What is IMPRINTING in Pilates?

Image with text on the left side: "Volume 2 examines locomotor system health conditions, including scoliosis, kyphosis, and more, illustrating in detail how movement sequences improve gait, balance, and quality of life."
The text on the right side: "Dr. Suzanne Clements Martin | Chapter 1 
Pilates and Spinal Asymmetry: Effect on Gait"

This blog post was written by Dr. Suzanne Clements Martin, contributor to “Chapter 1: Pilates and Spinal Asymmetry: Effect on Gait” in Pilates Applications for Health Conditions Volume 2. This blog post originally appeared in Pilates Intel.

Imprinting is a beloved term used in Pilates

Attributed to our Elder Eve Gentry, imprinting is a subtle action involved with detailed movements of the vertebra in a supine position, where the imprinted motion seeks to “release” the individual vertebrae. In physical therapy terms, it would be called an anterior-posterior Grade 1 or 4 self-mobilization. Contemporary-minded Pilates allows liberty for interpretation. While mobilizing vertebral bones is one way of using the term imprinting, may I suggest others?

Fascia’s Importance

It is no secret that the fascia world concepts have inundated the field of Pilates, yoga, and exercise in general. How fortunate this age is to have new and exciting ways to look at not just fascial anatomy, but actual fascial movement, its connecting impact and coordination with the sensory and psychological self. Already being an advanced mover starting the journey over 25 years ago in cadaver studies, the glaring observation was how abundant the fascia was/is throughout a body, not just humans. Curiosity of fascia’s importance through observation of the outrageous amount of back-up tissue for infrastructure was immensely reassuring for my world, the mover population.

Thanks to interested surgeons, researchers, along with popular anatomists, a clearer, working knowledge of the structure, form, and function continues to emerge.

Perhaps not surprisingly, the actual skin, our first line of imprint, acknowledges both internal and external sensory nerve pressures that have direct influence all the way into our bones. Bones are not rocks, but actual organized living groups of cells. The fascial layers, beginning with skin, abut and connect layer after fascial layer to eventually continue into periosteum, the fascial lining of bone. What happens on the surface impacts the bones, and bones create functional motion from the gentle rotations of individual ribs to create breathe to the large motion excursion of the legs in Leg Circles on the Reformer.

Fascia has a basic organizational characteristic known as bio-tensegrity, a term gaining increasing popularity. What does it mean? The word breaks down to biologic tensional integrity, meaning tensioning connective tissue holds our bodies together instead of an architectural building block model. The tension is adjusted by our nervous system in a process called proprioception. Proprioception is the brain’s perception of where it is in space. Kinesthesia is the body understanding when and how it is moving. Functional joint stabilization occurs as a result of these two occurring during motion. (Panjabi, 1997)

The tensioning of the connective tissue of fascia gives what is called force closure of the joints, in particular the pelvic joints, which help to maintain verticality. Force closure helps so many of us that are more flexible, do not have perfect joints (as in spinal asymmetry or arthritis), or that have had babies, injuries, or accidents, in other words, most of the population.

Fascial-Oriented Pilates Applications

As a long-time fascial manual therapist, I’ve incorporated the principles of fascial decompression and manipulation to my courses. Imprinting can be applied in both decompressive and manipulative ways in our work.

My courses are now all fascial-oriented Pilates applications. Self-touch, the original tactile cue, is the first form of imprint. One of my favorite exercises is the Sternal Mobilization. It helps those who have had chest wall surgery as in breast cancer, those with spinal asymmetry or scoliosis, or clients suffering from post-COVID or other breathing issues. When stiffness occurs in either the internal or external chest wall, shoulder motions become limited as well as breathing and is often accompanied by pain. These mat exercises will help Reformer exercises such as the Hundreds, Stomach Massage and Mermaid to be more balanced and effective.

With the client in a supine position, with the calves resting upon a Short Box, instruct them to place the thumbs into the armpits, touch their 3rd fingers together, place the fingers upon the sternum, and then release the thumbs. The fingers are now on a safe position of the sternum. The sternum has 3 bones: the manubrium, the gladiolus and the xiphoid. It is best to avoid the lowest bone of the xiphoid due to the ease of displacement.

Inhale, feel the sternum rise against the skin of the fingers. Then exhale, feel the bones descend and at the bottom, gently imprint the fingers three times (1-2-3), then release. Repeat several times. This motion affects the superficial fascia, the deep fascia and the internal rib cage fascia along with the fascial capsules of the lungs and heart. A modification for osteoporosis is to simply feel the finger weight and give no pressure at the bottom of the exhalation.

One-Lung Breathing

Another favorite is One-Lung Breathing created by our Elder Eve Gentry. The West Coast Baby Arc is my favorite tool for this one and is a usual beginning exercise for many of my sessions. This exercise helps re-shape the fascia of the trunk and is a great tool for clients with spinal asymmetry and cancer restoration.

Modify the neck and pelvic positions with towels and pillows as needed. Exert caution for those with osteoporosis. Modify by using only pillows underneath the ribs and minimize any pressure. Use only sensory tactile when in doubt. Position the client with the stiff rib cage side down toward the arc with the client’s chest at the height of the arc. Place two flat hands on the side of the ribs with extended fingers to avoid touching the breasts. Inhale, feel the ribs rise, then when the client exhales, let your hand weight give gentle pressure downwards. Repeat three times more and repeat to the other side.

Breath of Fire

The next one is the Breath of Fire, adapted from the yoga exercise. It is a stronger exercise that potentiates not only the excursion of the respiratory diagram but affects all the diaphragms (cranial, thoracic, respiratory and pelvic) by tensioning all internal fascial compartments. It works best if the client sits on a firm surface like a chair or the Trap Table.

Keep the lips closed throughout the entire sequence.

First practice posterior lateral breathing using the hands to mobilize the rib cage. Inhale, expand the cage. Exhale, give some pressure to the ribs. Practice a few times. Then practice the “percussive exhalation.” Exhale strongly deepening, imprinting, the soft tissue from the pubic symphysis to the navel. Hold it tense for four counts. Finally, practice repetitive percussive exhalations. Try not to inhale between them yet let the passive return from the exhalation happen naturally. Yes, it may not be perfect but try to keep going to number 20.

Next, put the whole sequence together: Posterior inhalation for four counts, exhale hour counts, then one percussive exhalation with a four -count hold, perform twenty exhalations. Start again to complete three cycles only, to end with normal breathing. Notice the excursion of your breath now!

***

Dr. Suzanne Clements Martin, DPT, founder of Pilates Therapeutics LLC, has been a pioneer in the international application of Pilates therapy. Her unique approach, which blends art with science, has been instrumental in her courses on spine health, women’s health, foot management, cancer recovery, and performing arts enhancement since 2002. Her practice is guided by the core values of integrity, growth, and artistry. An avid promoter of Pilates and Lifestyle Fitness, she authored 3 fitness books with Dorling Kindersley, and wrote wellness columns for Dance Magazine and Dance Studio Life (A Better You) for a decade. In addition to her recent publication, Spinal Asymmetry and Scoliosis, published by Handspring, she has contributed “Chapter 1: Pilates and Spinal Asymmetry: Effect on Gait” in Pilates Applications for Health Conditions Volume 2, which is co-edited by Elizabeth Larkam and Madeline Black, again with Handspring Publishing.

To further examine locomotor system health conditions, including scoliosis, kyphosis, hip joint dysfunction, diastasis recti abdominis, and congenital muscular torticollis, illustrating in detail how movement sequences improve gait, balance, efficiency, and quality of life, check out Pilates Applications for Health Conditions Volume 2: Locomotor System Conditions (Handspring 2025).

Learning to Feel Movement Thoroughly Is as Subtle as Learning to Taste Water

This blog post was written by Handspring author Sherry Brourman, author of From Bodily Knowledge to Intuitive Movement.

When it comes to sensing distinctions within our own movement, I believe natural human longing for safety coupled with our perfectionistic culture breeds a special self-conscious movement impatience. We’re compelled to know, to rush, to categorize, to perform—whether for others or ourselves—and all of this obstructs bodily presence and the self-awareness that comes with it.

Even the simple intention to shift into a calmer, slower gear—the state needed to take the time to truly feel movement can seem ambiguous or uncomfortably unfamiliar. Initially, just setting that intention may bring anxiety. This isn’t resistance to truth, a character flaw, or the absence of some innate ability that only some people have. Yet it appears and feels subtly defensive.

In over fifty years of observing, discussing, and guiding people toward greater movement sensitivity, I’ve come to believe that simple underexposure is the main barrier. Whether chemist or athlete, most people have had little experience with this kind of inner attention—and so we can grow shy, even to our own witness, much less someone else’s.


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“I feel my tension begin to melt away”: How water treatments increase the effectiveness of bodywork

Written by MaryBetts Sinclair, author of Hydrotherapy for Bodyworkers: Improving Outcomes with Water Therapies.

           In combination with skilled touch, water treatments are perhaps the very oldest and most revered of all healing modalities. Pain from injuries, issues from damaged muscles and joints, circulation problems, chronic tension, chronic pain and emotional stress have long inspired healers to relieve suffering this way.

From ancient Rome’s great baths to Russian saunas, Indian Ayurvedic steams, Native American sweat lodges, Turkish baths and Japanese hot springs, peoples the world over use and love hydrotherapy and massage together. In Germany, the warm waters of Baden-Baden have been used for over eight thousand years, and in Bath, England, for ten thousand. 2800 years ago, Irish sweat houses made of sod and stone were used for rheumatism.

As a bodywork student or practitioner, you may be wondering what is the advantage of adding water treatments to your skill set. Here’s how it can improve your effectiveness:

*** Like massage, hydrotherapy can relieve discomfort and pain, stimulate the flow of blood and lymph, and make connective tissues more pliable and comfortable to the touch.

***Hydrotherapy is soothing and stress-reducing. The ancients realized the effect depression and stress can have upon a person, and over centuries, chronic depression was called everything from gloom or melancholia to neurasthenia or dysthymia. In ancient Greece, while warriors bathed to reduce fatigue and promote wound healing, warm baths were also ordered to relieve “dejection and low spirits.”  The founder of modern psychiatry, Philippe Pinel, (1745-1826) recommended warm baths to calm “overwrought nerves.”

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The Complete Yoga Anatomy Coloring Book: Gluteus Maximus

Illustrated with anatomical drawings for coloring throughout, The Complete Yoga Anatomy Coloring Book by Katie Lynch covers physiology of the breath; movements of the joints; workings of the spine, shoulders and pelvis and in-depth muscle information before moving onto Asana Anatomy specifically related to the main standing, seated and inversion postures.

We are happy to share with you our first excerpt from the book, covering the gluteus maximus, the largest muscle of the “glutes group” and the primary muscle for hip extension.

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Meet The Singing Dragon Author: Dr. Steffany Moonaz

As part of our Meet The Singing Dragon Author series, we speak to authors to discuss their motivation for entering their respective industries, inspiration for writing their books, what challenges they faced and who they would recommend their books to. Is there a specific Singing Dragon author you would like to hear from? Let us know in the comments or join the conversation using #MeetTheSDAuthor.

Dr. Steffany Moonaz, author of Yoga Therapy for Arthritis

How did you become interested in yoga therapy? Were there any challenges you faced in entering this industry?
I started working as a yoga therapist before I knew what yoga therapy was. After my 200-hour training, I was hired by Johns Hopkins University to help develop a yoga program for people with arthritis. My training was essentially safe, but largely inadequate to meet their needs, so we learned from each other. I brought the fullness of my yoga training and they brought the fullness of their arthritis, and together we figured out what worked, what was most helpful, what needed further adaptation. Since then, with additional training as both a yoga therapist and a scientist focusing exclusively on this population, I’ve come a long way. I’m proud to say that since learning about yoga therapy, I’ve been actively involved in the professionalization of the field and its representation in the broader movement of integrative health. There was so little work being done specifically in arthritis when I got my start, despite how prevalent it is. I was basically handed my dharma and have been following it ever since.

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How Increasing Self-Awareness Can Unlock Your Creative Potential

Galvanizing Performance, a new release from August, is an application of the teachings of the Alexander Technique to the performing arts. This collection demonstrates how deliberate movement and specific practice in theatre, music, song and dance can improve the art form, as well as the artist’s wellbeing.

We have an extract from the book, in which you can read about how increasing self-awareness can increase self-confidence and lead to an unlocking of creative potential.

Read the extract here.

If you would like to read more articles like this and hear the latest news and offers on our books, why not join our mailing list? We can send information by email or post as you prefer, and please also tell us about your areas of interest so we can send the most relevant information. You can unsubscribe at any time.


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What is Hypermobile Ehlers-Danlos Syndrome?

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For those who are unaware, could you briefly describe what hypermobility is?

A hypermobile joint is one that has a larger than normal range of movement. If you look at the figure of the elbow picture below, the joint looks ‘inside out’. Hypermobile people tend to be people we consider ‘flexible’ or ‘bendy’, and as such there is a high prevalence of hypermobility in the dance and performing arts sectors.

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There are now new and strict diagnostic criteria in place to distinguish between those who have generalized or peripheral joint hypermobility through to those who have what is now called a Hypermobility Spectrum Disorder (HSD) or hypermobile Ehlers-Danlos Syndrome (hEDS). The diagnostic criteria that I discuss in my books refer to the old names of Hypermobility Syndrome or Ehlers-Danlos Syndrome Hypermobility-Type or Ehlers-Danlos Syndrome (Type III) – but although the name and diagnostic criteria have changed, the overall management strategies remain very much the same for these conditions.

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I recently ran a series of workshops for professional actors in Santiago, Chile. The course was designed to refine performance skills, explore the craft of screen acting and discover how to create a rich and complex inner life. In my book The Energetic Performer, I refer to the inner life as all that moves with in, thoughts, vibrations of the nervous system, the beat of the heart, the flow of breath, all feelings and emotional expression. Its cultivation is at the heart of screen performance, where the real action is on the inside. To achieve this aim, I began with what I believe is the fundamental necessity: preparing the body for work.

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Read the extract here…

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