Bending without Breaking – Author Isobel Knight talks about dancing and living with Hypermobility Syndrome

Isobel Knight is a dancer who has Hypermobility Syndrome (HMS). She completed her MSc in Dance Science at the Trinity Laban Conservatoire of Music and Dance in 2009, and now works as a Manager in the clinic there, also giving lectures on HMS from time to time.

Here she answers some questions about her new book,
A Guide to Living with Hypermobility Syndrome: Bending without Breaking.


How has Hypermobility Syndrome shaped your life as a dancer?

I did ballet from the age of five and loved it straight away. I saw my first Nutcracker at age seven in London for my birthday treat, and remember watching the dancers on pointe and thinking I would really like to do that. I got the book, Life at the Royal Ballet School by Camilla Jessel as a Christmas present in the same year, and was fascinated by the training the ballet dancers had to go through, and their very obvious dedication. That book is still one of my favourites. I would still love more than anything to go and spend a few days at White Lodge watching the dancers learn.

My dancing career has been very ‘stop-start’. I danced from age five to nine and only got to Grade 1 level and then stopped owing to a change of schools. I then started dancing again at the age of 13 and all my former classmates were in either Grade 5 or 6. I had a lot of catching up to do, but really relished the challenge. I remember when I had not long been back that one of the girls in my class said to me, “you’ve got lovely turn-out, you are so lucky.” And I was. And I am, largely due to my having Hypermobility Syndrome (HMS) which means I have a larger than normal range of movement and, in dance, allows me to achieve positions that most other ‘normal’ people find too stressful on their bodies. In many ways I have a good body for classical ballet (except I am not a size 8, and tiny and petite). I have very good rotation at the hip because of my hypermobility. I have good strong feet (not always in keeping with some hypermobile people) and a pleasing arch of the foot, a flexible back and good extensions. I was also aware early on that my legs were what my teacher called “swayback”, which was another aspect of hypermobility, and my legs were and still are an interesting shape because of knee joint hypermobility and this is desirable in ballet for additional leg extensions.

However, despite my hypermobility being an advantage to me in some ways, interestingly, my coordination isn’t very good and, while I did well in classical ballet, I failed miserably at sports. Impaired coordination is another common symptom of hypermobility. This means that sometimes it takes me longer than others to learn new movement patterns. And because of the larger range of motion, there is always so much extra to manage and control for the hypermobile dancer.

When I re-started ballet at 13 I had a lot of catching up to do. I would often attend the classes of the younger children and stand at the back so I could learn all the steps I had missed since giving up at age nine. When puberty hit, many of my classmates gave up ballet as their bodies tightened up and they were struggling with their own lack of turnout and the demands of the higher grades of the syllabus. I, on the other hand, was coping very well with the changes in my body – aside from growing pains and a very regular calf pain and cramp, which was so severe I often couldn’t walk normally first thing in the morning! These were probably the first signs of HMS, but I had also broken my leg when I was seven and have never walked properly since that time, walking far more like a ballet dancer than a ‘normal’ person.

Just after I finally took Grade 6 and Pre-Intermediate exam, just weeks prior to my 18th birthday, I started to get lower back pain. At first my teacher and I thought that I had overdone things, but after it had persisted for a few weeks – mainly being painful in positions such as arabesque – I was sent to my GP and I had my first sessions of physiotherapy which did briefly improve the pain. Unfortunately it never went away entirely and I battled on with this until I was 23, having had more time out of ballet owing to university. I then took my Intermediate (Vocational Grade Examination) and had a year of doing Advanced Level 1 ballet before the pain took its toll. I reluctantly decided that I had better stop as I thought the dancing must be exacerbating my back pain.

Tell us about your diagnosis – did it help you

Following an eight year break from ballet, I took it up again after attending a pain management course where I learned that “pain didn’t always equal damage.” By then my back pain had been diagnosed as related to a disc prolapsed at L4/5 and disc degeneration. The reason for the pain would have been caused by hypermobility at this section of my spine and a complete lack of muscular strength to control it. The disc diagnosis is very much secondary, I believe. The pain management course incorporated exercises and stretches to recondition our de-conditioned bodies and psychological strategies including pacing activity and goal-setting. Upon discussion with the doctors and physiotherapists at my pain management course, there was universal agreement that I could return to doing classical ballet; that it would not be detrimental to my back pain providing that I paced my return to class very carefully.

I started to do syllabus classes with a local dance school in my area in South London. This was in late 2006. I was very frustrated initially because my brain remembered how to do the steps, but my physical body found it very difficult. I stopped again in 2007, dancing from the privacy of my flat, and then started to do classes at Danceworks in Central London, which are open classes of many levels. I started doing a class where I knew the teacher, but kept on injuring my calves. From late 2007, I went on a diet and started to lose much of the weight I had gained owing to my complete inactivity. As I started to feel better in myself, I started to do more and more classes, even though I wasn’t really ready for this, and in February 2008 partially tore my right calf muscle. However, this for me was not the end of ballet, but just the beginning of a very long journey to recovery, as it turns out, at the mercy of HMS, which was diagnosed in 2009.

We were doing some testing for dancers at Trinity Laban and this was the first time that I seemed to fit into the category of potentially having Hypermobility Syndrome. Very shortly after that my physiotherapist (Katherine Watkins) suggested that it was very likely, but of course the ultimate diagnosis comes from a Consultant Rheumatologist.

When I received my diagnosis I was initially quite upset because I really didn’t want this ‘thing’, and just thought I was very flexible. But the more I started to find out about the condition, the more it was obvious as to why I had so many problems all my life – e.g. walking late, being clumsy and having poor coordination, regularly injuring myself and then ending up in constant pain. I then pieced other related syndrome features such as having fatigue, asthma, IBS, and it all begun to make sense.

What is your day-to-day life like with HMS?

I have to think through the results of my actions and normal movement that other people would take for granted can have huge repercussions for me. For example, just doing too many reps of an exercise can cause overuse injuries and induce serious fatigue very quickly. Lifting my nephew too many times fatigues my arms and shoulders to the extent I can hardly hold a newspaper the next day.

The fatigue combined with the pain have also meant that I am often just too tired and have no energy to manage socialising and going out at the end of the working day, resulting in my cancelling social events often. It is very difficult – and I have let many friends down – but luckily most are tolerant and are usually understanding.

How did the book come about – what motivated you to put pen to paper?

I think I was fed up with having to explain to people constantly why I was always getting injured and was so often in pain. I felt that there was an essential need to tell my story and explain, through the eyes of a person with HMS, just how insidious and multi-systemic this condition is.

I also felt there was a need to justify my symptoms and show that that neither myself nor other HMS patients are hypochondriacs – that the pain, fatigue, and constant injury are real aspects of the condition. So I wanted to write the book to support other HMS patients, but more than anything else to try also to educate medical professionals and explain to family and friends just how difficult this condition can be to manage. I also identified a gap with respect to patient-led literature on the subject; other sufferers told me they really wanted to try and write about their experiences but often got too fatigued in the process, something I can very much identify with!

What is your outlook for the future as a dancer with HMS?

I think that subconsciously I knew that I would never have a career as a dancer (with or without the HMS). I never really enjoyed performing as a dancer, (although as a musician, I do!) and just knew I didn’t have the right physique for classical ballet. I think I knew that I would love a career that involved working with dancers, so I have managed that successfully in working therapeutically with dancers, as well as my work at Trinity Laban as the Clinic Admin Manager.

I have always loved the discipline and structure of classical ballet classes. My body knows how to do most of the movements, and it has always felt “right” for my body. Since I have now been through an extensive physiotherapy rehabilitation programme which is likely to have to continue in a maintenance capacity forever, I think that my chances of safely continuing classical ballet classes for a much longer period are more likely. Indeed, I hope I will still be doing ballet when I am an old lady! If I keep matching my strength to my flexibility, and listen to my body when it is too fatigued to dance safely, there is no reason why this shouldn’t be the case. Exercise is a crucial aspect to the management of HMS, and what better exercise than classical ballet, where being hypermobile is a natural and aesthetical asset. Finally, having the eye of a good ballet teacher is absolutely essential, and the support and guidance of a expert HMS physiotherapist. Without these two I would have more difficulty in continuing to pirouette in safety!

Copyright © Singing Dragon 2011.

VIDEO: Lisa Spillane demonstrates the Six Healing Sounds – Qigong for Children

Lisa Spillane is the author and illustrator of the new book, Six Healing Sounds with Lisa and Ted: Qigong for Children, which teaches young children how to transform negative feelings into positive ones by using simple breathing techniques that are based on ancient Chinese Qigong exercises.

Using a special sound for different parts of the body, Lisa and Ted show that a “haaaww” can heal the heart and blow away impatience, and a “whooooooo” can steady the stomach and chase away worries.

In this video, Lisa demonstrates each healing sound from the story so that parents, teachers, carers and children can make sure they’re getting the most from them.

Click below to see how it’s done!

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Lisa Spillane qualified as a teacher of Art and Design at the National College of Art and Design (NCAD) in Dublin, Ireland. She also has a master’s degree in Education and is a co-founder and former Director of Artlink Ltd., a charitable company promoting access to art in the North West of Ireland. Having taught at a number of schools, Lisa went on to work for several years in Northern Ireland on community projects with children and young people. She learned Qigong meditation from attending classes taught by Grandmaster Mantak Chia. Lisa currently lives in Brussels, Belgium.

Copyright © Singing Dragon 2011.

Teaching Tai Chi and Qigong in Schools – An Interview with Singing Dragon author Betty Sutherland

Betty Sutherland is the founder and director of UK Tai Chi and ‘Chi for Children’, a leading provider of Tai Chi based initiatives in schools across the UK. She has studied Tai Chi Chuan since 1994 and is a senior instructor at the Five Winds School of Tai Chi Chuan. She is also a member and listed as an ‘A’ grade instructor with the Tai Chi Union for Great Britain and a member of the British Council for Chinese Martial Arts.

Here, she answers some questions about her new book and DVD, Chi for Children: A Practical Guide to Teaching Tai Chi and Qigong in Schools and the Community.

How did you get in to Tai Chi Chuan, and what do you love about it?

I was originally directed to Tai Chi to help me during a very stressful time in my life. I was actually being ‘bullied’ in work by a boss and this was taking a serious toll on my health and mental wellbeing. A neighbour saw me with a dreadful migraine (I was having regular debilitating migraines) and she said “Take up Tai Chi – you need grounding”. She said this regularly for 2 years until I did indeed ‘take up Tai Chi’. It helped me work out my situation and deal with the daily mental punishment in the work situation, and other people began to notice that I was dealing with things a lot better. I will always thank my neighbour for her insight. (Incidentally years later the ‘boss’ took up Tai Chi!)

To this day Tai Chi is still my solitude and when things go wrong, my head says “Do Tai Chi” and I am compelled to go and do some form – it’s weird but it works.

What was the impetus for establishing UK Tai Chi? How have you found running Tai Chi and Qigong classes in schools?

I was asked to go into a school for their International Day and do a little bit on China. When the teachers saw how calm the students became while doing Tai Chi, they asked me to do more and show them how to help their students by teaching them Tai Chi. Hence the programme of Educational Tai Chi and Qigong called ‘Chi for Children’ was born, and train-the-trainer (the foundation for this resource) established in schools. In 2002 my programme was supported by school sports management and rolled out across Yorkshire (and now beyond).

Most teachers have embraced Tai Chi and the Chinese approach to life, so much so, that I now have several teachers in my traditional Wudang Tai Chi Chuan evening classes. On the whole the educational ‘establishment’ see the benefits to students, especially for the calmness that Tai Chi brings to the classroom. They also recognise the benefits of teaching students how to ‘manage the mind’ and improve their ability to focus and in the long term improve discipline. Mostly students (mainly 6-11 years old) love it and as they calm their energies and come alive to the movements they report mainly good feelings about themselves, of feeling calm but happy and often pleasantly surprised that they can feel Chi (energy) in their bodies. Often teachers attending these sessions will comment on how calm the class becomes during and after Tai Chi.

I have lots of letters and drawings from kids who have enjoyed the Tai Chi sessions, but the one I remember most was a little girl who had obvious learning difficulties. At the end of the session she came up to me and said “Miss, I didn’t think I would be able to do this, but I can”, with a big beaming smile on her face. This to me was the best reward that I could have asked for.

I also have a teenager who was withdrawn and a loner because of family difficulties. This student has since competed in Tai Chi at local and national level. However to me the best thing that has happened to him is that he has stepped forward to mentor and nurture some of the younger pupils and was recently pictured with his arms round them laughing and smiling. Like myself these students have embraced Tai Chi and are reaping the benefits.

How did the book and DVD come about, and what is the idea behind it?

In the early days teachers who wanted to sustain Tai Chi in schools asked me for a teaching resource; they stressed that it would be easier for them if it was in a visual format. I sat down and worked out how I was delivering the sessions and wrote it all down. This was the foundation of the DVD and book. It is for anyone who wants to learn the basics to teach to the younger age group.

How does Tai Chi support children’s physical, mental, emotional and academic development?

In Traditional Chinese Medicine the emotions and physical health work hand-in-hand, one balancing the other. When we follow these principles and teach them to the younger generation they benefit from an early age. Recognising that stress, fear and adrenalin inhibits learning, we teach students how to manage the mind, reduce negative emotions and improve and enhance a positive attitude. This in turn can benefit their emotional and academic development, and also helps going forward in life (interviews, driving exams etc.).

On a physical level, I have found that children are not as fit as they could be for their age. Tai Chi is not ‘an easy option’ – it just looks easy. Tai Chi is a ‘weight bearing’ exercise and holding postures develops muscles and bone density. In Tai Chi we ensure that don’t over-stretch or ‘hyper extend’ in the way that some other exercise systems can. A session last between 45 – 60 minutes and the students are standing for that period of time. Most comment that ‘it’s hard work’.

What advice would you give to someone looking to introduce Tai Chi into school and community settings?

I would recommend that teachers attend a Tai Chi class, however my resource Chi for Children will lead the teacher through the basic forms and postures that they need to help them get started. Each and every action is shown in the easy to follow DVD and explained in the book – a teacher could start to teach some of the simpler posture from day one. I know this because I have taught several hundred teachers/activity and community leaders backed by my resource.

Tai Chi is an excellent way to start the day and calm the classroom environment. I would recommend that teachers take learning slowly and as I say in the book – “Encourage your students to help you as you are also ‘new to the subject’. Empowering others always gets lots of enthusiasm.”

Praise for ‘Chi for Children’ from the Barlby Sports Partnership:

“The ‘Chi for Children’ program, delivered by UK Tai Chi has made a huge impact within the Barlby School Sport Partnership.

After a comprehensive review of the partnerships activities, it became apparent that, young people wanted more from their current physical education program. There was also a real need to target those children that took little or no interest in the traditional team activities that were currently being offered.

Alongside this the School Sport Partnership wanted to run an initiative that not only captured the imagination of all the young people involved but offered primary teaching staff the opportunity to gain a qualification in delivery archived through a excellent personalised mentoring scheme offered by UK Tai Chi.

The impact to date has been huge, 20 primary schools (45% of all schools) have been involved with the Chi for Children initiative, with over 20 teachers attending the train the trainer module 1. Over 200 pupils now regularly participate in Tai Chi either in the classroom as a focus session or as a stand alone PE lesson. One school was even used as a show piece example in the Partnership Dance Platform event.

As well as the health and physical benefits to all the young people what has been most encouraging is the impact the initiative has had within the whole school. Schools have been using Tai Chi as a means of stress relief for pupils (and staff) prior to exams, as a means of calming children down after lunchtimes, as a way of focusing children in the mornings to start the day.”

Copyright © Singing Dragon 2011.

Singing Dragon Wins Gold at the 2011 Living Now Book Awards

We are pleased to announce that four Singing Dragon books have won prizes at the 2011 Living Now Book Awards, including two first place Gold prizes!

Singing Dragon received the Gold prize in the Enlightenment/Spirituality category for The 12 Chinese Animals: Create Harmony in your Daily Life through Ancient Chinese Wisdom by Master Zhongxian Wu.

Singing Dragon also received the Gold prize in the Yoga/Pilates/Bodywork category for Yoga Therapy for Every Special Child by Nancy Williams.

And in the Exercise/Fitness category, Singing Dragon scooped two prizes: the Silver for Vital Healing: Energy, Mind and Spirit in Traditional Medicines of India, Tibet & the Middle East – Middle Asia, by Dr Marc S. Micozzi, and the Bronze for Managing Stress with Qigong by Gordon Faulkner.

The Living Now Book Awards celebrate the innovation and creativity of new books that enhance the quality of our lives, from cooking and fitness to relationships and mature living. Visit www.livingnowawards.com for more info.

Congratulations to the authors, contributors, editors and everyone who worked on the winning books! Click below to learn more about each one.

Copyright © Singing Dragon 2011.

Lisa Spillane on How Qigong can help children who feel ‘pushed and pulled’ by their emotions

In this interview, Singing Dragon author Lisa Spillane answers some questions about her new book, Six Healing Sounds with Lisa and Ted: Qigong for Children, which teaches young children how to transform negative feelings into positive ones by using simple breathing techniques that are based on ancient Chinese Qigong exercises.

Tell us about your background and your experience of Qigong.

While I’m thankful for the many happy times I enjoyed as a child, it’s mainly the challenges I faced in my early years that have led me to write this book. I was born in New York and lived there until my father died shortly before my eighth birthday. After that we moved to Ireland where my parents were from. My father died from a brain tumor which he suffered with for two years, and the trauma of that and subsequently moving to a new and very different country was a lot to deal with for a little girl. In time, those experiences gave me a desire to pursue a career in education with the aim of helping children to express themselves.

I qualified as a Teacher of Art and Design, and for my Master’s Degree in Education I researched and developed programs for children from at-risk backgrounds and for young offenders. Nearly twenty years ago, along with two artists, I co-founded Artlink, a charity located in the Northwest of Ireland that provides opportunities for people of all ages and backgrounds to learn and experience art. My childhood experiences coupled with what I’ve learned through teaching have reinforced my view that children need to be taught techniques to manage their emotions so they can develop lifelong habits to protect themselves from the consequences of stress.

I was introduced to Qigong meditation by attending classes taught by Grandmaster Mantak Chia three years ago. Since then I’ve continued to learn through local trainers in Brussels, where I live, and through self-research. The first time I did the Inner Smile and Six Healing Sounds meditational exercises it occurred to me, when I was being shown how to rub my liver, that previous to that moment I hadn’t given much thought to its location. My organs were like abstract objects that I was connected to on a very superficial level. And, it dawned on me how ridiculous it was that even though I’d had this body for so many years and took an interest in health and nutrition, I was unable to confidently point to my spleen, pancreas or liver. I thought to myself that if I’d learned these exercises as a child, not only would I have known more about my body but I’d have been able to help myself in those dark times when I felt pushed and pulled by my emotions. Qigong techniques can help children to understand their emotions better and to have more control over them by showing them that they have the power to transform negative ones into positive ones through utilizing the body-mind connection.

What are the Six Healing Sounds and where do they come from?

This book combines the Six Healing Sounds and the Inner Smile Qigong meditational exercises. Qigong is a form of Traditional Chinese Medicine. The exercises were developed thousands of years ago in China to help people to purge toxic negative emotions from their bodies. Doing them combats the dangerous effects of stress by activating the body’s own healing systems through a combination of: deep breathing, smiling, touch, gentle movements, sound vibrations and positive thoughts. Many of the elements we do instinctively, which is how the doctors of ancient China became aware of them. They created the healing sounds from observing the noises (sighs and groans) people make for different ailments because they realized that these sounds cool and detoxify the body’s organs. In the practice, each organ has its own healing sound, color and set of positive and negative emotions. Also, each organ has a season and associated elements. For example, the season for the liver is spring and its element is wood. To avoid information overload, I’ve only suggested the seasons and elements through the stories and illustrations so that children can absorb them with less effort.

Why are they so beneficial?

Although the exercises are simple and easy to learn, there are many complex scientific reasons for why they work. A good number of those reasons have only become evident to us in recent years through advancements in brain scanning which, for example, has proved that smiling, even when we don’t feel like it, produces endorphins in the brain which help to reduce stress and support the immune system. Neuroscience has also shown that thoughts of gratefulness and appreciation calm the nervous system and protect the heart. We instinctively know that using the breath to calm down is very effective. And, deep breathing also increases the amount of oxygen rich blood in the body which is needed for energy and healing and it boosts the lymphatic system helping it to get rid of toxins.

Is there a “right way” to do them?

There are many variations to this practice. This book demonstrates the exercises I learned from Grandmaster Mantak Chia. I’ve tried others but these are the ones I prefer. That said, I felt it was necessary to make some alterations so they’d be more accessible for children. In the second story I chose to refer to just the stomach, even though it should be the stomach, spleen and pancreas because I didn’t want to overwhelm young readers with too many new words. And, it’s good for them to focus on the stomach at this stage in their lives because there’s so much temptation for children to comfort themselves through eating junk food. This gives them an alternative to trying to numb their feelings of worry with food. I’ve also made alterations to the Triple Warmer exercise. This exercise doesn’t relate to a specific organ, but because it aims to even out the body temperature by bringing hot energy down from the head and cooler energy up from the feet it made sense to me to describe the hot energy as the chattering, busy thoughts in the brain. The exercise ends with Ted resting his hands on his stomach which is roughly the Dan Tian area, which relates to this exercise.

For readers who’d like more clarity regarding the sounds: “haaaww” rhymes with “saw”, “whooooooo” is like the sound an owl makes except longer, “sssssssss” is like the sound a snake makes, “tchewwwww” is like a sneeze sound “achoo” except made slowly and without the “a”, the “shhhhh” sounds like you’re telling someone to be quiet and finally “heeeeee” rhymes with “pea”. And, although you should try experimenting with the volume it’s recommended that the sounds be made softly and slowly.

It’s best to do all the organs in the order they are shown in the book, making the sound at least three times for each one, but you can concentrate on just one or as many as you like as long as you do them in the right order. The more you do this the more you will make it your own. If you get caught up in trying to do it perfectly then you won’t get the most out of it. There are also postures and movements as well as other emotions for the organs to be learned but what’s in this book is more than enough to make a good start with. Learning this practice should be seen as a continuous lifelong process that taps into our inherent abilities to heal ourselves.

Undoubtedly we could all gain something from these exercises – why did you decide to write it for children?

There’s an abundance of information on the internet and many excellent books and videos that teach adults how to do these exercises but from what I see there’s very little on the subject for children. Firing up the imagination with colors and beautiful imagery, smiling and making different sounds are all things I knew would appeal to young readers and the earlier we can learn tools to deal with our emotions the better. The format of a children’s picture book is a great learning tool because it allows for a lot of the information to be presented visually. When we use our eyes to dart around the page to look at all the different elements it helps the brain to create meaning and record images, thoughts and feelings together which in the future help us to remember the sequence of the exercises with all the associated information. And, I think many adults will find through the experience of sharing the book with children that they’re benefiting from the practice too.

How do you use these exercises in your own life?

I try to do the practice daily, either in the morning to give me energy and optimism for the day ahead or before bed as a way of clearing out all the emotional garbage that I’ve collected over the course of my day. More significantly for me though are the benefits I gain from weaving the Healing Sounds into all aspects of my life. For instance, I’ve recently taken up yoga, so when I’m doing a pose that works on, for example the kidneys, I’ll smile and breathe in peace, imagining deep blue calm water filling them and then I’ll make the “tchewww” sound as I breathe out my fears. Or, if I’m confronted with any kind of a challenging situation, I’ll take a moment to smile, breathe, connect to the relevant part of my body and if I happen to be in a public place and don’t want to draw attention to myself I’ll imagine that I’m making the sound as I exhale. I find it helps to stop the stress cycle. Simply smiling, breathing, being aware of what my body is telling me and being positive instead of negative helps to put me back in control of the ship, as it were. Also, if I become aware that I’m worried about something I’ll smile and gently rub my stomach, spleen and pancreas and that helps to calm me down as I try to think rationally about whatever it is that’s bothering me.

Essentially it’s all about making a loving connection to oneself and others. When I’m outside taking nature in, I’ll look at the leaves on the trees and connect with my liver and think about filling it up with generosity and kindness. It’s a great way to quieten the “monkey mind” – to stop negative self-talk and instead bring thoughts of appreciation and joy into the mind and body.

Spiritually it’s been good for me in many ways. For example, when I’m praying I usually begin with a few cleansing breaths and making the “haaaww” sound I’ll think about my heart, release any resentments in it and then fill it up with loving attitudes. And, like Ted in the story, when I have trouble sleeping I make the “heeeee” sound and push all the noise from my head out of my body so I feel more relaxed and ready for sleep.

What do you hope readers, including parents and teachers, will gain from the book?

When my son Dualta was a little boy, it was usually when I was reading him a bedtime story that he would decide to tell me about the ups and downs of his day. Mindful of this need to “offload” at bedtime, I’ve written the stories short enough to give children the space to bring up any negative feelings that may be troubling them. Also parents can choose to just concentrate on one or two stories depending on what particular emotions are raised. For example, if a child is grieving over the loss of a pet it might be more appropriate to just do the lungs and the heart. Using this book as a guide, it’s my hope that readers are led through a process which soothes away troubling emotions so they feel calm and ready for a good night’s sleep.

Teachers can use this book to encourage children to learn about their bodies and to consider how their attitudes and behavior effects themselves and others. Learning through stories is a fun way for children to absorb information and they can relate the scenarios to challenges they face in their own lives. It can be used to prompt children to share their experiences and in so doing they will learn that emotions and feelings are a natural part of life and common to everyone. More importantly, the exercises will help them to see that they can learn ways to manage their emotions and cultivate a sense of peace within themselves.

*Singing Dragon is an imprint of Jessica Kingsley Publishers.

Copyright © Singing Dragon 2011.

Therapeutic Massage and Bodywork for Autism Spectrum Disorders – An Interview with Singing Dragon author Dr. Virginia Cowen

Virginia S. Cowen, PhD is a massage therapist, exercise physiologist and yoga and Pilates instructor. She is Associate Professor of Massage Therapy at Queensborough Community College, The City University of New York, and also maintains a small private fitness and bodywork practice in New York City and Bergen County, New Jersey.

Here, Dr. Cowen answers some questions about her new book, Therapeutic Massage and Bodywork for Autism Spectrum Disorders: A Guide for Parents and Caregivers.

Tell us about your background in massage  – how did you start working with children on the autism spectrum?

I graduated from the Swedish Institute in New York City where I took courses in Swedish massage, medical massage, and Shiatsu. After graduation I studied Thai massage in the U.S. and in Chiang Mai, Thailand and took more continuing education in a variety of techniques. Including reflexology, trigger point therapy, myofascial release (to name a few.) I became interested in working on children with autism spectrum disorders after my nephew and a friend’s son were diagnosed with autism. The more parents I spoke with, the more I began to understand that they needed help understanding how touch was related to the child’s sensory issues.

How does massage therapy help with sensory issues, and what are some positive results?

A child who displays aversion to touch can be taught how to understand touch—essentially learning to differentiate between normal and painful sensations. I have found that a systematic approach to massage is very important for children with autism spectrum disorders. When they learn what to expect, they are better able to relax and receive massage. In practice the idea that massage helps people feel better is pretty consistent. General research on massage has consistently found that massage can help reduce stress and anxiety. The body of research on massage has included a variety of massage styles and techniques, but the findings are consistent. In children with autism spectrum disorders, massage research noted fewer displays of self-stimulating behaviors, better sleep patterns, improved receptivity to touch, and less aggressive behavior. As a practitioner, that helps me understand that massage can help a child become more self aware and relaxed.

Probably the most dramatic change I’ve witnessed was when a little boy with feeding issues consistently ate after his massage sessions. He even tried new foods. I suspect that his food aversions were somehow connected to texture and massage helped him better understand how to interpret or understand texture.

Trust is obviously important in massage therapy. What are some ways that you gain clients’ trust in your own practice?

I feel that honesty and patience helps build trust. My practice is small in relation to teaching and writing, so I am not in a position of having to convince people to become clients. My background in exercise science, massage, and yoga has given me a broad toolkit to use in practice and also use as a source of reference. Some parents lump massage into the “alternative” therapy field along with riskier therapies. This is unfortunate, so I try to educate parents about the many options in massage. Helping them understand touch and sensation has been very beneficial to help them make informed decisions.

What are some other considerations when practicing or seeking out the right kind of massage therapy, especially for children on the autism spectrum?

No single type of massage is “right” or “the best” for autism spectrum disorders. The many possible presentations of autism indicate many possible variations in treatment. Finding a massage therapist or practitioner who is adequately trained in massage is important. In places where massage is licensed, using a licensed practitioner is important. After all, most parents would not opt to receive services from an unlicensed teacher, doctor, or occupational therapist. Interview the practitioner about their approach. A massage therapist who is trained in multiple techniques is usually a good option because a change in the massage treatment will not mean introducing the child to another practitioner or new setting.

What do you think about the classification of massage as a CAM therapy? What are some misconceptions or common concerns about massage? How will your book contribute to a better understanding?

Massage is CAM because it falls outside the scope of conventional medical care. So does exercise. I am very interested in active and passive forms of movement. Both offer benefit to individuals on the autism spectrum. Massage does not usually take the place of conventional medical treatments, but it can be a useful addition.

Common misconceptions about massage are that it could be harmful or somehow counteract the effects of sensory and play therapy. There are several challenges in research on massage and specifically in analyzing the effects of massage. The standard model in research is a randomized controlled trial that uses a specific treatment protocol compared to some type of control group. It is difficult to create a true control group for massage because a person knows if he or she has received a massage. Specific treatment sequences can be developed, but actual touch cannot be duplicated unless the same massage practitioner delivers all of the treatments.

For individuals on the autism spectrum, a standard massage protocol cannot likely benefit everyone because of the different reactions to touch. But rubbing and pressure offer sensory benefits and general research supports that. Translating it into practice by using a flexible approach is probably the most consideration in treatment. I hope this book will successfully dispute that by helping parents understand the sense of touch, how massage can be helpful, and the myriad of options that are available.

Copyright © Singing Dragon 2011.