Michael Miller Pilates

Today's Workshop 13

DRESSING ROOM - MOMENTS LATER
The dressing room was a blend of function and style. Comfortable, like it could be a destination of its own.
Easy chairs, a coffee table, the latest magazines. A big screen TV hung on the wall. A place to relax before or after your work in the studio. Another screen and keyboard, with the studio’s schedule laid out. The lockers were in clusters, tall, spacious, with digital locks like in hotel room safes. The lighting was indirect, splashed on walls to illuminate paintings and sculptures. Humid from the showers, and a scent of massage oil in the air.
When Tosh came around a corner, she surprised a couple who had been much closer to each other a moment before.
TOSH
Oh, excuse me. I was just getting the lay of the land.
VICKI
No problem, Penny and I were just talking.
PENNY
(with a coy smile)
We do that a lot.
VICKI
You look familiar. Aren’t you that trainee from Centraal?
PENNY
(to Vicki)
Of course, she is. Don’t you remember? Always testing never passing?
TOSH
(embarrassed)
Yep, that’s me. Tested right before I left and still didn’t pass. I will though, when I get back.
PENNY
Whatever are you doing here?
TOSH
My husband is teaching a class over the summer at CU.
PENNY
No, I mean here, here, at UP.
TOSH
I plan to take some lessons and participate in the Trials.
VICKI
You can’t be serious, You’re not even certified!
TOSH
Didn’t seem to be a problem when I signed up
VICKI
But don’t you think that’s a bit presumptuous? After all, the Trials attract the best of the best. And you, you’re just a housewife that does this part time.
At this, Tosh bristled a little bit, her back stiffened.
PENNY
(to Vicki)
Oh, it’s okay. She’ll find out.
PENNY (CONT’D)
(to Tosh)
Take some lessons. Watch people move here. You can always change your mind.
VICKI
We care about you. You’re from our school, but we wouldn’t want you to embarrass yourself, or the school.
PENNY
Or us!
Penny placed a familiar palm on the inside of Vicki’s thigh, stroked gently, looked at her adoringly.
Tosh let this sink in. Looked at the two of them and remembered how they had behaved back at the studio. Self absorbed, stuck on each other, a gift to themselves and the world. She took a towel from the stack on the shelf, turned to find a more neutral corner.
TOSH
I should get ready for the mat. Nice to see you both. Will you be working out?
PENNY
(giggling)
We already worked out...here.
VICKI
We’ll be around. Don’t worry, we’ll help you live up to our expectations.
Vicki turned to face Penny more directly, forgot Tosh even though she was still standing there. She reached out and stroked the arm of Penny.
VICKI (CONT’D)
(to Penny)
Shall we go get our other workout now?
Penny hopped up, took Vicki by the hand and led her past Tosh.
PENNY
Be seeing you!

Balance Control Arabesque on the Reformer

It is amazing how aristocracy shows that the taylor has made them no clothes at all.

From an email:
"[She] thinks Balance Control on the Reformer into Arabesque is just to show off."

http://www.hermit.com/michaelmiller/stack/080617.htm

Today's Workshop 12

BOULDER, COLORADO  UNIVERSITY OF PILATES - MORNING
The University of Pilates in Boulder, Colorado was founded by the Ekim Unroc Pilates Foundation and funded by grants from the Ekim Unroc Trust and other international trusts, funds, and corporate donors. For some reason it became a favorite of Sovereign Wealth Funds. It claimed no aristocratic privilege through any specific lineage to Joseph Pilates. All its authority, and its only authority, was the idea of pilates direct from Joseph Pilates. Perhaps that was why it drew such a following and such global support. There was less of the political infighting over who you were and who you knew. The only think that mattered is what you knew and what you could contribute to the original work of Joe.
The Trials started three years ago, after Ekim disappeared on his sail around the world. His Trust took over his affairs, which included running the school. The Trials were part of the school’s mission statement to create a de facto standard for performance of the pilates mat work.  The Trials motto was, “Embodiment is the ultimate authority.” This was the third year for the Trials to be held.
Situated at the foot of the Flatirons, it ran contiguous to the South Campus of the University of Colorado. Built to be “green” it blended in with the natural tones of earth and rock, with glass walls floor to ceiling to the South and West of the major studio.
Tosh paused before the double wide doors, took a deep inhale and felt her shoulders relax and find their place of ease. She wore the latest style from LuLuLemon. Had gone shopping once she and Jeremy had settled into their new digs. Pink over black. Manicure. Pedicure, with the new suggested color of Rocky Mountain Rose. Had thought she would be nervous, like she always felt heading into the Centraal. But this was different. She wasn’t even through the doors, and she felt like she was being welcomed home. With lightness in her step and an emerging smile, like sun emerging through the clouds she stepped forward. The doors slid open, like in Star Trek, and had her wondering if the noise was artificial and intentional. In any case, here she was, stepping into a new adventure, headed to the Pilates Trials.
TOSH
Good morning. I’d like to register for the Trials.
The studio was early morning busy, but calm at the front desk. Tosh had arrived mid hour, so the turnover wasn’t a factor. The woman seated behind the desk was plus-size, short black hair, and wore glasses. Her smile was warm and her head seemed busy.
DEE
Have you been here before?
TOSH
No, but I filled out the info sheet on-line, sent in my picture, and gave my credit card number.
DEE
Great. Then I should have your ID token ready. What’s your name?
TOSH
Macdonald. M. Macdonald. People call me Tosh.
With that Dee slid open a long drawer filled with slits, many filled, some empty. Finding the one she was looking for, she removed it, and held it up so Tosh could see.
DEE
This is your passport while here at U. P.
The token looked like a military dog tag. Clear acrylic, rectangular, rounded edges, with a hole at one end. On the front was the trademark symbol of the University, Ekim Unroc’s trademark, he fondly used to refer to as Cornu. Etched on the back was a likeness of Tosh, her name, and a barcode.
DEE (CONT’D)
There are readers there...
Pointing to one at the corner of the desk where you would make entry to the studio...
DEE (CONT’D)
At the juice bar, shopping area, auditorium, and any of the classroom buildings. All charges show up on your credit card and all coming and goings are logged for security and time-on-campus for your education credits. Wear it however, wrist, ankle, necklace, in your wallet or purse, just don’t lose it or it will cost $100 to have it replaced.
Dee handed it over. Tosh liked the way it fit in her hand. Smooth. The etching was sub-surface. Dee went to her keyboard, tapping away till she found what she wanted.
DEE (CONT’D)
There you are. Good, looks like we have everything. Except who are you certified by?
TOSH
(awkwardly embarrassed)
Well, nobody yet. I should be by Pilates Centraal, I mean I will be, I’m just not finished yet with the program.
DEE
Doesn’t matter to us. We’ve got you signed up for the Trials. The charge will show up on your statement. As information becomes available it will be e-mailed out to you. Is there anything else?
TOSH
I’d like to do the next mat class. Is there room.
DEE
(hit one stroke on the keyboard, looked at the screen)
Yes, Melissa is teaching it. Just swipe your token on the way into class. I’ll reserve your spot here.
More typing.
DEE (CONT’D)
You’ve been on our web site so you know how to register for classes and privates?
TOSH
Yes.
DEE
Great. The changing room is at the end of the hall on your right. I’d show you around but things are about to get hectic here and I need to man the desk. I guess that’s “woman” the desk”.
TOSH
Oh, that’s okay. I’d rather explore anyway.
With that being said, smiles were exchanged, Tosh went over to the token reader and held out her new ID and a little light on the reader went from red to green. Eyes wide, admitted to a fabled place, she headed to the dressing room.

Today's Workshop 11

OFFICE - MOMENTS LATER
Tosh is seated at the apex of a large semi-circle of thick glass which serves as a desktop. Chrome legs, all the appointments the latest design by Akia. Annie sits in the middle across from Tosh, Ruby flaking Tosh on her right. Tosh is crying but pretending it isn’t happening.
RUBY
There’s just no way we can certify you in the time that you have paid for.
ANNIE
Many trainees complete in the one year, but some need more time.
RUBY
You need more time, Tosh.
ANNIE
With a six month extension you stand a good chance of finishing the program.
RUBY
We aren’t guaranteeing that you will, we could never do that.
ANNIE
Because we have our reputation to uphold.
RUBY
After all, we are the preeminent pilates training facility in the world.
The two girls exchange smug gazes of self assurance.
Tosh dabs at her eyes with the sleeve of her loose over shirt she had thrown on before entering the meeting.
TOSH
I understand. I should have been further along by now. I just so had my hopes up.
RUBY
With more privates, and more practice teaching, I’m sure you will get better.
Taking a deep breath and looking out the window Tosh tries to escape her situation. Her eyes come back to the front edge of the table looking through the glass to see her foot nervously tapping.
TOSH
I guess I should start right in when I get back.
ANNIE
Get back?
TOSH
Yes, from Boulder. Jeremy is teaching a summer school course.
ANNIE
I see.
TOSH
I want to finish here, it being such a commitment and all, but he’s already jealous enough about my pilates involvement. Won’t admit it, but he is. So I should go with him and pick up when I get back.
RUBY
Well, if that’s what you need to do. Try to take some sessions out there, even though they won’t be up to our calibre, it’s best to stay moving.
TOSH
(nodding subjectively)
I’m glad to hear you say that. I’ve signed up to participate in the trials at the university.
RUBY
Trials? What trials?
TOSH
The Pilates Trials at the University of Pilates.
ANNIE
Surely, you can’t be serious!
RUBY
That institution is a joke! And the trials are a farce.
ANNIE
They have no respect in the community. No lineage.
RUBY
No reputable certification program.
TOSH
I know. I know. But it’s like you said, I should keep moving, and this will give me a chance to see what else is out there.
ANNIE
Tosh, this is not a good idea. You know what we say. You should finish our program first, get a good grounding in the classical material before going out and exploring the fringes.
RUBY
You will be undermining all that you’ve committed to here. Is it worth that?
ANNIE
You might be going backwards, learning things that just aren’t acceptable in our program.
RUBY
And frankly, we may just not have room for you when you come back. You know how selective we are with who we let in.
TOSH
I know, and I’m proud to be part of Pilates Centraal. But even some of your graduates will be there, so it won’t be like I’ll be the only one.
ANNIE
They’re graduates. They carry our banner, our imprimatur. You aren’t certified yet. You aren’t ready.
TOSH
Maybe not, but it feels like what I should do.

Today's Workshop 10

PILATES CENTRAAL - DAY
Tosh was almost finished with her test. She’d been at it for over an hour. A teaching practical was nothing to sneeze at. Especially, here. Especially under the eyes of the two studio owners. They looked like extensions of their studio, or the studio an extension of them. Dripping money, and a New York style in an out-West setting. Decorator colors, decorator labels, exotic scents, and sensuous tactiles.
Tosh was struggling to fit in. Her black tights and halter top bra were from back in the aerobics age, giving away her age. Though she stood tall, she carried her weight like she was heavier than her slim figure warranted. In this moment, she was flitting around her guinea pig client like a seamstress trying to figure out where to put the next pin. The client was on the reformer, attempting knee stretches, kneeing facing the foot bar, hands on the bar, feet pressed back into the shoulder blades like a runner in the starting blocks. Except her toes were pointed the wrong way. And the recurring wrinkles as she moved the carriage in and out in the fabric of her top that ran across her back caused an anxiety in Tosh that Tosh was struggling to respond to.
TOSH
I shouldn’t just be standing here. I should know what to do.
RUBY
Yes, you should.
The shorter of the two long necked girls said curtly.
RUBY (CONT’D)
What about her pelvis? How are you going to stabilize that?
ANNIE
You always start from the middle first and work your way out.
RUBY
And what about her heels?
ANNIE
Where do they belong?
RUBY
I swear, you would think you just started our program.
ANNIE
Instead of trying to finish it.
Tosh tries to react to their comments as fast as they come at her. First she squeezed her clients lower tummy and back between open palms.
TOSH
You should hold this together. Stay tucked under.
RUBY
Not in a tuck! In neutral.
ANNIE
If you don’t know the difference between tuck and neutral how can you expect your client to?
Then Tosh turned to face the opposite direction, took her palms and tried to encourage her client to get her heels further back against the shoulder rests.
ANNIE (CONT’D)
That’s not going to work...
RUBY
Unless you get her toes in the right position.
Quickly Tosh shifts to using her fingers to unclench toes and get them curled under. Tosh’s hands went back to heels to get them back.
TOSH
(to her client)
There, that’s better.
RUBY
Now what about her head?
ANNIE
You have to step back and take in the whole picture.
Tosh steps back, looking at her client moving her legs moving the carriage in and out. She bites the nail of her index finger, as though she is wondering where a vase on a entrance way table should go. She steps in close and with two index fingers, one at the chin, and one on the back of the head, she tilts the head more forward and down. Let’s go, steps back to survey her adjustment.
TOSH
(to her client)
You should feel like one big arc from the tip of your head to your tailbone.
RUBY
Your coccyx, please use accurate terminology.
ANNIE
How else will your client know you know what you are talking about.
RUBY
Don’t you think she is getting a little tired now?
ANNIE
You can’t go on in this exercise forever.
Tosh lays her hand on her clients shoulder.
TOSH
Okay, Bets, bring the carriage in, carefully get off, turn around and lie down to do running in place.
Tosh fritters nervously as Bets gets off, adjusts her lavender top, and lays down on the reformer.
RUBY
(to Annie as though the others are not present)
You would think she would know by now.
ANNIE
(continuing the private, but easily overheard conversation)
Can’t anyone teach the work anymore?
This is how the whole test had gone. Before Tosh ever got something going she was barraged with questions and interruptions. Picky negative comments. Aloof. Dismissive. Like college sorority seniors delivering hazing to a pledge. Indignant. Beneath them to be there, fulfilling a duty they disdained on outward appearance, but relishing the superior relationship it confirmed.
RUBY
(to Tosh and Bets)
Oh, enough. We’ve seen enough.
RUBY (CONT’D)
(to Annie)
Shall we?
ANNIE
Um, humm.
And with that they rose.
RUBY
(to Tosh)
Finish up, and when you are ready come see us in our office for your evaluation.
ANNIE
Don’t keep us waiting too long.
And off they went, chattering among themselves about plans for later that day.
Tosh was torn. Insulted that they hadn’t even stayed till her session was over, and relieved that they had gone. She took her first relaxed breath since it all started and almost changed into a different teacher while she guided Bets through the bottom lift exercise and front splits.
TOSH
Okay, fine. Way to go. You did great!
BETS
Really? I was so nervous.
TOSH
Sure, really.
BETS
That was so hard! Jeez!
Toah struggled with her emotions. She didn’t cry but her jaw was set and her face tight to keep it from happening.
TOSH
I should get in there, so I’ll catch you later, okay?
BETS
Let me know how it comes out. I’m routing for you, good luck.
Tosh took a towel and wiped her face.

Today's Workshop 9

Ekim let the question roll around in his brain. It was such a familiar question that it seemed to make a regular circuit of issues. He let his shoulders shrug a little as they had so many times before.
Jen took a tissue from inside the waist band of her tights, dabbed briefly at the corner of each eye and then blew her nose. She wasn’t used to shedding a tear. It happened rarely. But the depth of what she had just heard had brought her feelings to the surface.
JEN (CONT’D)
Where do I go from here?
Jen stared out into space, aware of her company, but not needing to acknowledge it.
The pools in Ekim’s eyes resided. His head curled around his ears to once again look straight ahead. He inhaled, one eyebrow seemed to rise and fall as he considered her question.
EKIM
Where you’re going is often a matter of where you’ve been. Life has momentum. You never get to start with a clean slate, never forced to either. Usually, I’ve found that where I’m going has something to do with what has brought me up to now.
JEN
I’ve always loved pilates. Loved the way it felt in my body. Loved what it helped me do with my body. After I lost my parents I took what little I had and opened my own studio. Things were great. I was doing what I loved. Paying my bills. Helping other people.
EKIM
Nothing wrong with that.
Jen glanced at Ekim, who didn’t look back. She nodded agreement and went back to staring into space.
JEN
Then somehow it all changed. I wanted to learn more. Wanted to grow. I went to Bobana workshops. Studied with Kathy Grande, Don Flesher, I even spent time in Albuquerque with Edde before she died.
Jen smiled at the memories of times long past.
JEN (CONT’D)
I got more equipment. Decided I need to get certified. What a joke! I went to Pilates Central, fell into their self absorbed world because I felt at home working with ex-dancers. Started picking clients apart, telling them what was wrong with them. It didn’t matter how they felt when they left their session. What mattered was what I was doing for them. It became all about me, about what I was doing for them. About my superiority. About what I believed pilates to be and defining what it was for others who were just showing up and wanting to learn. Everything became so technical. It really did feel comfortable because I had survived in the dance world, and dance is just like that. Full of attitude and presumptive superiority. If you don’t have that you get right run over.
Ekim stayed quiet. He knew he was listening and he didn’t want to break the bubble. He had just talked so long, sharing so much of himself, the way was open for Jen to bring feelings to light that had been hidden. Locked away. Repressed. And now she was getting a chance to hear herself review what had brought her to this place. To this workshop by this pilates rebel.
JEN (CONT’D)
I sought protection for the invading hoards of new want-to-be teachers. After all, they had just shown up. They needed to pay their dues, learn from the ground up, actually be able to do the exercises! I joined the Pilates Allegiance Union. Setting standards sounded like a good idea, protect the method, keep it pure. Paying dues to rob me of what I already owned is what I ended up getting. Kent Bacon might as well be a reincarnation of Jimmy Hoffa.
JEN (CONT’D)
Well, the PAU didn’t stop or protect the method. The invading hoards ran right over them like a picket fence to a bunch of Vikings. Money became the issue and other than the insurance companies, who the PAU panders to, playing to get them to make only PAU members insurable...
JEN (CONT’D)
(an ironic laugh)
The equipment manufactures changed pilates into the money making machine it is today...for them.
Ekim nodded his head, as though he was listening to himself speak.
EKIM
Yea...
JEN
They re-invested all their profits and either took over or created their own training programs so they could offer a total package to anyone that had enough money to pay for it. Suddenly pilates studios were everywhere, run by business managers and teachers were a dime a dozen, and barely worth that! Now, like you were saying, stackable equipment is part of the turnkey solution to maximize profits. Pilates became popular enough that if clubs didn’t offer it their members went somewhere else. And if they were going to offer it they were going to make money at it. Jeez, it’s so sad. They don’t really understand what pilates is so they pack a bunch of people in a room, play music to work out to, change the order of the exercises, destroy the essence of the method, it’s like the operation was a success but the patient died.
EKIM
(whimsically)
And you wonder why I’m quitting.
JEN
Now I have all this equipment that I make payments on. The company who owns me because I owe them have graciously offered to forego my payments for the summer, for a fee of course, never off the hook completely. And I doubt there will be a pick up of business when the fall season actually gets here. Like a dam that has broken, all my income stream has surged to the low ground, never to return.
EKIM
I’ve seen it coming. Many instructors with big studios, big training programs, have now downsized to working out of a room in their home. And regardless of the scope of their business are hard pressed to make ends meet.
JEN
How can that be? What happened to pilates in all of this?
EKIM
Indeed.
Jen laced finders together over bent knees that were touching. Her gaze at Ekim pleaded for hope. Ekim only looked back. He wanted to say something but nothing came to him so he remained silent.
Jen gaze fell from Ekim’s eyes and came to rest on the logo of his shirt. The Michael Miller Trademark.
JEN
What you have done is provide the sword and shield to passionate pilates instructors everywhere. Your view of pilates isn’t an extension, or a pretension, or a blend of anything else. Your view of pilates is like looking at a high density image of Joe’s work. At first the image loads and it shows a rough fuzzy image. That’s Joe’s method, the tradition, as he brought it into the world. Then more data loads in and everything is much sharper, clearer, more distinct. All you have done is make more clear the ideal nature of Joe’s original work.
EKIM
That’s a great metaphor. I’d like to believe it’s true.
JEN
It is!
EKIM
Well, can you see why I get the resistance I do from the pilates community? They’re busy making pilates into whatever they want in order to make a buck. The last thing they want to hear is that pilates has an essence of its own. An essence that comes straight from Joe.
EKIM (CONT’D)
Someone once told me, what cannot be refuted gets ignored. It seems my message falls into that category.
Jen comes off the wall, to turn more directly to face Ekim.
JEN
(talking as much with her hands as her words)
But it can’t!
EKIM
Ever heard of Copernicus? Bruce Lee? Einstein?  They all took their fields to a new level of insight and truth. They weren’t heralded, lifted upon shoulders, and paraded around. Copernicus got sanctioned by the church, many believe Bruce got the ultimate sanction, and nobody took Einstein seriously until an eclipse proved his theories correct. Sadly, for me there is no eclipse to validate my view of pilates.
Jen returns to her back against the wall. She pushes against her knees like she is pushing against more than her knees.
JEN
This brings us back to where we started...what’s next?
EKIM
(breaking into a smile)
We could go surfing...

Today's Workshop 8

Ekim uses an inhale to re-assert his posture. He feels a sense of calm from the conclusion he has reached.
EKIM (CONT’D)
I want to thank Sally, our host, for bringing me here, and all of you for your attention. It’s been a lot of fun, I hope you have enjoyed it.
Applause breaks out, intense and hearty. Ekim joins in, clapping with extended arms, moving them across the group to direct his feelings to everyone. He tries to look each person in the eye to make his sentiment personal.
Honey looked like she was at a high school pep rally. Shaking her fists in between a flurry of claps. Eyes bright blue and full of inspiration.
Margaret sat upright. Could have been at the conclusion of an opera. Satisfied but restrained.
Bette Ann seemed like she was at one of her sons soccer games. Her applause heart felt and full of pride.
Richard’s hands stopped before anyone else’s, but his head was nodding and the set of his jaw seemed to say well done.
Jen, in the back, looked like she was in a movie, clapping in the end because she couldn’t help her self. Crying for the same reason.
Sally, led the conclusion of the cacophony by rising.
SALLY
Thank you all for coming. Please be careful on your way home. My teachers check your schedule before you leave.
With that everyone rose, stretched their sides, their necks. Some used one arm to stretch the other shoulder.
Honey made a bee line (sorry for the pun) up to Ekim with her arms stretched wide. Ekim saw it coming as it had so many times in the past from other admirers in other workshops. Hugging was a sensitive subject for him. Too many times he had felt himself being hugged as a form of subtle manipulation. He could have held his palms upright fingertips together, effectively blocking the hug, but it didn’t look like it was going to work with Honey. She would have just bear hugged him anyway, pinning his arms to his sides. So he let her come inside and embrace him. Warmth spread across his chest. His hands didn’t completely encircle her. Instead his placed his palms on her shoulders blades and hugged from there. He’d read somewhere that a man offered a hug should drop whatever is in his hands and return the hug to the degree given, and release the hug the moment the release started from the hugger. It would have been difficult to return the degree of Honey’s hug, for her’s was unbridled, and unending. So Ekim removed his hands first, and drew enough posture that Honey’s hug reluctantly slid off of him to the point where just her hands rested on his chest.
HONEY
(eyes bright blue beams)
That was so awesome! Thank you so much! Pilates will never be the same for me. You are totally awesome, thank you, thank you.
Ekim takes her hands in his, gently removing them from his chest, holding them now between them, finger tips to finger tips.
EKIM
Thank you. You made it worth coming. My message has the most in it for teachers who are just starting out. The idea won’t let you down. Use it. Share it.
HONEY
Oh, I will. Awesome. Awesome. Totally awesome.
A few others were close enough now, waiting their turn to say goodbye. Ekim let his hands fall to his side. Honey tossed her long main that matched her name, with embedded highlights of the sun, and more on tip toes than flat footed moved more like a deer than ever. Graceful, light on her feet, floated away.
Margaret stepped in, extended her hand to shake. Ekim found long fingers and a firm grip. Figured she might be a massage therapist as well as a PT.
MARGARET
Very informative. Unique view. Thank you for coming.
Three shakes and she let go. She stood tall in good posture, from years of practice.
EKIM
It was my pleasure. Your presence added to the experience.
Softening and taking the opening to bring up something that was on her mind.
MARGARET
You don’t go into much anatomy.
EKIM
No, I don’t. I’m much more concerned with the physics of movement and let biology rise to the occasion. I appreciate the need to know some anatomy if you’re going to teach, but I rarely make my client think about it. Too much like having to listen to the names of Yoga postures.
Margaret smiles in understanding.
MARGARET
I hope you come back soon. You have a lot more to offer.
EKIM
Thank you, I hope I can.
With a nod and a tinge of reluctance she turns on a dime, and makes her way over to Sally.
Richard was standing there, looking around, processing other things. He waited till it was obvious it was his turn.
RICHARD
Great man, way cool. I’ve never heard it laid out like that. It makes so much sense. Do you lift?
EKIM
No, tried it once, but it never grabbed me.
RICHARD
You could, you know. You’ve got the tone for it.
Richard pummelled a fist into the other palm as he spoke. His feet spread ready to make a dead lift.
Ekim gestured to his hands.
EKIM
I got into martial arts once I found a good teacher. That’s where my sense of alignment comes from, through the ankles with front snap kick, though the wrists from the punch.
RICHARD
Oh yea? What style?
EKIM
Shotakan
RICHARD
I’ve done some Tai Kuan Do. Great stuff.
EKIM
So I’ve heard. I got to the point where it was either pursue the black belt or do pilates. I felt too old for Karate, and never wanted the target on my chest that comes with a black belt. Years later, after doing only pilates, I found myself in a karate workshop. It was back to face to face with another human being working on conflict resolution. Made me realize how much I appreciated and preferred reaching for an ideal movement without the distraction of another.
RICHARD
Yea, well, you could be a good lifter. If you ever want to give it another shot call me. For now, pilates is really helping me. Makes me more flexible. The weights you know, they really tighten me up. And teaching is such a kick. I’m more careful now. And after you, I have a new insight into what my target is. Thanks again.
Hand held high and out in the open, waiting to shake. Ekim braced for a contest of strength, but found none. Only a firm steady grip, sincere, and man to man.
RICHARD (CONT’D)
We’ll be seeing you. Take care. You were great.
EKIM
Thanks. Thanks a lot. Safe trip home.
Then there came Bette Ann. She had shielded herself behind Richard, using him as sort of a curtain. As she stepped forward she observed body language and settled on standing close but making no attempt to hug. Legs together, equally weighted, one palm over the other.
BETTE ANN
You’re not a hugger are you?
She smiled. Ekim grinned without showing teeth, rolled his eyes a little like being caught in a hidden truth.
EKIM
No, I’m not. There’s too much information, too much sensation. I get all confused. And sometimes, have come to realize, that it’s been deliberate manipulation. But even if it’s unintentional, it’s still too much splash in my emotional pool.
BETTE ANN
My boys are just like that. I recognize it in you.
EKIM
Guilty. Thank you for understanding.
BETTE ANN
No problem. You were great. I learned so much.
EKIM
Helps to know your target, doesn’t it? And what springs are for? I want you to choose hope instead of fear when teaching that tall guy. Take him into the cave of his sensations. Make him listen, make him move. Don’t be too technical, that’s a thinking trap. Give him movements just like you throw a ball for a dog. Keep throwing the ball till he gets tired. Remember the mat is the method, the equipment is just an aid to help you perform the mat.
BETTE ANN
Okay. I will. Thanks for everything.
EKIM
My pleasure. You have a lot to offer. Your boys, and your clients, especially the tall masculine ones, are lucky to have you.
With that, Bette Ann held out her hand. Her other hand covered the top of Ekim’s as they shook. The grip was snug and comfortable, like being a child and getting tucked in at night. In some ways, so much better than a hug.
There were a few more thank you’s and good byes. Until Ekim stood alone. Sally was talking with a small group. A couple stragglers were making their way away. Only one remained where the group had resided during the presentation. Leaning against the wall, ankles crossed, knees wide sitting Indian style, with arms laying in her lap, one palm cupping another, head back against the wall. She sat as though waiting for more. Unwilling to let go of where she had been. Wanting, needing the show to go on. Her lips where pressed tight. Her eyes shimmered, and the outside world was lost to her focus within.
Ekim took in the scene and quietly, softly, walked over and sat beside her, assumed her position. Time went by and Ekim drew a quicker deeper inhale which tilted his head a little higher taking in a view of the ceiling, the hanging fluorescent lights. Perhaps to keep his eyes from spilling.
Jen blinked, but remained still.
JEN
(barely a whisper)
What now?

Today's Workshop 7

With that Ekim paced, preparing to go on. You could tell he was listening to himself, formulating the words for his next sentence.
HONEY
(her arms wrapped around bent knees,rocking to some inner beat)
Would this be a good time to go? I mean, I really have to go...to the bathroom. How about a break?
Breaking his train of thought, Ekim looked up and surveyed that Honey was not the only one in agreement with her suggestion. Looking at the clock...
EKIM
Okay. Let’s not be to long, 10 minutes and we’ll finish this off.
Looking at Honey with a twinkle of compassion in his, and a nod of his head.
EKIM (CONT’D)
Go!
Honey’s face released to relief and she sprung like a deer startled from its resting place. Several others followed. Ekim returned to his train of thought, making use of the break to further prepare. So he didn’t really see the woman standing a little behind him till he turned around in the continuance of his pacing.
JEN
Excuse me.
EKIM
Oh, hello.
Her eyes were the deep green of the forest, made more so by the hue of her shirts, a v-neck with cap sleeves, no logos or markings, just a mantle to set off the depth and intensity of those eyes. Ekim had the feeling of swimming in the depth of her gaze. She didn’t seem to mind, she didn’t seem to be looking for it. She just had a peace in which his gaze left no ripple of disruption.
JEN
Is it true?
Broken from his comfortable swim, his face turned to puzzlement. Wrinkles appeared across the bridge of his nose the way his father’s had.
EKIM
Is what true?
JEN
That you’re quitting.
Her arms were crossed, forearm to forearm, palms cupping opposite elbows. Her stance was even weighted, a little more turn out than normal, giving away what was a likely background of time spent at the ballet bar.
EKIM
Well, I wouldn’t say I was quitting.
JEN
You’re not going to teach any more are you?
EKIM
That’s my plan.
Her face got serious, more determined, taking on a subtle defiance to what she was hearing.
JEN
You can’t.
Ekim looked away now, unable to hold her gaze. Down towards the floor, and reflective at what had brought him to this conversation.
EKIM
I’m teaching now.
JEN
But you must continue! What you have to say is too important.
EKIM
Doesn’t seem like it. I rarely get an audience this big. When I announced this workshop, in the writing of it, the words just come out of me that this would be my final presentation.
She looked up to call down help from above.
JEN
You’re too good and you must not let anything stop you from sharing your genius with the world.
EKIM
You haven’t even heard my “So what?” yet.
JEN
Doesn’t matter. What you’ve said so far is beyond whatever else is out there.
Ekim found himself wondering if it was her adulation that made the chemistry so strong between them or if that was just a tantalizing bonus. She was small, but looked sturdy. Her tights went just below the knee, actuating well developed thighs and the calves to support them.
JEN (CONT’D)
I’ve been exposed to pilates ever since I could dance, but never like this.
EKIM
(a bit awkwardly)
Thank you. I’m happy you’ve had a chance to hear it first hand. There are others who know the idea and it will not die away without me to press it forward.
JEN
But why stop now?! They, we, need you.
EKIM
(a soft smile pulls into a saddened face)
I got tired and I didn’t like the way my attitude was going. Stories of Joe in his later life describe him as bitter and disillusioned. I want something different from my future.
JEN
Like what?
EKIM
Like peace of mind. Not caring so much. A shack on the beach, a little girl like you to be my surfing maven.
JEN
(with a tilt of her head and a taunt in her eyes)
I surf.
EKIM
See? That’s much more appealing than pressing a view out into the world that nobody wants to hear.
JEN
I want to hear. We want to hear.
EKIM
So I’m glad you’re here. Let’s leave it at that, okay? Now you’ll have to excuse me, I need to go, too, and it seems almost everyone has had their chance. Don’t you need to go?
JEN
No. I’m a camel.
With that Ekim backed away until he had to turn, wondering what that lustrous brown cinnamon bun of hair would look like released from bobby pin hell.
Not quite the break that he was expecting. It did though give him some distance from his delivery. And a chance to come anew to the conclusion of his presentation. Talking with Jen brought to the surface how it was to be his last. As he re-entered the studio, several conversations were in heat, but the tone died down and everyone disassembled to there previous places.
EKIM
(standing before the group)
When we started I told you there was a “Why” a “What” and a “So what?” Why do we do pilates? What is pilates? And so what?
EKIM (CONT’D)
Why we do pilates is because of gravity. Gravity forces the issue of alignment. Alignment is perceptible via tension. It takes two points to trigger fluorescence.
As he did this, he used sign language for each statement. This was a talent he picked up from presenting in so many different countries through translators. After the first couple trips around the merry-go-round of the mantra, gravity to fluorescence, meaning arrived by gesture before the words.
EKIM (CONT’D)
What pilates is, is an idea. Pilates is an idea. Pilates is uniform eccentric loading flowing through progressive patterns of movement.
His sign language was a fluent visual chorus.
EKIM (CONT’D)
(no more signing, arms outstretched, palms up)
So what? What does that mean to you and me? Pilates has been around for 90 years, has spread all over the globe. What difference does the idea make?
EKIM (CONT’D)
The idea gives you two wonderful gifts. First it explains the tradition, and second, it sets you free.
EKIM (CONT’D)
The idea explains the tradition because it exists within the original sequence of the mat, its creator's definition, and his promise. It cannot be influenced or corrupted by time, but remains the same yesterday, today, and forever.
Ekim gestures behind him as he says yesterday, points to where he stands as he says today, and far out over the group’s head’s as he says forever.
EKIM (CONT’D)
The idea gives you bedrock to stand on. You can teach with confidence and authority.
EKIM (CONT’D)
Ekim pulls imaginary clothes from his chest just as Clark Kent would begin his change into Superman.
EKIM (CONT’D)
The idea sets you free. It sets you free from a lot of things. It sets you free to do and to be a lot of things.
EKIM (CONT’D)
The idea sets you free from aristocratic tyranny. From elders, their sycophants and their dogma that presumes who you know is more important that what you know.

It sets you free from the snobbery and self absorption of elitism, often found in the dance community. There’s a big difference between being elite and being and elitist.
HONEY
Wait a minute. Could you run that one by me again?
Embarrassed, but so into what was being said she didn’t want to let it go by without a better grasp.
EKIM
Sure. Being elite means you are superior. Being an elitist means you believe you are superior. For example, many pilates instructors come from the dance world. They believe that because they were dancers they have some special advantage in the pilates world that makes them better than mere mortals. Fact is, dancers suffer a disadvantage when it comes to doing pilates. Dancers tend to project out into the audience taking their alignment of center. They are forever looking in the mirror, a concentric approach, instead of an eccentric approach. Then tend to hinge instead of fluores. Not all dancers. Ballancine reportedly chastised dancers for looking in the mirror saying just what pilates says: that you have to know where you are in space from the inside out. Often, a self image that could not be supported as a dancer is more easily passed off in the pilates world. So the idea sets you free from unfounded elitism.
JEN
If a dancer were really a dancer, she would be dancing.
EKIM
Yes, and to use pilates as a means to another end is done by many.
EKIM (CONT’D)
(looking at Honey)
Learn from the elite, those who have the ability. Be on your guard of those who would have you believe there elitist attitude matters more than their ability.
HONEY
I get it, thanks. There sure are lots of elitists in pilates.
EKIM
(laughing)
Yes, there are, and that’s one of the things from which the idea sets you free.
EKIM (CONT’D)
The idea also sets you free from other creatures you will come across in the pilates jungle. There are intellectuals, blenders, extenders, pretenders, and money makers. These jungle creatures threaten your sense of self, threaten your understanding of pilates as an idea. Threaten your confidence to teach the method of Joseph Pilates as it was originally taught with validity that continues to this very day.
EKIM (CONT’D)
First on the scene are the intellectuals, those whose heads are so big they barely fit into the door. The MDs, the DOs, the PTs, and the scientists. They would have you believe because they are smarter they can teach pilates better. They threaten you with fear. They try to keep you in your place, and hold onto their’s of superiority over you by saying, “You could hurt someone!” That’s the number one expression of intimidation used against new comers. Accept their party line and you lose the essence of pilates. Because pilates is more then science, more than thinking. Only at the level of quantum mechanics can science get its arms around pilates because at that level you must acknowledge the observer. The observer is not the thinker. The observer exists outside the thinker. To avoid hurting someone takes more than smarts. Smarts often get in the way.  Remember pilates is the complete coordination of body, mind, and spirit...not body, mind, and more mind.
He grins.
EKIM (CONT’D)
Everyone signs a waiver acknowledging risk. And whether you just got here or you have been teaching for your whole life, you or your client can get hurt in the blink of an eye.
BETTE ANN
That is so true! I’m constantly on guard for how an exercise can go south. The moment I assume nothing with happen something does. You always have to have safety foremost in your mind.
RICHARD
Teaching side splits on the reformer was my lesson. Standing in front of the client modeling arms out didn’t help a bit as she started waiving her arms, losing her balance falling backwards. All I could do was wave goodbye. There was another reformer behind her. She could have gotten really hurt. Luckily she didn’t. And I learned my lesson, be where you need to be to keep things from...what did you call it?
BETTE ANN
From going south.
EKIM
Great. Good stuff. Thank you for sharing.
EKIM (CONT’D)
Let’s go on. Another creature in the jungle is the blender. The knock-off-alates crowd that blend some other activity into pilates as though pilates has no essence of its own. Yoga is a good example, and golf, and in the pool, and on the dance floor. It’s okay to blend pilates into other modalities. They wouldn’t be viable if pilates didn’t have the bedrock essence that it does. And certainly, leaning on the cachet of pilates continues to support an ever growing cadre of pilates aberrations.
MARGARET
What a minute. Are you saying these blends have no value?
EKIM
Sure they have value. People go pay for them don’t they? I’m saying the only way the value is deserved is if the knock off maintains the integrity of the ideal within its expression. Many, if not most blends exploit economic opportunity paying only lip service to the method that makes the money.  If pilates didn’t have such a pure essence of its own it could never support the number of knock-offs that are out there. And the list seems to be growing by the second. Knowing the idea of pilates sets you free to make money off of just teaching the essence of pilates without having to make up something new to draw economic interest. Is it okay if we go on?
MARGARET
(nods her head but says nothing)
EKIM
It’s one thing to be a blender because you at least acknowledge the influence of the method you are drawing interest from. When you are an extender you drop the “alates” altogether. For example, instead of calling your work gyrolates you make up a completely new name, claim it to be a far superior methodology, legally structure it into a money making machine, and take what is fruffy energy work subjectively and arbitrarily determined by its creator and pass it off as the whole cake rather than the fancy frosting it is to the real cake of pilates.
BETTE ANN
How can you say that! I am certified in the method you speak and I take what you say as an insult. You don’t know what you are talking about.
EKIM
Granted. I may not know what I’m talking about when it comes to that method. But I do know pilates. Pilates is the foundation of movement through space. It comes a priori to yoga.
EKIM (CONT’D)
(looking at Honey)
That means it comes before yoga. It doesn't come with the baggage of yoga, one of the reasons I like it so much. It’s just you, your awareness, and your will, without interpreting what it all means.
EKIM (CONT’D)
Whether it’s yoga or some elitist extension of pilates that goes by another name you will never replace or usurp the truth found in the pilates method. The idea of pilates sets you free from these kinds of detractors.

Now let’s turn to the creatures in the pilates jungle who threaten your freedom the most, the money makers.
EKIM (CONT’D)
Pilates has been propelled into the spotlight because there is so much money to be made with it in the fitness industry. One of the biggest money makers in the industry advertises the question, “Are you getting your share of the market?” They are selling fear. Fear of competition, and greed. So they sell you solutions to give you an edge that will attract clients and grow your business. The profit motive has all but ruined pilates because it has taken the method into turnkey solutions that focus on group delivery from stackable equipment. The personal trainer has gotten shoved to the bottom of the money making totem pole. But they can show you how to buy their stuff and pack a room with profits. If the sequence of pilates has to be altered to facilitate group classes, so be it. After all they don’t understand the significance of the sequence anyway.
Ekim’s head is down, surrendered to the plight of pilates in the onslaught of profiteers.
EKIM (CONT’D)
Finally, there are just the flat out pretenders. They’ve taught group exercise or been a personal trainer for years. They teach pilates like they teach anything else. From exercise to exercise, they get it going and they beat it to death. They don’t appreciate the necessity of flowing through from one exercise to the next. They don’t care about lactic acid build up. All they know is more reps is better. Uniform usage and alignment to get there aren’t even considered. All you can do when caught in one of those classes is do your best, and then rest. Afterwards, maybe apply for a job.
Ekim isn’t even looking at the group now. As he paces to and fro the landscape of creatures in the jungle seems too oppressive. A long pause goes by, a big inhale, and then he looks up at the intense faces of the group before him. Smiling, as though in an effort to choose hope he continues.
EKIM (CONT’D)
So the idea sets you free from all those creatures. The idea makes you King Kong in that jungle, not swayed or threatened by any of them. The idea sets you free to be confident that what you teach is pilates. The idea sets you free to be creative in your teaching, honing your skill, getting profound results from delivering exercises not learned from a DVD, but created on the spot for a specific need with a specific client in any condition, with whatever goals, while staying true to the idea of pilates. What you teach has progressive pattern, considers loading, looks for eccentricity and uniformity, all the while pressing the flow to get the fluorescence of body, mind, and spirit, all completely coordinated in the moment of the doing. Your learning comes from inside you. Your innovation comes from your evolution as a teacher, being a sensational instructor. For your pilates to be truly innovative, even revolutionary, it has to stay connected to the idea, or how can the innovation you make have anything to do with pilates? The idea sets you free to learn about you, to learn about your clients, to take them where they never imagined going. The idea sets you free to find the joy of discovery within, and then share it with the rest of us. The idea is incorruptible, eternal, and sets you free to teach powerfully, with authority, connected to your passion. What could be better than that?

Today's Workshop 6

Ekim slowly paced back and forth to let the point sink in.
EKIM (CONT’D)
We now know the first two words of the definition of the idea, uniform and eccentric. Uniform means whole body, uniform usage. Eccentric means out from center. The true point of eccentricity is the inflection point and in order to be eccentric you have to start at...
Waiting for a response.
GROUP
ease.
EKIM
Good. Very good.
Ekim lays down on the floor and begins the double leg stretch. After several repetitions he starts doing the single leg stretch. Stopping he sits up, arms around knees to address the group.
EKIM (CONT’D)
Do you recognize these movements?
HONEY
Oh sure! Those are pilates exercises.
EKIM
Were they in the correct order?
RICHARD
No, they were in the wrong order.
EKIM
Why?
RICHARD
Because the double leg stretch comes after the single leg stretch.
BETTE ANN
Because that’s the way Joe book and videos have them.
EKIM
Quite right, and the ultimate validation of authenticity. Why do you suppose he arranged them in that order?
RICHARD
Because the two leg stretch is harder than the one leg stretch.
EKIM
What makes it harder?
RICHARD
You are moving two legs away from center instead of just one.
EKIM
And that increases the load, right? The weight you move gets heavier. So, this becomes the first way you make anything harder-you increase the load. If we were creatures from another planet the next exercise might be the three leg stretch, but we don’t have three legs, so instead we do this.
Ekim returns to supine, starts doing the one leg stretch and transitions into the scissors.
EKIM (CONT’D)
The one leg stretch becomes scissors.
Ekim starts doing the two leg stretch and transitions into the double leg lower lift.
EKIM (CONT’D)
And the double leg stretch becomes the double leg lower lift. So this becomes the second way you increase the load, by moving the load further away from center, sometimes called increasing the lever.
Ekim goes supine again, legs stretched out long.
EKIM (CONT’D)
We start out the sequence lying down. And then we sit up. How is this harder?
MARGARET
Because now you have less in contact with support. You can fall down.
EKIM
Exactly, and this is the third way the sequence progresses into more difficulty, fewer contact points.
From sitting down, Ekim turns over onto all fours. Knees not touching.
EKIM (CONT’D)
Here you have four contact points.
Lifts a hand.
EKIM (CONT’D)
Three contact points.
Lifts the opposite foot.
EKIM (CONT’D)
Two contact points.
Makes a joking effort to go into a one armed hand stand.
EKIM (CONT’D)
And for someone maybe one contact point.
Ekim stands up, his side facing the group.
EKIM (CONT’D)
How many contact points do we have here?
HONEY
One.
EKIM
Really? Remember our endpoints of rotation? Rotation at the hips.
Ekim plays Elvis.
EKIM (CONT’D)
Rotation at the knees.
Ekim squats up and down without much movement at the ankle.
EKIM (CONT’D)
Rotation at the ankles.
Squats get lower because of the increased movement at the ankle. And rotation at the...
Ekim lifts and lowers his heels.
HONEY
Oh! The ball of the foot. What’s that called?
MARGARET
The metatarsal heads.
Margaret shows tolerance of Honey’s limitations in anatomy.
EKIM
Anytime you have a client doing an exercise on flat feet you can make it a whole new world of difficulty by removing the contact point at the ankle by lifting the heels. This is the third why you make any exercise harder, because that’s the way it gets harder in the sequence of the mat, you reduce contact points. We’re talking about loading. This is the third word in the definition of the idea. So, we’ve got uniform eccentric loading. The fourth way to make anything harder is to change the tempo. Go faster, or go slower. And the fifth way to make anything harder, assuming you are using tension, is a change in tension, either more tension or less tension. Like in side splits on the reformer. More springs makes it harder in one way, less springs much harder in another.
RICHARD
When I first came to pilates I only looked at the springs as resistance. Add more springs to make it harder. Then I tried side splits on the reformer with less springs and I found out how hard less springs could be.
EKIM
Because with less springs you have to handle more of the weight of your own body. More load. In the mat sequence you start out lying down. Then you sit up. Then you go from round back to flat back, which takes us into the second half of the definition of the idea.
EKIM (CONT’D)
You see there’s the target of the idea, fluorescence. And the definition of the idea is best digested in two parts, connected by a couple words in the middle. The first part is uniform eccentric loading. The second part is progressive patterns of movement. Bette Ann, you have children don’t you?
BETTE ANN
Two boys.
Ekim squats down, chest on thighs, arms around legs.
EKIM
A baby in the womb starts out in flexion. In being born,
Ekim opens up to standing, arms spreading out, making a big extension.
EKIM (CONT’D)
Life presses us out into flexion. Once we see what’s out there.
A look of alarm takes over Ekim’s face.
EKIM (CONT’D)
And we say, “Oh, my god!”
Ekim retreats back to the fetal position.
Everybody laughs.
Ekim returns to a relaxed standing position.
EKIM (CONT’D)
Life presses us out into space. And our convulsions are what move us through space. The more we control our movement the easier we move through space, the quicker we get to the food, the more likely we survive in this gravity jungle we find ourselves in.
EKIM (CONT’D)
Space has ideal properties. Like the shortest distance between two points is a line. Our convulsions of flexion and extension gets us moving in the sagittal plane. Sagittal comes from sword as in cutting the body in two.
HONEY
Yuck!
EKIM
It is also called the median plane. This is more accurate to what we are talking about because the median plane divides the body in left and right halves. The sagittal plane divides the body into unequal left and right parts still running parallel to the median plane.
HONEY
That’s much better.
EKIM
(amused)
As soon as you start talking about space we start talking about ideals. Ideals like points, rotation, planes, parallel, perpendicular. I know a very good teacher who has forever said that you can’t put a body on a grid, that each body is unique and has to be addressed as such. I come from just the opposite perspective. Reality as we know it is a grid. We are stuck in spacetime and there’s nothing we can do about it but rise to the occasion to survive within it. Controlling our movement is our ticket to survival and joy in the success of it. When you consider the body moving through space it has to navigate the shortest distance between point A and point B. This is primarily accomplished through flexing and extending in our median plane and secondarily through establishing stability in the coronal plane, also called the frontal plane.
Ekim reaches his arms out from his sides and bends back and forth sideways as though caught in his frontal plane. Then upright, he mimes walking a tight rope and how control of the frontal plane aids in maintaining the balance it takes to walk on the rope.
EKIM (CONT’D)
After we can control our movement in the ideal planes of front and back, side to side, then there is all the space in between where we rotate to get to.
Standing in one spot, Ekim twists his trunk to apparently reach for something above and behind him.

The pilates mat sequence honors and respects the progressive nature of controlling movements in these patterns, flexion before extension, before side bending, before rotating. Time and again, pilates sequence follows this pattern: flexion, extension, side bending, rotation, and torsion. This is the second half of the definition of the idea: progressive patterns of movement. Now the only thing that remains are the two little words that connect uniform eccentric loading to progressive patterns of movement. They are “flowing through.”
Ekim moves both hands out away from his body, palms open, as though flowing through water. Then he holds his left palm facing him separated between middle and third fingers to make space for his right flat palm to pass through.
EKIM (CONT’D)
When you watch old film that Joe made of his mat work each exercise flows one to the next. What makes this flow so important is that without flow you stay stuck in your mind. The exercises remain only a thinking exercise. But when you press the flow you must listen. Listen to where you are, anticipate where you are going. As we have discussed before, listening requires the spirit, one’s mind’s eye, the observer. Pressing the flow is the key catalyst to reaching the complete coordination of body mind and spirit in the moment of the doing. So it must be considered part of the idea.
Pauses, lets that sink in.
EKIM (CONT’D)
Now we have it. It has taken a bit of examination, but now we have a complete expression of pilates as an idea. Now we have an answer to the “what”, what is pilates? Pilates is uniform eccentric loading flowing through progressive patterns of movement.

Today's Workshop 5

BETTE ANN
Woe, woe! What about the equipment?
EKIM
What about the equipment?
BETTE ANN
Look at all the exercises done on the equipment and documented by Joe. Don’t they matter?
EKIM
Sure they matter. Which came first the mat work or the equipment?
BETTE ANN
They developed together, didn’t they?
EKIM
Not according to Joe’s archives. First came the mat, way early on. In archival footage Joe presents the mat work first and dates its origins back to 1920. What do the reformer, cadillac, and chair have in common?
While Bette Ann ponders, Richard speaks up.
RICHARD
Springs.
EKIM
Right. What role do springs play in pilates equipment?
RICHARD
Resistance.
EKIM
Well they can, but that’s not the primary role of springs in the pilates method.
EKIM (CONT’D)
Before I get to springs, let’s explore the idea first, and that will lay the foundation for understanding the role of springs in the method.
EKIM (CONT’D)
The idea is based upon three things directly from Joseph Pilates. His definition, his promise, and his sequence. The promise of uniform development requires uniform usage. So uniform has to be a part of the definition of the idea. Uniform is the first word in the definition of the idea.
Ekim holds one palm up, the other down, index knuckles touching with index fingers pointing away from each other. From here along the same line he moves his fingers out away from each other.

Eccentric is the second word in the idea. (At least when using English. In order to convey the proper meaning  the order of the words changes a little in other languages.) Eccentric means away from center. “E” is the Latin prefix for “out from” and centric means center. Out from center. Pilates has come to be known as an eccentric exercise. Anyone have any idea why this is so?
Honey’s face was blank, like the question failed to even register. Richard’s forehead was wrinkled. Margaret cleared her throat.
MARGARET
Eccentric is a term that refers to a muscle under load changing its length. When a muscle under load is getting shorter, it is termed a concentric contraction -- a contraction where the muscle gets shorter, towards the center.
Margaret holds out one arm like she is going to pump her fist to make a vein appear. As she bends her arm, bringing her fist closer to her shoulder she holds her thumb and index finger over the biceps and draws thumb and finger closer together as her elbow bends.

A muscle under load that is lengthening,
She opens up her arm, fist moving away from her shoulder while her thumb and index finger get wider apart to show what is happening to the biceps muscle underneath the skin.
MARGARET (CONT’D)
...is called an eccentric contraction. So even though the muscle is trying to pull itself together, concentrically, the muscle is lengthening, eccentrically.
Everyone seemed to be used to having Margaret lecture as though she were the one at the head of the classroom.
Ekim stood up with hands on hips showing his profile.
EKIM
And because pilates talks so much about controlling the hips and moving out from a strong center, just like the body is one big muscle, pilates has become known as an eccentric exercise. The only problem is that most people are confused about where the center is that you move away from.
Ekim held his hands open with palms up.
EKIM (CONT’D)
What center is everybody referring to?
HONEY
The core!
EKIM
Honey, that has to be the most overused word in the pilates world today. Everything is about the core. Stabilize the core. Build a strong core. Come out from your core. What is the core?
HONEY
You know, your hips, the middle of your body.
She places her hands on her hips, fingers leading the way down her thighs like the move was second nature.
EKIM
What’s an older, more traditional name used in pilates for the core?
BETTE ANN
The powerhouse.
EKIM
Yes, and what is the powerhouse?
BETTE ANN
It’s a band around your body like a wrestling champion wins.
EKIM
How about a little more physiological specificity?
MARGARET
(in her mind back in front of the class)
The core constitutes the major muscle groups that stabilize the pelvis. The abdominals, the glutials, and the adductors.
Everyone tenses up a bit at the technical jargon, but seems familiar with it.
EKIM
Good. And it is this area, the pelvis, surrounded by these muscle groups that everyone in the world seems to consider the core, the center out of which we come.
EKIM (CONT’D)
There is even one brand of pilates that takes the attitude that you will never squeeze the core enough, never get it tight enough, and that the more you condense towards the core, somehow the more you will then be moving out away from the center. The image that I get is that of compressing a snow ball.
Hands making a snowball.
EKIM (CONT’D)
The more you compress the snow towards the center, the more eccentric you become, like toothpicks sticking out of the snow in all directions. The attitude promoted by instructors of this ilk is that you can never squeeze enough, and therefore you will never be good enough. Sort of a self tormenting, flagelistic, attitude towards your self in pursuit of pilates. Believe me, a lot of people pay a lot of money to buy into this form of psychological self abuse.
An uncomfortable chuckle ripples through the group, apparently familiar with this attitude.
EKIM (CONT’D)
I think the attitude runs thick in the dance community, where false ego says I am not worthy, I am not good enough...fishing for someone to contradict. In any case, the core, the powerhouse, the pelvis, is not the point out of which eccentricity occurs. No, eccentricity has to happen as a result of tension. And as we have already discussed, it takes two points to create tension.
Ekim holds out to fingers one above the other, as though the rubber band still exists between them and moves them apart as though stretching the rubber band.
EKIM (CONT’D)
If the rotation of the hips determines one of the points, what, or where is the other major point from which tension can be created.
RICHARD
The shoulders. Rotation at the shoulders creates tension off of the rotation at the hips.
Nonchalant, as though he knew this all along.
EKIM
Exactly. And to demonstrate how this tension is created I have a special toy to show you.
Back to the bag, both hands inside, sifting through unknown items, Ekim finally comes out with another toy top.
EKIM (CONT’D)
This top has a pen on the bottom of it.
EKIM (CONT’D)
(approaching Honey)
May I have a sheet of paper from your notebook?
Honey obliges, Ekim returns to his point of deliver and gets down on all fours, placing the paper in front of him. Spinning the top, from years of practice, he begins his deliver to coincide with the slowing down of the top.
EKIM (CONT’D)
The top is spinning in one direction.
Everyone’s gaze is transfixed observing the top.
EKIM (CONT’D)
When it lands, it reverses direction.
The top lands and acts as predicted. Ekim repeats the spin, the same thing happens. Ekim picks up the top, puts the cap back on the ink tip. He holds up the piece of paper upon which a specific shape of two connects coils appears and walks the paper by everyone’s face so they can see it up close.
EKIM (CONT’D)
This shape is called the Cornu Spiral. It is named after a French Physicist, Marie Alfred Cornu, born 1841, died 1902.
EKIM (CONT’D)
If this shape were an octopus...
Again on all fours drawing a meaty part between the two coils.
EKIM (CONT’D)
And his legs grabbed a hold of two things and pulled, it would pull itself apart from the middle. It would be an eccentric effort. Right?
Everyone nodded for it was easy to see how it would happen.
EKIM (CONT’D)
(pointing to the middle of the octopus)
The center would be right here. Do you see how the line curves one way and then at the middle changes direction and curves the other way? This point, where the curve changes direction has a very specific name in math and physics. It is called the inflection point. A point where the curve changes from concave upward to concave downward. The true center out of which eccentricity occurs is here, at the inflection point.
Back to fingers stacked as though the rubber band is being stretched.
EKIM (CONT’D)
(standing, rotating hips and shoulders)
The tension created by rotating between the hips and the shoulders is what makes an eccentric contraction at the inflection point. This is how we get taller. How we get a thinner waist. This is how we decompress the spine.
EKIM (CONT’D)
So we rotate at the hips, and we rotate at the shoulders. Is this the only place our body creates endpoints of tension?
RICHARD
There’s one through the head. Head and shoulders work the same way.
With that Richard reaches his arms out from his sides creating an axis through the shoulders. He rotates his shoulders and his head in a slack manner, and then by rotating his palms up and shoulders back against a lengthening neck, chin down to face straight ahead, shows the same kind of tension Ekim was demonstrating between hips and shoulders.
EKIM
Ah, Richard. Embodiment is the ultimate authority. Your demonstration is perfect!
EKIM (CONT’D)
(miming Richard’s movement)
The shoulders and the rotation through the ears creates a Cornu spiral of tension which sets up another inflection point of eccentricity in your neck.
Ekim rubs his hands together as though washing them.
EKIM (CONT’D)
Great. We are getting close to understanding the role of springs in the method.
Ekim lays down on the ground. Knees are bent feet are flat but he assumes the position of someone who is so tight in the shoulders that his head tilts back but doesn’t touch the floor, and his elbows touch but his relaxed hands, fingers dangling down fail to reach the floor.
EKIM (CONT’D)
Got any clients like this?
Laughter.
EKIM (CONT’D)
They are so tight they can’t relax. You can’t be eccentric and start under tension at your extremities. If you are under tension at your extremities you can't start from your center and move out from there. So...
EKIM (CONT’D)
(sitting up, pausing to deliver a key point)
In order to be eccentric you have to start at ease.
People start writing. Ekim waits.
EKIM (CONT’D)
This is really important and becomes a key factor in working with a client. So how do we help our client find ease in order that they may start their effort at ease.
HONEY
You put a pillow under their head, and little pillows, or something, under their hands so their arms can relax.
EKIM
Right you are. You do what it takes to put them at ease. Then you can initiate from core.
Ekim goes over to the Cadillac, lays down at one end, puts springs that are attached to vertical poles at one end of the Cadillac onto his feet with straps that are connected to ends of the springs. His legs are laying out against the support of the springs about 45 degrees above the surface of the Cadillac.
EKIM (CONT’D)
Now let me ask you, is it easier to hold up my legs while they are in the springs or if the springs weren’t there.
Everyone answers as though a ritualistic response.
GROUP
Easier.
EKIM
(moving up and down a little bit against the support of the springs)
So the springs are supporting the load of my legs, to put me at ease so I can make an eccentric initiation. Right? Everybody see that?
HONEY
But if you push down the springs resist.
EKIM
Yes, that’s right. But if I don’t make effort I can find ease. And from ease I can start from my center to make the push. This is what pilates is all about, eccentric effort. To be eccentric you have to start at ease...drum roll please...so the role of springs in pilates is to support load to facilitate an eccentric initiation.