Speaker #0Hi and welcome to this new series on the Pilates Stability Chair on the Biopilot Deep Dive World Library podcast. Today we are going to talk about an essential exercise in the Pilates repertoire, footwork on the stability chair performed in a seated position. Within the Pilates repertoire as a whole, the chair is truly one of the pieces of equipment I favor most. First, because it allows us to work in an extremely wide variety of positions, particularly seated and standing, second because it takes up relatively little space. For a professional who is gradually setting up a studio, or for someone who is already trained and would like to purchase equipment, it can therefore represent a very worthwhile first investment. However, its small size should not mislead us. The stability chair is an exceptionally comprehensive piece of equipment. It can support strength training, mobility work, balance training and the process of learning how to transfer load. It also allows us to build a logical progression between more accessible seated exercises and standing exercises that require greater postural control. Seated footwork is particularly valuable for a wide range of populations. It can be adapted for prenatal training when there are no contraindications to exercise during pregnancy and and when the program is individualized. It may also be suitable for older adults, deconditioned individuals, or people who are not yet ready to work in a standing position against the resistance of the pedal. The seated position reduces some of the balance demands while still providing genuine strengthening of the legs. International recommendations also encourage a combination of aerobic and muscle strengthening activities during pregnancy when there are no contraindications. For older adults, strengthening the major muscle groups and working on balance help maintain functional capacity. Of course, this does not mean that the exercise is automatically suitable for every pregnant woman or every older adult. The spring tension, range of motion, pace, leg position, and level of support must you always be adapted to the individual. The pedal must remain controlled at all times, particularly as it returns. Before discussing the five-foot placements, let us focus on what always remains the same. In the reference programming, footwork on the stability chair is performed with two heavy springs in the low position and two light springs in the top position for approximately 10 repetitions I'm of each variation. This setup is a teaching reference and should be adjusted according to the person's body proportions, strength, mobility, and individual needs. Sit close to the front edge of the chair. This proximity is important because it encourages engagement of the hip extensors as the pedal moves downward. The pelvis and spine are in a neutral position. We do not deliberately arch the back, but neither do we posteriorly tilt the pelvis. We are looking for a natural organization in which the curves of the spine can be maintained without tension. The shoulders remain directly above the hips. The crown of the head reaches toward the ceiling. The neck remains long, and the ribs are organized above the pelvis. The elbows are flexed, and the forearms may wrap around the handles. However, the arms are not there to perform the work instead of the legs. They provide a reference point and a small amount of stability. They should neither pull on the handles nor lift the body. The shoulder blades remain stabilized against the ribcage without being squeezed together rigidly. Maintain a sense of width across the collarbones and between the shoulder blades. The knees are flexed. and the pedal rises only to the point at which the pelvis and spine can remain neutral. If the pelvis moves into a posterior tilt or the backgrounds as the pedal returns, this means that the pedal has risen too high for that individual. Finally, throughout every variation, the knees track toward the center of the feet. You can imagine each knee tracing a line over the second or third toe. For the first four variations, the suggested breathing pattern is generally as follows. Inhale to prepare, then exhale as you extend the hips and knees to press the pedal downward. Inhale as you control the return. The downward phase is important, but the upward phase is equally important. Never allow the springs to pull the pedal back up abruptly. This controlled return represents the eccentric work of the muscles of the thighs and hips. Before even pushing through the feet, think about the pelvic floor and the transversus abdominis. In the Pilates approach, their activation contributes to the stability the of the pelvis and lumbar region, together with the diaphragm, multifidus, and the other muscles of the abdominal wall, the pelvic floor, and transverses participate in the management of intra-abdominal pressure. The goal is not to hold the breath or contract every muscle as strongly as possible. We are looking for a level of tension that is appropriate for the task and that allows the pelvis to remain neutral while the legs move. To be anatomically precise, when we refer to the pelvic floor here, we are primarily referring to the pelvic diaphragm. It includes the levator ani, which is made up of the puborectalis, pubococcygeus, and iliococcygeus, as well as the coccygeus muscle. In general, the levator ani originates from the posterior surface of the pubis, the tendinous Arch of the Levator Annie. which lies on the fascia of the obturator internus and the ischial spine. Its fibers attach to the perineal body, the tissues surrounding the pelvic organs, the anocoxygeal rave and ligament, and the coccyx. The puborectalis has a distinctive arrangement. It forms a U-shaped sling around the anorectal junction before joining the opposite side. posteriorly The coccygeus muscle originates near the ischial spine and the sacrospinous ligament. It inserts onto the lower portion of the sacrum and the coccyx. The main actions of the pelvic floor are to support the pelvic organs, contribute to urinary and fecal continence, manage increases in abdominal pressure, and assist the functions of elimination and childbirth. The pelvic floor must therefore be able to contract but also to lengthen and relax. This capacity for movement is particularly important during pregnancy and the postpartum period. Its innervation is complex and presents anatomical variations. It is primarily supplied by branches arising from the sacral nerve roots, particularly S3 and S4, with possible contributions from S2 through the nerve to the levator ani. A contribution from the pudendal nerve has been described in certain regions, although its precise importance remains a matter of anatomical discussion. The coccygeus muscle primarily receives fibers from S4 and S5. For our footwork, the cue can remain simple. As you exhale, imagine a gentle drawing together of the pubic bone, the coccyx, and the two sit bones, followed by a subtle sensation of lifting. The goal is not to squeeze the perineum as strongly as possible. We are looking for a subtle response that is coordinated with the breath. As you inhale, maintain a certain amount of organization while allowing the diaphragm and pelvic floor to regain their elasticity. The transversus abdominis is the deepest muscle of the lateral abdominal wall. Its fibers run primarily in a horizontal direction, like a wide belt around the abdomen. It originates from the internal surfaces of the costal cartilages of the 7th through 12th ribs, the thoracolumbar fascia, the anterior two-thirds of the iliac crest, and the lateral portion of the inguinal ligament. It inserts through a broad upper neurosis into the linear alba, as well as onto the pubic crest and the pectin pubis. It is innervated by the thoracoabdominal nerves from T7 to T11, the T12 subcostal nerve, and the iliohypogastric and ilioinguinal nerves, which arise primarily from L1. When it contracts, it compresses and supports the abdominal contents. It contributes to the management of intra-abdominal pressure, forced exhalation, and the stability of the lumbopelvic region. During footwork, its action is primarily stabilizing and isometric. It creates tension around the trunk without producing visible movement of the spine. Activation of the transversus should not be confused with forcefully pulling the stomach inward. Instead, imagine a belt gently tightening around the entire waist, including the sides and the back. This connection between the pelvic floor and the transversus helps maintain the pelvis in neutral as the hips and knees extend against the resistance of the springs. Footwork is a particularly clear application of the Sixth Pilates principle, lower body mobility and stability. This principle considers the hip, knee, ankle, and foot as an interdependent chain. Three elements are particularly important. Static and dynamic alignment, the mobility available at each joint, and force management. A change in alignment at the foot or ankle can influence the knee, hip, pelvis, and even the trunk. During footwork, we therefore aim to maintain the pelvis and spine in neutral, the shoulders above the hips, the femurs well organized within the hip joints, the knees aligned with the feet, and consistent pressure into the pedal. Pilates educational material also reminds us that effective force transfer depends on alignment and muscle recruitment, and that the knees should track in the direction of the toes rather than collapsing inward or moving excessively outward. The five footwork variations maintain the same overall organization. while changing the position of the foot and ankle. Let us begin with the V position. Toes apart, heels together. The balls of the feet are placed on the pedal. The toes are slightly apart, and the heels are together. The hips are laterally rotated, and the knees are open, slightly wider than shoulder width. Inhale to prepare. As you exhale, gently press the heels together, then extend the knees and hips to lower the pedal. as far as the trunk can remain stable. As you inhale, flex the knees and hips while controlling the return of the pedal. Perform approximately 10 repetitions. The hip extensors and quadriceps work concentrically as the pedal moves downward, then eccentrically as it returns. The lateral rotators of the hips work isometrically to maintain the outward rotation of the legs. The essential point is not to allow the heels to separate. They remain in contact throughout the movement. The ankles remain stable, and both legs provide an equal amount of effort. Also, be careful not to force the rotation from the knees or the feet. The rotation must come from the hip joints. The knees track in exactly the same direction as the toes. You can imagine that the two heels are gently holding a sheet of paper between them. The second variation is called wrapped. toes, sometimes described as grab the toes. The distal ends of the metatarsals are placed on the pedal. The toes gently wrap around it without gripping or clenching. The ankles remain dorsiflexed. The legs are parallel and drawn together. As you exhale, maintain the dorsiflexion of the ankles and extend the knees to press the pedal downward. As you inhale, flex the knees and hips. while controlling the upward return of the pedal. Here, the hip extensors and quadriceps continue to produce the primary movement. The adductors keep the legs together, and the intrinsic muscles of the feet maintain the contact of the toes around the pedal. The wrapping action of the toes should remain active without becoming a clawing action. If the toes become white, tense, or pull excessively, reduce the pressure. Imagine that the toes are gently wrapping around the pedal in the same way that your fingers would wrap around a fragile glass. The challenge is also to maintain dorsiflexion. The heels should not move downward toward the floor during the press. The ankles remain organized as the knees extend. For the third variation, place the heels on the pedal. The ankles are dorsiflexed. The legs are parallel and drawn together. Inhale to prepare. As you exhale, maintain ankle dorsiflexion and extend the knees to press the pedal downward. As you inhale, control the return. The quadriceps and hip extensors continue to move the pedal. The muscles responsible for dorsiflexion, particularly the tibialis anterior and the toe extensors, work isometrically to maintain the position of the feet. Imagine that the sole of each foot remains placed on an invisible floor. The toes, therefore, do not point forward as the pedal moves downward. Both heels should apply an equal amount of pressure. If one side moves downward more quickly, this may reveal a difference in strength, mobility, or control between the two legs. This variation is particularly valuable for strengthening the lower kinetic chain while working on ankle control and the relationship between the ankle, knee, and hip. The fourth variation is high half-toe, or a high demi-point position. The balls of the feet are on the pedal. The ankles are plantar flexed with the heels lifted. The legs remain parallel and drawn together. As you exhale, maintain the height of the heels and extend the knees to press the pedal downward. As you inhale, control the return without allowing the heels to move up or down. The hip extensors and quadriceps produce the primary movement. The gastrocnemius and soleus work isometrically to maintain Plantar flexion. The weight should be distributed across the full width of the forefoot from the base of the big toe to the base of the little toe. Avoid shifting exclusively onto the big toe or onto the outer edge of the foot. Also avoid increasing the plantar flexion excessively. The goal is not to move onto the tips of the toes. The contact remains on the metatarsal heads. Imagine that the heels are resting on a small invisible shelf. They do not move as the knees bend and straighten. The final variation is lower and lift. Keep the balls of the feet on the pedal with the legs parallel and drawn together. Press the pedal downward until the femurs are approximately parallel to the floor. This time, the thighs remain still in space. The movement occurs only at the ankles. As you inhale, dorsiflex the ankles, the heels move downward, and the pedal rises slightly. As you exhale, plantar flex the ankles. The heels lift and the forefeet press the pedal downward. Perform approximately 10 repetitions. The gastrocnemius and soleus work concentrically as the pedal is pressed downward, then eccentrically as the heels lower and the pedal rises. The quadriceps work isometrically to keep the thighs perfectly still. The main mistake is to transform this ankle movement you into a movement of the knees. The knees should neither rise nor lower. You can imagine that the femurs are resting on a table and that only the heels are moving underneath the table. The pressure remains balanced between the two feet and across the full width of the forefeet. Footwork certainly strengthens the legs and thighs, but it is not simply an exercise for the quadriceps. The quadriceps extend the knees. The hip extensors. particularly the gluteus maximus and hamstrings, help press the pedal downward. The adductors organize the parallel position of the legs in several of the variations. The lateral rotators maintain the outward rotation in the toes apart, heels together position. The muscles of the feet stabilize the points of contact. The dorsiflexors and plantarflexors control the different ankle positions. And while all of these muscles produce or control the movement, the pelvic floor, transversus abdominis, multifidus, obliques, and scapular stabilizers maintain the organization of the trunk. Footwork is therefore a whole body exercise. The lower limbs move, but the center of the body creates the stable platform from which they can work. Thank you for listening to this first episode of Biopilot Deep Dive. If you enjoyed this episode, please feel free to share it with your colleagues, your students, or any Pilates enthusiasts who would like to deepen their understanding of movement. I will be back very soon with a new episode in which we will continue to explore, one exercise at a time, the full richness of the Pilates repertoire. See you very soon and take care of the way you move.
