look at the floor, or tilting the head to one side. Gaze is of great importance
while walking. Remember, “where your eyes go, your head goes, your neck goes and your spine goes.”
Be aware of your peripheral vision and use it. Eyes are muscles. Exercise them too.
Last but not least, is axial elongation. Think tall, practice placing a book on top of your head. That all
popular move is wonderful to keep you looking lifted, tall, and beautiful. Apply all of your knowledge
of correct posture to your gait.
ANALYZING GAIT
Deviations to normal gait can be the result of muscle weakness or inflexibility or central nervous
system impairment as seen in the shuffling gait of one with Parkinson’s disease, for example. With
this understanding, the instructor should possess knowledge of anatomy and physiology and certain
pathologies.
Gait analysis begins by observing the actions at the foot and ankle joint and moves up the kinetic chain.
The inability to dorsi flex the ankle in the swing phase may be the result of tight calf muscles. In normal
gait, the heel strikes the ground and the foot articulates first to the lateral aspect of the foot and moves
to the medial side for the subsequent toe off by the first and second toes. Deviations may be seen in
pronation or supination of the foot (landing on the inside or outside of the heel) or in excessive hip
flexion to lift the leg. Moving up to the knee joint, the observer may detect genu valgum (knock knees)
or genu varum (bow legs). Look at the joints above and below to determine weakness or inflexibility.
47
The knee must bend in order to bring the back leg forward. Walking with straight knees is incorrect
and common. The observer should note from medical history if this may be due to stroke, for example,
extreme inflexibility in the knee extensors or weakness in the knee flexors .
During single leg support, we can take note of the placement of the pelvis. The pelvis should move
posteriorly and anteriorly during gait. It should not move from side to side or rotate in circles. These
deviations may represent tight hamstrings or weak glute medius, spine issues, hip dysfunction, or simply
bad habit.
Lack of dorsi flexion in the ankle joint may also be noticed from excessive hip flexion as seen in those
wearing high heels. The foreshortened calf muscles prohibit adequate dorsi flexion and can result in a high
degree of hip flexion in order to complete the gait cycle.
As the observer moves up the kinetic chain, he may notice an abnormal swing of the arms. Too great a
swing could be indicative of weak abdominal, hip or calf muscles. The arms must swing to propel the body
forward in the toe off in the swing phase.
The arms swing close to the body and in opposition to the forward foot. We may notice that some persons
hardly move their arms, appearing like a toy soldier or that one arm swings much more than the other, or
one elbow bends more than the other. These asymmetries can occur in any joint.
Gait Assessment
Tight neck muscles can be seen in an anterior head carriage, often accompanied by rounded shoulders. In
both static and active assessments, these deviations are manifestations of weak core musculature and tight
shoulder joint musculature.
Asymmetries may exist from side to side (one foot rotates out or in, one arm swings more than the other.)
Take note as you observe your client. Even if you cannot point to a specific muscle for dysfunction at the
time of your assessment, watching your client perform the Pilates repertoire may reveal the reason for
such asymmetries.
Create Awareness - Help your client create awareness. Often a client is unaware of incorrect movement
patterns. Sometimes bringing these to their attention is sufficient to rectify faults. Be aware that carrying
a heavy purse, briefcase, backpack or a baby, etc. can cause deviations that can become habit. Suggest to
your client that they change their carrying arm, or lighten their bags. (The things we carry on our arms will
cause tension in the shoulder and neck muscles. Often, a little massage at the shoulders and neck will help
relax these muscles and bring them into alignment.) Past injuries can also create compensations that can
become permanent negative habits in the muscle memory long after the injury has healed.
Additional Thoughts
1. Wear proper shoes. While strengthening and stretching may correct some issues, muscular
arch contractions and/or arch supports may be indicated. Be aware of the harm done by wearing
flat shoes without heel straps as in flip flops. In order to keep these shoes on your feet, one must
contract the arch and curl the toes. Also, it is important not to lift the toes off the floor like an
Indian dancer since it throws too much weight back to the heel and limits the articulation of the whole
foot. Suggest that clients vary the height of the shoes they wear. Gentlemen should exercise their feet
daily by performing ankle circles and foot exercises Since they do not use heels, their feet and ankles
become very stiff.
48
2. Be aware of turning one or both legs in or out. The dancer’s waddle in turnout is incorrect and
unnecessary for walking.
3. Maintain an awareness of working the entire foot in walking, articulating from the heel to the toes.
4. Wall exercises help improve posture that results in better gait.
5. Both feet move along parallel lines.
6. Look for neural impairments. Check your client’s medical history. Seniors’ fear of falling will
also cause shuffling of the feet.
7. The aging process often results in very painful feet: bunions, fallen arches, hammer toes, etc.
8. Apply your Ankle and Feet Pre-Pilates Exercises to your seniors.
By applying the Pilates Principles of balance, coordination, alignment, axial elongation, etc., many of
these faulty movement patterns will correct themselves. The instructor should re-assess the client’s gait
after six months of regular Pilates workouts.
Note: Gait is a very involved subject and this manual is providing some basic information for you. We
recommend that upon completion of your training program that you take some additional continuing
education course work to deepen your knowledge and understanding of Gait.
SELECTED REFERENCES
Blakemore C, Jennett S. The Oxford Companion to the Body. Oxford, NY: Oxford University
Gait Assessment
Press, 2001
Bogey DO, Ross, Gait Analysis, http://emedicine.medscape.com/article/320160-overview#a30,
Accessed Sept. 13, 2012
Franklin E. Dynamic Alignment Through Imagery. Champaign, Illinois: Human Kinetics, 1996
Neporent L. Fitness Walking for Dummies. Indiannapolis, Indiana: Wiley Publishing, Inc., 2000
Olderman Rick. Foot Biomechanics and Pathologies. http://www.zlinetraining.com/pdfs/
Foot_Biomechanics.pdf. Accessed Sept. 13, 2012
Proper Walking and Running Footstrike for Flat and High Arched Feet. http://www.youtube.com/
watch?v=YkGDdX2MdO0, Accessed Sep. 13, 2012
San Miguel, Lolita l. Pilates Master Mentor Program Foot Exercise. 2009
The Gait Cycle: A Breakdown of each Component
http://www.youtube.com/watch?v=5j4YRHf6Iyo. Accessed Sept. 13, 2012
Thompson Dave. Conventions for naming parts of the gait cycle. http://moon.ouhsc.edu/dthompso/
gait/terms.htm. Accessed Sept. 13, 2012
49
Types of Learners
It is necessary to understand that there are different learning styles that we as humans exhibit. While
some individuals fit clearly into one of these categories others may exhibit a combination of 2 or 3 of
these learning types.
There are 3 different types of learners, they are:
Visual Learners
• Visual learners learn primarily through the written word.
• They tend to be readers who diligently take down every word.
Auditory Learners
• Auditory learners learn primarily through listening.
• They focus their ears and attention on your words, listening carefully to everything you say.
• They like to talk rather than write and relish the opportunity to discuss what they've heard.
Kinesthetic Learners
• Kinesthetic learners learn better by doing.
• This group learns best when they can practice what they are learning.
Types of Learners
• They want to have their hands on the keyboard, the hammer, or the test tube because
they think in terms of physical action
How to Teach/Present to Different Types:
KINESTHETIC
VISUAL LEARNERS AUDITORY LEARNERS
LEARNERS
WRITE IT SAY IT DEMONSTRATE IT
Provide written materials and Demonstrate how a
State the information
exercises principle works
Write key words on board or Ask audience to describe Ask them to practice the
flip chart specific info technique
Encourage underlining
Ask them to write a response Provide discussion periods and highlighting key
words
Provide real-life
Use visuals or graphics Encourage questions
simulations
Ask them to be recorder in a Foster small group Offer hands-on
group participation activities
Involve them through Utilize audiovisuals and audio
Involve them physically
visual/spatial sense cassettes
50
*The Conscious Competence Learning Matrix
Further in our studies and explanations it is also important to understand Basic motor learning skills
and the processes involved with skill acquisition. The Conscious Competence Learning Matrix can be
utilized by Pilates teachers to understand the value of teaching by breaking down information so that it
can be learned in steps or stages
The Four Stages of Learning provides a model for learning. It suggests that individuals are initially
unaware of how little they know, or unconscious of their incompetence. As they recognize their incom-
petence, they consciously acquire a skill, and then consciously use it. Eventually, the skill can be utilized
without it being consciously thought through: the individual is said to have then acquired unconscious
competence.
The four stages
1. Unconscious incompetence
The individual does not understand or know how to do something and does not necessarily recognize
the deficit. They may deny the usefulness of the skill. The individual must recognize their own incom-
petence, and the value of the new skill, before moving on to the next stage. The length of time an indi-
vidual spends in this stage depends on the strength of the stimulus to learn.
Types of Learners
2. Conscious incompetence
Though the individual does not understand or know how to do something, he or she does recognize the
deficit, as well as the value of a new skill in addressing the deficit. The making of mistakes can be inte-
gral to the learning process at this stage.
3. Conscious competence
The individual understands or knows how to do something. However, demonstrating the skill or knowl-
edge requires concentration. It may be broken down into steps, and there is heavy conscious involve-
ment in executing the new skill.
4. Unconscious competence
The individual has had so much practice with a skill that it has become "second nature" and can be per-
formed easily. As a result, the skill can be performed while executing another task. The individual may
be able to teach it to others, depending upon how and when it was learned.
Fifth stage
Some users to include a fifth stage further expand the above learning model. The exact composition of
this stage varies between authors. Some refer to reflective ability, or "conscious competence of uncon-
scious competence", as being the fifth stage, while others use the fifth stage to indicate complacency.
Whenever you are going to present to a group, you must consider who makes up the group and how
best you can reach them. Sometimes you will present to a diverse group with different backgrounds and
learning styles. When you present to a diverse group you must try to consider all learning styles. How-
ever, if you are presenting to a more homogeneous group of learners you may choose to present empha-
sizing one strategy over the others. The topic of your presentation may also lend itself to one style over
others. Your main objective is to involve the audience and to teach them about your subject.
51
Teaching Technique and Skills
Creating a professional demeanor, personality and professional appearance as a Pilate’s teacher is very
important. The skills involved are varied.
They include:
Verbal Cueing – This also includes the use of voice during teaching. A Pilate’s teacher should develop
proficiency at utilizing intonation, rhythm and phrasing of cues and voice in order to provide challenge
and to progress a client through their session. Your voice and cueing should modulate with the rhythm
and the movement of the exercise. As a teacher your will need to develop an understanding of exactly
‘how much’ talking or cueing is necessary for each client. This ‘talking or cueing’ could also involve
the use of imagery. Concise and clear cues and use of words is another important component of verbal
cueing
Based upon what type of learner you perceive a client to be it may also be necessary to demonstrate
Teaching Techniques and Skills
movement and/or concepts to a client so that they can have a visual idea of the movement/exercises that
they are being asked to perform.
A Pilate’s teacher should also always make eye contact with a client so that they can maintain client at-
tention or focus and provide support.
Good Presentation Skills also include giving positive corrective feedback to the client as well as the
development of coaching skills. Knowing how and when to correct/cue is very important and improves
with your experience as a Pilates teacher. Remember your goal is always a successful movement experi-
ence for the client. In addition to developing your voice and cueing skills it is also VERY necessary to
develop your listening skills. Listen carefully to your client when they are giving you feedback so that
you can address their individual needs.
Safety – Your client’s safety is VERY important. A professional Pilates teacher should always be sure
that they are teaching the safest workout possible. A teacher should keep in mind that safety while us-
ing the equipment is their (the teachers) responsibility. As a Pilates teacher you should have a complete
understanding of the equipment that you are utilizing during the client session. Included in this is the
ability to ‘spot’ the client during exercises performance as well as getting on and off the equipment.
Tactile- (Touch) Cueing (4 reasons to Touch)
Tactile (touch) cueing is a very useful skill for your success as a Pilates teacher. Teacher should learn
some basic tactile teaching skills and use them as needed. Unnecessary touching or over use of touch is
something to be very cautious off. You should let your clients know that sometimes it will be necessary
to touch them for assistance, safety, and information. As a teacher you should be clear with them about
this fact and make sure that your clients are both prepared and accepting of the fact that you may utilize
tactile cueing during their sessions.
In order to be clear, concise and supportive of your clients you should really limit your reason to touch
using the following simple guidelines. Remember that touch must have specific intent which is clearly
communicated to the client.
52
These 4 Basic reasons to touch provide a framework for the Pilates teacher to work within. They are:
Inform, Assist, Resist, Disable
Inform – Touch to inform or ‘show’ the body how to move.

Assist – Touch to assist the body in movement – this would include partnering or spotting.
Resist – Touch which provides resistance, this resistance can enhance the physical experience or to help
stabilize or center the body.
Disable - Touch to inhibit the body or specific muscles/muscle groups from working incorrectly.
Professionalism – A professional Pilates instructor should make a professional appearance. One should
wear professional attire, and refrain from using heavy perfumes or wearing excessive amounts of jew-
elry. Personal grooming is very important – for men this means being clean-shaven and for women
this means wearing an adequate amount of make-up to appear attractive and professional. Long hair
should be tied back – not only for yourself but your clients as well. One should avoid calling attention
to themselves as that could prevent the client from focusing on their workout. Remember you are the
role model. Pilates teachers should support the process of not only the client but process/organization
Teaching Techniques and Skills

of the studio/facility where they are working. Personal problems and issues should be left at the door.
Pilates teachers are also responsible for keeping accurate records/files of their clients and ensuring that
all of the necessary paper work is filled out in a timely and neat manner. A professional Pilates instructor
is confident, positive, complimentary, polite and supportive and follows up consistently!
Teaching Pilates
*Group Teaching Skills – As was mentioned earlier in this book developing your Group Teaching skills
is very important, especially in today’s current studio and facility environment. While you will certainly
utilize many if not all of the skills and knowledge we have outlined, teaching in front of a group requires
some additional skill sets.
Developing your presentation technique so that you can easily project cues, corrections, timing and
control/command of the group is necessary in order to be a successful group class teacher. It is neces-
sary to be sure that your verbal and non-verbal messages match when teaching to a group.
Other things to keep in mind is ‘Where do I stand to give directions to the group – am I visible to ev-
eryone – do I have command of the environment?’
Remember that making a group of people do the same thing at the same time can be tough. Remember
when teaching to the group you should utilize the command style of teaching. When to cue is also as
important as what to cue. Be sure to use the name of the exercises even when teaching to a group, be
positive and provide only one correctional cue at a time to avoid over cueing.
If you have never stood up in front of a group before to speak or teach then you are definitely going to
need to practice this in order to become truly proficient. Throughout the course of your training we will
provide practice sessions for you to teach in front of a group. Keep in mind though that you will need
to continue and practice these skills in order to become truly proficient.
53
JOSEPH PILATES’ HISTORIC MAT ORDER
The Hundred
The Roll Up
The Roll-Over With Legs Spread (Both Ways)
The One Leg Circle (Both Ways)
Rolling Back
The One Leg Stretch
The Double Leg Stretch
The Spine Stretch
Rocker with Open Legs
Joseph Pilates' Historic Mat Order

The Cork-Screw
The Saw
The Swan-Dive
The One Leg Kick
The Double Kick
The Neck Pull
The Scissors
The Bicycle
The Shoulder Bridge
The Spine Twist
The Jack-Knife
The Side Kick
The Teaser
The Hip Twist With Stretched Arms
Swimming
The Leg Pull-Front
The Leg Pull
The Side Kick Kneeling
The Side Bend
The Boomerang
The Seal
The Crab
The Rocking
The Control Balance
The Push-Up
55
GLOSSARY OF TERMS
* Indicates Lolita’s way of expressing certain ideas and movements
Activities of Daily Living (ADL) – Joseph Pilates thought of his method as enhancing the activities and
enjoyment of daily life. As he said,”Physical fitness is the first requisite for happiness.” Examples include
putting one's shoes on, walking, going up and down stairs, washing one’s hair. The healthcare industry
refers to ADL’s as self-care tasks including grooming, dressing and undressing, self-feeding, getting up
and down from a chair, bed, or toilet, bowel and bladder functions, walking, and homemaking.
Abduction (Opening) – Moving away from the midline as in hip or shoulder abduction. Abduction
occurs in the frontal plane. Examples include Leg Raises to the Side or Arm Raises to the Sides
Adduction (Closing) – Moving toward the midline in the frontal plane. Bringing together of legs or arms.
*A La Seconde – French ballet term, arms or legs to the side.
*Aligning Wrists – Lengthening through the wrists and letting energy flow out of the knuckles or
fingertips in a straight line as in The Hundred.
Glossary of Terms
Alignment – Placement of bones as building blocks in line with each other to obtain proper posture and
organization of the body. See Pilates Principles.
Anterior – Referring to the front of the body.
Anterior Head Carriage – Forward head, chin lifted and drawn forward of shoulders compressing
cervicals, altering posture. Often accompanied by rounded shoulders, cervical extensor tightness,
and cervical flexor weakness.
Anterior Pelvic Tilt – Pelvic position in which the pubic bone is released back away from the belly
button resulting in an arch in the lumbar spine.
*Arabesque – French ballet term, leg behind the body.
Arching Back – Common error that usually refers to losing neutral spine and anteriorly tilting the pelvis.
*Around the World – A circular movement of the spine involving flexion, lateral flexion, rotation and
extension.
Articulation – Isolation of each segment. Generally refers to the spine, lowering and lifting through each
vertebra. Hands and feet may also articulate.
A.S.I.S. – Anterior Superior Iliac Spine. Bony protuberances at the front of the hips.
*Attitude – French ballet term, lifted leg with a bent knee front, side or back.
Axial Elongation (Lengthening, Pulling Up, Axial Dynamism, Resistance of Gravity, Oppositional
Energy) – An essential part of all movement which lengthens the body away from the gravitational pull
of the earth. Axial elongation accompanies proper alignment.
56
Balancoire - Tendu movement, brushing foot front and back also called Battement Cloche.
*BodyWalk – Term created by Lolita San Miguel to describe her program of walking while performing
upper body movements mostly based on Pilates, thus combining The Pilates Method with cardiovascular
exercise.
*“Capital Letter” or Inhalation – To begin a movement. The capital letter or inhalation begins
a movement as in the beginning of a sentence.
Cervicals – Refers to the seven vertebras of the neck, often referred to as C-1, C-2, etc. The Cervical
vertebras have a natural lordotic curve. This is the most delicate part of the spine as the bones are smaller
than the other segments of the spine. The cervicals support the head and are susceptible to injury, such as
whiplash. We use our cervicals a great deal in Pilates as the movement of the chin toward the chest
is basic to flexion. Lengthening and aligning through the cervicals is also desirable for the look of a
lovely, long neck.Compressing the cervicals during both spine flexion and extension is a common,
harmful error.
Child’s Pose or Rest Pose - A position which flexes the spine while sitting back on heels. Arms can be
placed forward or relaxed by hips.
Glossary of Terms
*Chin toward Chest – Term used for flexion of head, neck and shoulders starting at the sternum while
maintaining a space between the chin and chest, gazing toward pubis. Avoid compressing chin into
chest by maintaining a “tutu of air,” a “kiwi” or an “apple” under chin.
Coccyx (Tailbone)-Last vertebra of the spine where the tail was attached.
Coccyx Curl – Curling the tailbone under. Used to initiate spine articulation.
Concentric – The shortening phase of a muscular contraction bringing the muscle origin toward its
insertion as in a biceps curl.
Core Control – Using the “powerhouse.” Combines all of the elements of abdominal control
including pelvic floor, transversus abdominis, internal and external obliques, rectus abdominus, gluteals,
multifidi.
Coronal Plane (Frontal Plane) – Separates the front of the body from the back of the body.
*Cou De Pied – French ballet term, neck of the foot.
*Dégagés – French ballet term, a tendu that comes off the floor straight and lifts before returning to floor.
*Demi Pliés – French ballet term - Small Knee Bend maintaining heels on the floor.
Depression – Bringing shoulders down, also referred to as lowering the shoulder blades toward the back
hip pockets.
*Développés – French ballet term, leg unfolds from cou de pied to passé, attitude and stretches till
straight before lowering.
Diaphragm – Principal muscle of respiration. See Breathing.

57
Diaphragmatic Breathing – Breathing used by Joseph Pilates. See Breathing.
Disassociation (Dissociation) – Stabilization and absence of movement at a desired place in the body
while other parts keep moving.
Displacing rib cage – Lateral shift of the rib cage away from the hips.
Distal – Further away from a point of reference on the body.
*Double Breath – Two complete breaths to execute a movement as in Double Leg Stretch circling the
arms and lengthening into thoracic extension, or controlled supine Spine Articulation rolling down in one
complete breath, and rolling up in a second breath.
*Draw a “Rainbow of Energy” – Image used to describe the sensation of moving the arm overhead and
to the side in an arc-like movement, and returning the arm back to the side with the same amount of energy
without collapsing.
Eccentric – The lengthening phase of a muscular contraction against resistance returning the muscle to
its original length.
Glossary of Terms
Economy of Movement – Moving only the body parts necessary to execute a movement precisely.
Avoiding unnecessary recruitment of body parts not involved in accomplishing the desired movement. An
example would be raising the shoulder when lifting an arm overhead.
Elders – Pilates Method Alliance term referring to the “First Generation” teachers that were trained by
Joseph Pilates.
Elevation – Lifting up of shoulders. Common correction is “Lower your shoulders,” or “Shoulders down.”
*En Dedans – French ballet term, for rotating in.
*En Dehors – French ballet term, for rotating out.
*En Face – French ballet term, for facing front.
Erectile Dysfunction – Inability to achieve penile erection.
Exclamation Point - Placement of body balanced on shoulder blades, legs straight upto ceiling, foot
pointed, hips lengthened under feet. Example: Long Spine Stretch on Reformer or Control Balance on
Mat.
Extension – Moving proximal and distal points away from each other.
External Rotation – Known as “turnout”* in dance, external rotation refers to outward rotation of the leg
from the hip. The knee and foot also externally rotate so that hip, knee and ankle joint remain in alignment.
Example: Clams. Also applies to the mobilization of the rotator cuff muscles.
58
*Eyes as a Paintbrush, Paint Up the Wall – Image used to describe the use of your eyes as they lead the
head along the floor, baseboard, wall and toward the ceiling and return.
Feedback – Knowledge acquired by performing a movement, watching a video, or listening to a client’s

response, tactile cueing, proprioception, etc.
Femur – Thigh bone. See Anatomy.*Five Smiles and a Kiss – Imagery used to describe the relaxed,
unwrinkled forehead, lips in a slight smile, opening through the clavicles, pulling in the transversus,
separating the shoulder blades, leading to a “Kiss in the glutes (pelvic floor).”
*Flaring Ribs – Thrusting ribs forward. Loss of integration of ribs into body. Flaring ribs indicates loss
of core connection. Flaring ribs is an error in alignment common to dancers.
*Flexed Foot – Dorsi-flexion of the ankle joint which pulls the toes and the foot back toward the shin,
lengthening through the heel.
Flexion – Drawing proximal and distal points toward each other.
* Fondu - French Ballet term for bending of both legs with working foot placed in Cou de pied.
Glossary of Terms
Gait – Walking, movement of body implementing correct Pilates posture.
*Gaze – Use of eyes. See Pilates Principles.
*Gelabert’s Abdominals – An abdominal and breathing exercise I learned from one of my ballet teachers,
Raoul Gelabert.
*Glissades – French ballet term, sliding movements with a shift of weight.
“Glutes” – Gluteus Maximus, Medius, and Minimus. While the gluteals are involved with the powerhouse,
this does not mean they should be “squeezed” or “pinched.” In prone exercises such as Single and Double
Leg Kick, the gluteals are recruited to extend the hip. However, in core engagement, the larger muscles
like the rectus and the gluteals are not the prime movers.
Goal Post Position – Supine, arms open to sides at shoulder level, palms up, elbows bent to a 90 degree
angle to achieve the goal post position placing the entire forearm and back of the hand on mat. Also done
standing against a wall.
*Grand Battement – French ballet term, for high kick.
*Grand Ronde De Jambes – French ballet term, leg lifts and circles front, side and back or reverse.
*Heart to Ceiling – Sensation of elongating thoracic spine into extension with the imagery of “shining
the heart to the ceiling” guided by the gaze without compressing cervicals.
*Hyperextending – commonly occurs at the elbows and knees, over straightening, locking joints back.
59
Hypermobility – Overly flexible and beyond the normal range of movement of a joint.
Hypomobility – Opposite of hypermobility, lack of flexibility and range of movement within a joint,
stiffness.
Incontinence – Inability to hold one’s urine.
Internal Rotation – Inward rotation from the hip. Known as “turn in”* in dance. The knee and foot
follows so as to maintain hip, knee and ankle joint alignment. Also applies to the mobilization of the
rotator cuff muscles.
Isometric – Tightening a muscle without altering its length or the joint angle. Eg. – Dr. Kegel exercise.
Kneeling – Knees under hips, feet aligned with knees or knees and feet together.
*“Kiss in the glutes” – Imagery used to describe lengthening away from the buttocks to achieve a “smile”
or crease in the buttocks (gluteal fold) which defines the separation between the legs and the buttocks. This
will occur when the pelvis has been aligned correctly, engaging the pelvic floor, transversus abdominis,
both basic to core control and correct use of abdominals.
Glossary of Terms
Kyphosis – A postural deviation that manifests as over-rounding in the thoracic spine, accompanied with
forward head carriage. May be the result of degenerative diseases such as arthritis or osteoporosis,
congenital disease, or trauma. Poor posture while seated in front of a computer, television, or driving a car
has resulted in an increase of kyphosis in today’s society.
Kyphosis-Lordosis –The combination of both postural deviations. In the kyphotic, the lumbar spine
becomes lordotic as the body adapts to the unnatural curve in the thoracic spine. In order to find balance
in the body, the lumbar spine also adapts. Using the concept of the plumb line, the shoulders are forward
of the line and the hips are behind the plumb line.
Lateral Flexion – Lengthening the side body sensing the intercostal opening between the ribs.
*“Let the ants crawl under the bridge” – Image used to describe lifting up of the transversus when
lying prone.
*Locking joints (Hyperextending joints) – Commonly done at the knees and elbows by over straightening
and tension.
Lordosis – A postural deviation that manifests as an overly anterior curve of the lumbar spine and an
anterior tilt of the pelvis. Lordosis may be the result of a difference in thickness of the intervertebral disc
from front to back or as a result of weak abdominals, hamstrings, and tight hip flexors.
Mermaid – A Pilates movement, lateral bending, lateral flexion.
Midline – Centerline. Drawing parts of the body toward the center or closer together, referring to arms
or legs.
Military Posture - A postural deviation that manifests in overly retracted shoulder blades, a lordotic curve
in the lumbar spine, hyperextended knees, and slightly turned out feet.
60
Mobilization – Movement and articulation of joints within all planes with normal flexibility, to put into
motion.
Natural Breathing – Complete inhalation with a full exhalation without thought or effort. Used for very
simple or very complex exercises when a specific breath pattern is not necessary. Examples: Head and
Neck Rotations, Side Lying Series.
Neutral Pelvis – Placement of pelvis to align with hips by bringing pubic symphisis in a triangle with
hip bones (A.S.I.S.- Anterior Superior Iliac Spine) while supine, prone, standing or seated.
Neutral Spine – Placement of the spine honoring its natural curves which aligns the sacrum, the thorax,
and the head in a straight line, leaving a space behind the back of the waist and the neck. As opposed to
imprinting which flattens the back of the waist and lumbar spine. Also called optimal spine.
*Open Through the Clavicles – Lengthening across the top of the chest.
Osteoporosis – Condition in which the bones lose their density and become brittle, which can lead to
fractures. As teachers we should recommend regular bone density testing after a certain age.
*Passés – French ballet term, knee bends, foot touching other leg.
Glossary of Terms
Pelvic Floor – The hammock of muscles connecting the coccyx, the urethra, the penis or the vagina like
a sling from back to front, plus the sitz bones from side to side. These muscles work in conjunction
with the abdominal muscles, gluteals, and multifidi to form the powerhouse. The pelvic floor supports
the bladder and reproductive organs. Childbirth may affect the tone of the pelvic floor. Weakness of the
pelvic floor can bring about erectile dysfunction, incontinence and prolapse of organs.
Pelvic Floor Contraction – Sensation of bringing the ischiums, anus, peritoneum, urethra, vagina or
penis closer together and lifting them. The pelvic floor maintains the organs in the pelvis. This isometric
exercise created by Dr. Kegel is most important during the pre- and post-partum phases of pregnancy
and is of equal importance for both sexes. A weak pelvic floor can lead to incontinence and prolapse of
the organs.
Perfect Pilates Posture - Lengthened posture aligned starting at the feet reaching to the top of the head.
*“Period at the End of a Sentence” or Exhalation – When a movement is fully completed with
exhalation and a brief pause, just as a period ends a sentence.
Pilates “V” – Contrary to popular belief, the term Pilates “V” is derived from a military stance and not
from the ballet technique as a modified “first position.” The big toes should be spaced a fist width apart,
heels together. Pilates “V” is a position used by the guards at Buckingham Palace in London or wherever
soldiers must stand still for long periods of time allowing them to shift weight from side to side or front
to back discreetly. This position is also a slight external rotation of the leg in the hip socket and facilitates
a great variety of movements.
*“Pinching” Shoulder Blades – Bringing shoulder blades together, over-retracting shoulder blades as
in Military Posture.
Piriformis – Small external rotator of the hip that attaches to the underside of the sacrum and the greater
61
trochanter of the femur. Maintaining flexibility in this area is important for activities of daily living like
putting on one’s socks and shoes. See Anatomy.
*Pliés – French ballet term for knee bends or squats.
*Port De Bras – French ballet term for movement of arms.
Plumb Line – Side View – Line drawn from the top of the head, running down through the ear, the
shoulder, the greater trochanter, slightly behind the knee to the lateral malleolus, basic to correct posture.
*Pointed Foot – Plantar flexion of the ankle joint which extends the foot.
*“Pooching” – Releasing abdominals out. Puffing up belly.

Posterior – Referring to the back of the body.
Posterior Pelvic Tilt – Pelvic position in which the pubic bone is drawn toward the belly button,
tucking the pelvis under. When seated, the sitz bones are in front of the pelvis.
Powerhouse – Referring to the muscles engaged to achieve core control.

Glossary of Terms
Pronation – Internally rotating weight. A common fault in posture which places excessive weight on
the big toe and arch. Can easily lead to fallen arches. Opposite of supination. Also refers to turning
the palm down.
Prone – Lying face down, legs together or opened, parallel or externally rotated. Arms may be behind
you, palms down or up, open to the sides, palms down or in front of the head, palms down or
supported on elbows.
Proprioception – Neural input “like small antennas” received from receptors throughout the body.
Knowing where one’s body is in space. Proprioception is often affected by age.
Protraction – Shoulder blades moving away from the spine and each other.
Proximal – Closer to a point of reference on the body.
P.S.I.S. – Posterior Superior Iliac Spine. Bony protuberances at the back of the hip. When the pelvis is
aligned in neutral, the A.S.I.S. and the P.S.I.S. are on a plane parallel to the floor while standing or
seated.
Pubic Symphysis – Pubic bone.
Pubis – Pubic Bone, Pelvic Bone, Pubic Symphysis, where the right and left hip bones join via the
inguinal ligaments.
Quadruped – On all fours, hands aligned under shoulders, fingers opened, “pinky” on floor, fingertips
pointed forward, insides of elbows facing each other, knees bent and open under hips. Hips, knees and
ankles aligned.
62
Range of Motion – Range of movement of any part of the body, distance a muscle will move around
any given joint from small to large. Adjusting the range of motion is basic to progressing or regressing
an exercise to increase or decrease its difficulty level.
*Rélevés – French ballet term, rising onto metatarsals or toes, often preceded by a plié.
Rest Pose - Sitting on heels with spine in flexion to rest, often called Child's Pose.
Retraction – Shoulder blades moving toward the spine and each other.
Reverse Breathing – Changing the breath pattern for an exercise.
*Ronde De Jambes – French ballet term, leg circles on the ground or in the air.
Rotation – Circular movement around the axis of the lever. Rotation is a basic movement of the spine
as in Spine Twist.
Rounding Shoulders – Common error, bringing shoulders forward, rounding the chest resulting
in incorrect alignment of the upper body.
Glossary of Terms
Sagittal Plane – Plane which separates the right side of the body from the left side of the body.
*Scoop – Hollowing of abdominals deep toward the back of the waist to create a “pelvic bowl”,
bringing the spine into a “C” curve.
*Shoulder Blades toward “Back Hip Pockets” – An image used to express lowering or depressing
the shoulder blades for their correct placement on the spine.
*Sickling Foot – Inversion at the ankle joint, misaligning the ankle bringing the toes inward of the heel
when pointing the foot. Common in dancers. Will weaken the ankle and foot and can lead to a sprained
ankle.
Side-Lying – Shoulders, hips, knees, and ankles stacked. Arm can be bent, hand supporting head, other
arm bent, hand in front of sternum. Bottom arm can be lengthened and head placed on forearm. Legs can
be in line with the torso or slightly in front of body forming a triangle.
Single Breath – One complete breath to execute a movement.
Sitz Bones, Ischiums (Ischia), Ischial Tuberosities, Sit or Sitting Bones – That part of the pelvis
where you sit and where we can rock our weight forward or backward as well as sitting tall on them,
lifting up out of them and through the spine, thus decompressing joints and spine, giving you a
taller appearance and allowing your lungs to expand. That point to which you line up the knees and feet
to attain proper leg alignment when supine.
Snake & Twist – Rotation of spine under arm, also the name of a Pilates exercise.
“Spine as a Wheel” – Imagery used by Joseph Pilates to refer to the articulation of the spine in
rolling movements.
63
Spine Extension – Arching the spine. Sequential extension of the spine involving the lumbar, thoracic
and cervical areas as in Swan. Often referred to as Horse when in the Quadruped position.
Spine Flexion – Rounding and bending spine forward. Often referred to as Angry Cat when in the
Quadruped position.
Spondylolisthesis – Often referred to as a “slipped disc” because of the anterior or posterior

displacement of the vertebra. Can be caused by spondylolysis. Symptoms of splodylolysthesis are
stiffening and pain in the low back, which often travels down the buttocks and into the back of the thigh
and lower leg. Signs include a change in posture to reflect kyphosis, a change in the gait to a waddle
and rotation in the pelvis because of shortened hamstrings.
Spondylolysis – A defect in the lumbar vertebra in the spinal column often found in adolescents who
practice strenuous sports.
Spondylosis – A degenerative disease of the vertebra, occurring most commonly in the cervical or
lumbar spine.
Stabilization – Control of an area of the body while other areas are moving. Muscular control exerted
on any joint. Usually refers to core engagement before and during movement of the extremities.
Glossary of Terms
Standing Tall - Perfect Pilates Posture, when pelvis is aligned with shoulders over hips and ears over
shoulders.
Stenosis – An abnormal narrowing of the canal through which the nerves of the spine are situated,
causing
a restriction to the spinal cord, resulting in pain, numbness and loss of motor control.
Supine – Lying on your back, legs bent or straight, hips, knees and ankles aligned parallel or in Pilates
"V", or knees bent opened to the side feet togetheras in a "butterfly" or inner side stretch.
*Supination – Outward rotation of ankle and foot toward the little toe while weight-bearing, e.g.
rolling toward little toe when standing or during Footwork. This common error in the alignment of
the foot, called inversion, is also called “sickling” in dance terms. This very harmful inclination of
the foot can easily cause a sprained ankle. Also refers to radioulnar rotation of the forearm in which
the palm of the hand turns up.
Tabletop – Bending knees to chest aligning knees with hips and feet with knees at 90-degree angles
can be modified by bending knees closer to chest and lowering feet closer to the floor.
Tall Sit – Sitting tall. Lengthening from the ischiums through the top of the head.
*Tendus – French ballet term, for the sliding of the foot away from body till it points on floor.
*Through a String at the Crown of the Head – All of these terms are used to explain the very
important action of resisting the downward gravitational pull. Elongation is a basic principle of
The Pilates Method, commonly used also in dance to lengthen and lift away from gravity thereby
lengthening muscles, and decompressing spine and joints. Dancers often think of elongation as lifting
the organs in the abdominal cavity.
64
*Tracking – Position that places the hip, knee and second toe in alignment when supine with knees
bent or when bending and straightening legs while standing. Loss of leg alignment is a common fault
in athletes which causes many injuries especially to the knees. A must for acquiring correct leg
alignment and avoiding injuries.
Transverse Plane (Horizontal Plane) – Separates the upper body from the lower body.
*“Tutu of air” – Image used to describe the space allowed between the chin and chest when bringing
the head forward. A “tutu” is a ballerina’s short skirt.
Upper Body Organization (Organization of Head, Neck and Shoulders, Shoulder Girdle
Organization) Refers to alignment of the upper body.
Weight-Bearing – Placement of body weight on the extremities. Examples: Push ups and Quadruped.
*Zipper Up – Image to describe the sensation of lifting the abdominals toward back of the waist as when
you zipper up a pair of tight pants.
*Weight on Feet – Triangle of pressure. Awareness that weight should be distributed across the
metatarsals with equal pressure on big toe, little toe and heel. Sixty percent of weight should be placed
Glossary of Terms
forward of the ankle bone so as to be able to lift the heel off the floor and rise directly onto metatarsals
without shifting weight forward. Awareness of correct posture starts at the feet and affects the entire
body.
65
MEDICAL HISTORY FORM
NAME ____________________________________________________ DATE __________________
SEX ______________________________________ AGE/DATE OF BIRTH

__________________
OCCUPATION_______________________________________________________________________
EMERGENCY CONTACT (NAME)__________________________ PHONE___________________
Have you ever had? Family History

Rheumatic fever/Heart murmur Heart attacks
High Blood Pressure High blood pressure
Any heart trouble High cholesterol
Disease of arteries Stroke
Varicose veins Diabetes
Medical History Form
Lung disease Congenital heart disease

Joint injuries, issues Explain Heart operations
Epilepsy Early death
Diabetes Other family illnesses
Gout
Operations
Have you recently had Medications - Please list

Chest pain, discomfort
Shortness of breath ________________________________
Heart palpitations
Cough on exertion ________________________________
Coughing of blood
Back pain ________________________________
Arthritis/ swollen, stiff, painful joints
Orthopedic problems ________________________________
Risk Factors
Do you smoke cigarettes, cigar, pipe Yes □ No □ How much per day? _______________
How many years? _______________
What is your alcohol consumption? Never □ Rarely □ Occasionally □ Daily □
How much? __________________________
Diet
What is your weight now? __________ 1 year ago? __________ At age 30? ___________
Are you dieting? _______________________
66
Activity Level
Do you engage in physical activity? Yes □ No □
What? ___________________________________________________________________________
How often? ___________________________
How much tine per day do you exercise?

None □
15 – 30 minutes □ 60 - 75 minutes □
30 – 45 minutes □ 75 – 90 minutes □
45 - 60 minutes □
Is your occupation
Sedentary □ Active □
Inactive □ Heavy work □
Medical History Form

Do you have discomfort, shortness of breath or pain with moderate exercise? Yes □ No □
Explain __________________________________________________________________________
Did you participate in school sports? Yes □ No □
Please indicate the reason you exercise:

I do not exercise □ For good health □
To lose weight □ Enjoyment □
Doctor’s suggestion □ Other □
_________________________________________________________________________________
How would you describe your state of well-being at this time?

Very, very good □ Poor □
Very good □ Very poor □
Good □ Very, very poor □
Neither good nor poor □
Would you consider yourself to be an: Introvert □ Extrovert □ Neither □
The undersigned swears that the above information is true and correct to the best of his/her knowledge.
Signature ________________________________ Date ___________________________
Witness __________________________________
67
LOLITA’S LEGACY
EVALUATION FORM
Name of Evaluator: ________________________________ Date: _________________

Training Place:____________________________________ Session:________________
Teacher’s Presentation: Name:
! Personal Posture !
! Voice Projection and !
Modulation
Set-Up:
! Naming of Exercises !
! Apparatus Set Up !
! Body Set Up !
! Economy and Clarity of !
Directions
Evaluation Form
! Repetitions !
Cueing:
! Safety !
! Breath !
! Tactile !
! Imagery !
! Gaze !
Flowing Movement:
! Rhythm !
! Awareness of Group !
Comments: Constructive
Criticism and Tangible Goals
for Improvement
** Evaluation form is based on the

one used by Lolita San Miguel in
her Pilates Master Mentor Program
69

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Lolita’s Legacy™

1.Benefits of Deep Breathing. 18 Benefits of Deep Breathing. http://www.onepowerfulword.com/2010/10/18-benefits-of-

Pilates' Lifestyle Philosophy

Precision – Movement without additional effort or misdirected energy performed consistently.

PILATES OTHER PRINCIPLES (According to Lolita):

POLESTAR PILATES PRINCIPLES

LOLITA’S LEGACY PHILOSOPHY

Pilates' Lifestyle Philosophy

Some of these are:

• To familiarize our clients with the principles of the method.

ANATOMY OF THE DIAPHRAGM

The abdominal muscles are the muscles of exhalation, primarily the

DIFFERENT TYPES OF BREATHING

Sternocleidomastoid Pectoralis Major Latissimus Dorsi Quadratus Lumborum

Scalenes Pectoralis Minor Erector Spinae Serratus Posterior

Transverus Thoracis Subclavius Levatores Costarum

Serratus Anterior Upper Trapezius Levatores Costarum

WHO USES DIAPHRAGMATIC BREATHING

POSITIONS TO DISCOVER PROPER BREATHING

MAXIMIZING YOUR BREATHING

exercises. Accessed May 28, 2012

Lolita’s Legacy Body Positions

4. Arms opened to the side (Ballet Second Position)

5. Arms above head next to the ears

a. Straight arms, fingertips pointed forward, inside of elbows facing

Note: The placement of arms will also adjust movement challenge.

Positions of the Body

2. Seated, Legs Bent

3. Seated, Legs Straight, Forward

8. Kneeling – Knees under hips, feet aligned with knees or together.

STANDING POSTURE ASSESSMENT AND AWARENESS

Visual Assessment Skills

They are in their optimal position when:

Standing Posture Assessment and Awareness

*confirmed through palpation

There are 3 different types of learners, they are:

How to Teach/Present to Different Types:

The four stages

Tactile- (Touch) Cueing (4 reasons to Touch)

Inform – Touch to inform or ‘show’ the body how to move.

Teaching Techniques and Skills

Joseph Pilates' Historic Mat Order

* Indicates Lolita’s way of expressing certain ideas and movements

*A La Seconde – French ballet term, arms or legs to the side.

Anterior – Referring to the front of the body.

*Arabesque – French ballet term, leg behind the body.

*Cou De Pied – French ballet term, neck of the foot.

Diaphragm – Principal muscle of respiration. See Breathing.

Distal – Further away from a point of reference on the body.

*En Dedans – French ballet term, for rotating in.

*En Dehors – French ballet term, for rotating out.

*En Face – French ballet term, for facing front.

Erectile Dysfunction – Inability to achieve penile erection.

Feedback – Knowledge acquired by performing a movement, watching a video, or listening to a client’s

Flexion – Drawing proximal and distal points toward each other.

*Gaze – Use of eyes. See Pilates Principles.

*Glissades – French ballet term, sliding movements with a shift of weight.

*Grand Battement – French ballet term, for high kick.

Incontinence – Inability to hold one’s urine.

Mermaid – A Pilates movement, lateral bending, lateral flexion.

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