Michele Larsson On the Art of Teaching

T H E
THE
PILATES
ADVOCATE
ISSUE
#4
Issu
#4
e
PilatesAdvocate
Kyria Sabin on Functional Movement
Vs. Movement
Potential
Michele
Larsson
On the
Art of
Teaching
Madeline Black talks
Championing
Causes
Close
to the
Heart
Dr. Suzanne !
Martin on!
Scoliosis Management
& Breast Cancer
Restoration
About the Meaning of Mentorship
1
Table of Contents
Features
Madeline Black, PMA®-CPT
Trust Your Intuition pages 4 to 13
Suzanne Martin, PT, DPT and
PMA®-CPT
Championing Causes Close to the Heart
pages 14 to 20
Kyria Sabin PMA®-CPT
Functional Movement Vs. Movement
Potential pages 21 to 29
Editor’s
Note
p.
3
Who’s
in
the
Next
Issue
p.
30
2
Editor’s Notes
In Issue 4 of the Pilates Advocate, you’ll read in depth stories about Madeline
Black, Suzanne Martin and Kyria Sabin. What I found enjoyable about
writing this issue’s stories was each of them presented their passion in the
realm of Pilates and it is clear how they found it in their stories. You will
notice the stories far exceed the lengths of most magazines but the iPad has
broken this barrier down. There are parts of their stories, I felt I could not
cut out. Their background and history are integral parts in making them who
they are today.
In addition, what makes these stories so special is that I collaborated with
each person interviewed to make sure the story you read is coming directly
from them. I hope you find their voice in these stories.
As you read more stories in the Pilates Advocate and learn of teachers you
have never of heard of before, you gain an insight to the Pilates profession.
There are so many individuals that participated to make Pilates what it is right
now, a flourishing and credible occupation. During these summer months,
would be a nice time to catch up on past issues. You can get access to all the
issues once you subscribe! Click here.
Please comment on how these stories effected you and perhaps inspired you
by emailing me at the info@thepilatesadvocate.com.
Looking forward to hearing from you.
Your Pilates Advocate,
Sonia Kang, Editor in Chief
PMA®-CPT
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3
“Functional Movement Vs. Movement Potential”
Interview with Kyria Sabin, PMA®-CPT By Sonia Kang
This interview with Kyria Sabin,
Program Director of Fletcher Pilates®,
tells us how she cherished the gift that
Ron Fletcher gave her and she figured
out a way to give it to the whole world.
Roughly twenty years ago she learned
the Pilates Method from Ron Fletcher’s
teachers and himself. He mentored her along the way and they
built an endearing friendship right up to his death. Over a
decade ago, she developed a Fletcher teacher-training program
that has since flourished on an international scale. And more
recently, became an advocate for the Pilates profession by
taking preemptive action to obtain state licensure for the Fletcher
Program of Study. She is now pursuing national accreditation for
the Fletcher Pilates® school. However, to understand the depth
of Kyria’s journey, we also have to learn about Ron Fletcher’s
path.
There are Pilates pioneers who led the way for us to practice
and teach today. Joseph Pilates passed away October 9th,
1967. His students were trail blazing their way to show the world
a method that could bring freedom to the human body.
The method spread and grew steadily because of the efforts of these trailblazers. One of
these trail blazers was Ron Fletcher who brought the Pilates Method to the West Coast of
the United States. Not only did he bring the work of Joseph Pilates forward with probity,
but also, he brought the work to key influential people that ensured its continuation.
Ron Fletcher’s career as a professional dancer in the Martha Graham Company,
choreographer for the Ice Capades and time spent learning with Joe and Clara Pilates
served as the foundation for his trademarked Fletcher Work®.
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In June of 1983, Ron Fletcher presented his work to a
prestigious Los Angeles dance clinic. Fletcher got the
attention of renowned surgeon, Dr. James Garrick who
spearheaded the first Center for Sports Medicine at St.
Francis Memorial Hospital in 1979. Dr. Garrick was
impressed with the Fletcher Work that he had his
assistant Patrice Whiteside go to learn this method.
Patrice became the very first to receive a certificate
from the Ron Fletcher Company. Patrice Whiteside
had completed the basic course in “Pilates Technique”
or as Joseph Pilates called it, “Body Contrology.”
Patrice then went on to rehabilitate and teach others in
the Sports and Dance Medicine community. Ron
Fletcher was the catalyst of bringing the Pilates
method to the West Coast. Along the way, he had
taught several talented teachers who continued to
spread the Fletcher Work. However, Kyria Sabin
fostered the growth of Ron Fletcher’s work and made
his work accessible overseas. Kyria stated, “Ron,
along with his assistants, Diane Severino and Michael
Podwal, set a very good, basic program for St. Francis
Memorial Hospital. This was the first time Pilates was formally presented and included in a
medical setting. This original program was primarily reformer-based, with a focus on
physical rehabilitation. I believe the hospital requested some sort of official documentation
demonstrating that Patrice Whiteside was eligible to teach and lead this program and this
led to the first Fletcher "certification". Ron always spoke very highly of Patrice.
Although this was a solid foundational program, the FletcherPilates® program today is
much more developed than what was originally set at St. Francis, and it includes most of the
"classical" syllabus along with unique Fletcher techniques such as the Fletcher Towelwork®,
Floorwork®, Barrework® and Percussive Breath® exercises.”
I asked Kyria if her graduates learn to see the body as a whole. She replied, “While we
encourage our student teachers to refine their “teaching eye” - seeing the body as a whole
comes with time and experience. Our Comprehensive Program is an in-depth, 900+ hour
program. We have about six months of required pre-requisites. One of the things that Ron
always said was “You have to have the movement in your bones before you can give it
away. And you can’t give away what you haven’t got it.” So the student learning process and
the learning to teach process have to be distinct to some extent. Our Comprehensive
Program itself takes about eighteen to twenty months to complete.”
And Ron felt that Clara, Joseph Pilates’ wife was the true teacher, and that Joe had this very
clear vision in his mind - that he was the genius - but he felt that Clara was the one who
really explained what we call, “The Pilates method.” And so we have the program very much
infused with what Clara taught Ron and what Ron taught us. We included most of the
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Kyria said, “If we as
Pilates professionals
want to be taken
seriously, and if we
want to operate
ethically, we have to
operate legally.
original Pilates syllabus, as well as Ron Fletcher’s signature Towelwork technique, the
Fletcher Floorwork program, a combination of Pilates matwork and the Graham floor work,
and Fletcher Barrework. Ron Fletcher was also the first person to introduce barre technique
in a Pilates environment, which is now seen everywhere.”
Kyria explained the importance of each of the unique Fletcher techniques. The Fletcher
Towelwork opens the chest, stabilizes and provides range of motion for the shoulder girdle
and improves posture and spinal articulation. The Barrework organizes the lower
hemisphere in standing. Ron felt that we should learn basic barrework before beginning a
reformer program. Finally the Floorwork provides a more three-dimensional movement
experience than does the matwork. These three techniques are integral parts to the
Fletcher Pilates curriculum and are always taught separately from the “classic” syllabus.
In addition, Fletcher Pilates is one of the first Pilates teacher training programs to undertake
the rigorous process of accreditation. As an accredited school, the Fletcher Pilates
Program of Study can offer student aid, help international students applying for visas, and
gain credibility in terms of working with universities.
She said, “The state licensure is a legal requirement for any school offering Pilates teacher
training. This is the first required step. We’ve had this in place for several years. Because
we are providing a secondary profession, there are state requirements to basically protect
the students. It’s for the state to say the training program or school is operating in a certain
consistent level with the other post secondary schools and educational programs.
Unfortunately for our profession, very few programs in this country are state licensed. If we
as Pilates professionals want to be taken seriously, and if we want to operate ethically, we
have to operate legally. And to me it’s a no-brainer.”
We are in far different time from the days of apprenticeship. Today, there are many Pilates
teacher-training programs offered to those who wanted to teach the Pilates method.
However, the Master Pilates Teachers who are teaching today received such a precious gift
from their apprenticeship that we can only vicariously understand. Perhaps by osmosis,
they gained access to the Pilates work on a much deeper level. This is how it all began for
Kyria Sabin. She said, “I took a few Pilates classes when I was in New York after college. I
moved to Los Angeles to direct an art gallery in Los Angeles.
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“It was a huge
honor and it
was a gift that
he gave to
me…”
A friend of mine said, “You should check out the Ron Fletcher Studio. There are
wonderful teachers.” I went to check it out but I thought I would look into to other
studios too. My first session was just a huge eye opener. The whole hour was on just
alignment and I was used to a more athletic form of ‘exercise’. But I felt so refreshed
after that first session that I went back and I took a series of ten sessions. Back then,
the Fletcher Studio was called the Ron Fletcher Studio for Body Contrology, which
became my home away from home.”
Ron’s teacher, Michael Podwal and Diane Severino maintained the L.A. studio. Ron
Fletcher had already moved to Texas. It wasn’t until an intensive workshop for
teachers was offered in Denver, that Kyria came to know Ron Fletcher. Kyria talks
about her experience, “I remember feeling scared because I knew that a lot would be
expected of me. It was an atmosphere of excellence but there was lightness to it.
So this was not a workshop not for novice. There were some clients there. Ron
Fletcher taught three days of solid movement. It was a whole different era in the world
of Pilates. We didn’t have the Pilates conferences and there wasn’t such an emphasis
on creating continuing education for teachers. It was more about taking the class that
was 6 hours long with Ron Fletcher. And it was hard! It was one of the hardest things
I’ve ever done.
The second day of the workshop, Ron called me over. And, I was sure that I had done
something wrong. Or maybe he felt that I wasn’t ready for this type of experience. He
said, “Have you ever considered teaching this work?” And I remembered that moment
so clearly. I had chills all over my body. I felt tears sort of welling up inside. And I had
no intention of teaching. It was an honor. It was a huge honor and it was a gift that he
gave to me, because I was on my way to law school.
I felt like there was a huge need in the art community for simple sound legal advice for
artists. I realized I didn’t have the passion for it. And so, when Ron Fletcher asked me
to teach his work, it was as if he awakened the possibility that I never considered. And
I replied, “I don’t think I can do it.” So, he said, “Oh, I think you have what it takes, and
you really have a wonderful eye and I enjoyed having you in class as a student.” From
that moment forward, I stayed in touch with Ron Fletcher.”
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She thought it would be a two to three months stay.
However, her friend’s plans changed and Kyria
decided to start her own studio in Tucson. She
called Ron and said, “You know, I’ve been thinking
of taking you up on your offer to teach. Ron said,
“Well, this is what you will do. I want you to go to
Denver and I want you to study this with Barbara
Huttner. And I want you to go back to Los Angeles
and I want you to learn this from Diane Severino.
I’d like for you to go to Houston to take classes.”
Ron gave me very specific instructions on what he wanted me to learn
from each of his teachers. And I didn’t realize at the time what a miracle
that was. And so I spent up to two weeks to a month in each place. And
I was in touch with him the entire time. And then, I opened a very small
studio in Tucson and just took private clients. And the marketing was all
word of mouth. I had a lot of referrals from Canyon Ranch Resort.”
Then in March of 1995, Cooking Light magazine came out with an article
on Pilates, entitled, “Fitness experts are hailing the revival of an exercise
program that gently shapes, tones, and builds endurance.” The article
quoted Jillian Hessel, Master Pilates Teacher about how the benefits of
Pilates would serve a women’s busy life style well. Hessel emphasized the power of
breathing that is both energizing and relaxing.
Kyria noted that she received many referrals after that article was written. She also
consulted with Ron often on how to run the Fletcher program at her studio. He said, “You
start with these ten exercises on the reformer. I want you to start with these three exercises
on this spine corrector. These are things that most bodies need.” However, self-doubt
would creep in. Kyria would respond by saying, “Ron, I don’t know.” Ron Fletcher reassured
Kyria saying, “You know more than you think you do, and you know way more than anyone
who’s coming in your door!”
Kyria said, “And so, he gave me the confidence to start. And within a matter of three months,
I had nine clients a day. I was working duets and private sessions. And I continued learning
from Ron. Everywhere he taught, I would go. And then, I began to sort of hear things in the
very small Pilates world at the time that Ron Fletcher’s work wasn’t the true Pilates.” The
term “classical Pilates” was referenced more and more in the 1990’s. It was said that Ron
Fletcher’s work was distinct from “classical Pilates.”
Kyria’s initial feeling was of protection over the work of Ron Fletcher. But
then she decided to investigate on her own to see how much of a variance
there was between what she had learned from Ron Fletcher and what
was considered “classical Pilates”. Kyria attended two intensive programs
at the Pilates Center in Boulder, Colorado. Kyria stated, “The Pilates
Center is one of the best Romana Kryzanowska -based programs in
existence headed by Amy Taylor-Alpers and Rachel Taylor-Segel. I think
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Kyria discovered more commonalities among
Joseph Pilates’s students than differences. that they did a wonderful job of staying true to what they learned from Romana. And what
that did was it gave me a true sense of the comparison between Ramona’s work and Ron’s
work.”
Then Kyria went to learn from Michele Larsson, Master Pilates Teacher who founded Core
Dynamics and apprentice under Eve Gentry. She also took sessions in New York with
Deborah Lessen. The methodology of learning from these teachers who apprenticed directly
under Joseph Pilates’ students was to “stay as close to source as possible” as Kyria put it.
She said, “I called it my ‘Pilates pilgrimage’. I also took two workshops with Alan Herdman.
He studied with Corolla Trier. Then later, I took sessions with Cara Reeser who has studied
with Kathy Grant. I didn’t realize how important this process was, but what it did was made
me realize that Ron Fletcher was as true to the Pilates source as any of the teachers who
came out of Joseph Pilates’ studio.”
Kyria discovered more commonalities among Joseph Pilates’s students than differences. She
said, “Ron was saying very much the same things that Corolla Trier and Kathy Grant had
emphasized, and that Bruce King wrote about in his book “Rule of the Bones”. And Romana
Kryzanowska said their approach to the work was different. But what I found was that there
were certain deal breakers that they each shared. There were more far more similarities than
there were differences. Both were focused on center-based movement, whole-body
movement, focused concentration, movement awareness and breath – even though their
approach to the breath is distinct.”
I immediately asked, “Did you go back and share your findings with Ron?”
Kyria stated, “Well, with trepidation because I didn’t know what his reaction would be. And I
knew that there was no love lost between Ramona and Ron. And they’ve both been very
verbal about it over the years. At one point, I sat down. I said, “Ron, you know, this is what I
heard about your teaching. My first reaction was to protect you and your work. And I said my
second reaction was to follow your advice. “Avoid condemnation prior to investigation.” I said,
“I followed your advice and I went out and I investigated. And I found very good teachers and
a lot of good stuff. But what it allowed me to do was come back committed to teaching your
work, and knowing that I was making a very conscious choice. This is what I choose to teach
because it speaks to me. It was so wonderful to be able to make that choice.” And after that I
remember Ron just smiled at me.
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I asked Kyria to elaborate a bit more on Fletcher
Pilates focus on movement in terms of what a
person is capable of versus the right exercise to
prevent injury.
Kyria said, “In many ways, I think that Pilates is the
ultimate form of movement therapy. Pilates has had
a huge impact on physical therapy. Physical therapy,
in this country, has compartmentalized the body into
parts. This is largely due to the way insurance works,
if it’s a knee issue, treatment is intended only for the
knee. You would only pay for the treatment of the
knee. Pilates has impacted the Physical Therapy
profession in terms of taking more of a whole body,
movement-therapy approach. Physical Therapy has
also influenced the way Pilates is approached and
taught. This whole idea of ‘functional movement’ has
entered our profession, which, in many ways it’s
quite wonderful. We do need to remember that it’s
about how to apply what you learn in the Pilates
studio and how to translate the work into a person’s
PILATES
Evolved from the Source
everyday functional life. And just a side note to that, Ron was adamant that we don’t teach
Pilates for golf. We don’t teach Pilates for tennis. We don’t teach Pilates for dancers. Good
Pilates is good Pilates. Good Pilates applies to every endeavor and area of life. It’s how you
speak to that individual and how you relate it to what they do. For instance, there are
misalignments that are common to dancers, gymnasts and swimmers and it’s important, if
you’re working with a group of people, to understand to some extent the technique that they’re
engaged in. But, you don’t change what you teach; you don’t change the basic syllabus. The
syllabus remains a syllabus. You simply apply it to that group and those individuals.”
“So currently, there is a lot of talk about functional movement. Can you address that?” I asked.
Kyria said, “As soon as we start talking about functional movement, the words carry energy
and it doesn’t evoke what I called the ‘wannas’. I wanted to do that. It’s more of something that
I have to do. But it doesn’t lead people to what I call their ‘movement potential’. And what we
want to do is work beyond, ideally take people beyond the idea of function and to their
movement potential. It’s inspiring to see people use their bodies, what Ron called their ‘divine
mechanisms’ for something that they never even imagined possible.”
Kyria connects this concept to what Joseph Pilates had done for every single one of his
students. She said, “And you think of all the people who walked into Joe’s studio in the
beginning who became the now famous teachers. They all went in with a knee injury or back
injury or some sort of a dance related injury. And they came out with so much more.”
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Kyria said, “No one becomes well-seasoned in anything
unless they’re constantly curious and wanting to learn more
and continuously learning from their clients.” I asked her what advice would she have for recent graduates of
a Pilates teacher-training program. Kyria replied, “Ron would
say, “Open your focus and then narrow your vision.” Take a lot
in and then decide what you want to be. Be discerning, put
your blinders on and study on one path for a while.”
Then I wanted to know what is the criteria, for a well-seasoned
teacher. She said, “No one becomes well-seasoned in anything
unless they’re constantly curious and wanting to learn more and
continuously learning from their clients. It’s easy to get into a
Pilates rut. It’s really easy to teach the same thing over and
over and over and to become a conveyor belt. Each day should
be a sense of wonder. If I’ve worked with long-time client, I try
not to develop too much of a comfort level that I can’t look at
them with fresh eyes. I think that that’s what it takes. It’s
constantly being more and more aware of what a person is
capable of and not being satisfied with plateaus, either in
yourself or in your students. I think that we don’t learn when
things are too arduous. I think to keep a certain level of joy
about it is key.
Kyria teaching on arc barrel
Honing your eye is really difficult to do. And so I said, “There are some teachers who
focus on the trees and they get very detail-oriented and there are others who only focus
on the big picture. Constantly go back from the forest to the trees. Whether it’s a honing
your eye, honing hands-on skills takes time, learning how to assess someone’s learning
style is; what their learning abilities are; how much information they can take in. It’s
critical to constantly edit yourself as a teacher. I’ll tell the teachers who are wanting to
hone their skills and say “Take this month really work on honing your eye.” be disciplined
about it. Be disciplined about tactile cues, and be disciplined about using more precise
verbal cueing. I think the most seasoned teachers don’t over-facilitate movement. They
don’t do the work for the clients. It’s about knowing just how much to give to lead to
independence, but not too much.”
I asked Kyria about her contribution as the Director of the Fletcher Program. She said,
“Well, I think that from the beginning, I gave this work a sense of structure. It’s based on
the twelve-step model I developed because Ron Fletcher found the value and success of
the twelve-step program as a recovering alcoholic. I don’t think Ron ever wanted to do
the things I did – like syllabus and program development.
In terms of the way I developed the work, I needed to get his permission before he died.
And he all but shook me and said “Kyria, you have what it takes.” And he said, “I’m gonna
tell you what Clara told me. It’s going to you.”
With Ron Fletcher’s blessings, Kyria Sabin forwarded the Fletcher
legacy
both during and
Joseph Pilates
on Chair
th
after his death on December 6 , 2011.
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Kyria said Ron Fletcher’s work has been a gift. Ron
Fletcher
And in return, Kyria Sabin has been prolific in
spreading the Fletcher work with integrity to the
world. Her success in touching so many lives at
an exponential rate is evidence of how
exceptional and prized the Fletcher Pilates
program is. Kyria’s conviction in establishing
creditability for the Pilates method incited her
talents in disseminating the Fletcher work in
larger scale that could only be done by Kyria
Sabin. She began the program in 2003,
expanded the teacher training program on an
international scale, developed the Pilates
program for the University of Arizona and serves
as Adjunct Faculty and obtained state
accreditation to be recognized a legitimate
school.
Out of all the accomplishments in Kyria Sabin’s
life, she prides herself in being a good mom.
May
2013
Fletcher
Pilates
Conference
BreT
Howard,
Amy
Alpers,
Diane
Severino,
Deborah
Lessen,
Michele
Larsson,
Kyria
Sabin,
Cara
Resser,
Blossom
Crawford,
Jillian
Hessel
Kyria
Sabin
She clearly has set the example for her children by working with laser
like focus to reap the fruits of her labor.
She said, “My first priority is to be a good mother and I believe my
children – my daughter, especially – have learned a great deal from the
work that I do and from what I’ve accomplished. I’m beginning to take
each of them, Clara and Xander, traveling with me. Ken Endelman
encouraged this and it’s a marvelous idea. They’re of the age now that they can learn – and
possibly even assist me with my teaching and work! We can make ourselves very small and we
can set these very clear boundaries. It’s sort of going back to the whole functional movement
versus movement potential. I sometimes find myself overstretched and overworked, and I think
that’s okay. That’s okay because these are all things that I choose to do. But it’s important at this
point in my life to take on a bit more and to not limit myself. Because if I look back at sixty, I will
have regrets if I do that.”
Joseph Pilates on Chair
I don’t think a trailblazer like Kyria Sabin will have such regrets.
She continues to maximize her
potential. Making the path easier to cross for Pilates teachers today, for women and for the next
generation of teachers.
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Whoʼs In the
Next Issue?
Deborah Lessen, PMA®-CPT is an
acknowledged leader in the Pilates field. A
former professional dancer and teacher, she
was trained to teach the Pilates method by
Joseph Pilates’ first protégé, Carola Trier.
Ms. Lessen founded the Greene Street Studio
in 1983, creator of Deborah Lessen Pilates.
Dawn-Marie Ickes, MPT,
PMA®-CPT. She is the owner of
Evolve Integrative Wellness
Physical Therapy and Pilates,
specializing in Integrative
Corrective Exercise, Performance/
Dance Medicine and Women’s
Health.
Rachel Taylor Segel &
Amy Taylor Alpers
Owners, The Pilates
Center, Teacher
Trainers
Sub
Sec'on
Title
Sisters Rachel and Amy
received their Pilates
training in New York City
at the original Pilates Studio and were certified as teachers by
Romana Kryzanowska. Today Rachel and Amy are master
Pilates teachers and published authors of the "Everything Pilates
Book" and most recently, have partnered with Balanced Body to
design CenterLine, the classically inspired Pilates equipment
used throughout the studio.
Send us your
comments and
questions to
www.thepilatesadvocate.com
info@thepilatesadvocate.com
Joseph Pilates on Chair
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