🎾 Born To Walk Myofascial Efficiency And The Body In Chuyển Động¶
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Tóm tắt nội dung (trích từ tài liệu gốc): eBook ISBN: 978-1-58394-783-8 Trade Paperback ISBN: 978-1-58394-769-2 Copyright � 2014 by James Earls. All rights reserved. No portion of this book, except for brief review, may be reproduced, stored in a retrieval system, or transmitted in any form or by any means--electronic, mechanical, photocopying, recording, or otherwise--without the written permission of the publisher. For information, contact Lotus Publishing or North Atlantic Books. First published in 2014 by Lotus Publishing Apple Tree Cottage, Inlands Road, Nutbourne, Chichester, PO18 8RJ and North Atlantic Books P.O. Box 12327 Berk
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eBook ISBN: 978-1-58394-783-8
Trade Paperback ISBN: 978-1-58394-769-2
Copyright � 2014 by James Earls. All rights reserved. No portion of this book, except for brief review, may
be reproduced, stored in a retrieval system, or transmitted in any form or by any means--electronic,
mechanical, photocopying, recording, or otherwise--without the written permission of the publisher. For
information, contact Lotus Publishing or North Atlantic Books.
First published in 2014 by
Lotus Publishing
Apple Tree Cottage, Inlands Road, Nutbourne, Chichester, PO18 8RJ and
North Atlantic Books
P.O. Box 12327
Berkeley, California 94712
Drawings Amanda Williams
Text Design Wendy Craig
Cover Design Paula Morrison
Born to Walk: Myofascial Efficiency and the Body in Movement is sponsored by the Society for the Study of
Native Arts and Sciences, a nonprofit educational corporation whose goals are to develop an educational and
cross-cultural perspective linking various scientific, social, and artistic fields; to nurture a holistic view of arts,
sciences, humanities, and healing; and to publish and distribute literature on the relationship of mind, body,
and nature.
British Library Cataloguing-in-Publication Data
A CIP record for this book is available from the British Library
ISBN 978 1 905367 47 4 (Lotus Publishing)
ISBN 978 1 58394 769 2 (North Atlantic Books)
The Library of Congress has cataloged the printed edition as follows:
Earls, James, author.
Born to walk : myofascial efficiency and the body in movement / James Earls.
p. ; cm.
ISBN 978-1-58394-769-2
I. Title.
[DNLM: 1. Walking--physiology. 2. Biomechanical Phenomena. 3. Gait--physiology. 4.
Musculoskeletal Physiological Phenomena. WE 103]
RA781.65
613.7'176--dc23
v3.1
Contents
Cover
Title Page
Copyright
Foreword
Introduction
Chapter 1 The "Walking System"
Chapter 2 The Mechanical Chain
Chapter 3 Superficial Front and Superficial Back Lines
Chapter 4 Lateral Line
Chapter 5 Spiral Line
Chapter 6 Deep Front Line
Chapter 7 Arm and Functional Lines
Chapter 8 Spring Walker: Pull Me, Push You
References
Index
Foreword
It is a great pleasure to introduce readers to incisive ideas. James Earls is a critical
thinker; when he applies his brain to a question like gait, the result is worth the
effort to read and understand. This is true of Born to Walk, where human
plantigrade posture and bipedal gait are given the full circle of his imaginative but
no-nonsense treatment.
It is also a great personal pleasure, of course, to see the ideas of Anatomy Trains,
first published in 1997, taken up and expanded into this bold new work. The
application of the Anatomy Trains myofascial meridian lines in the dynamics of
gait (rather than the compensatory patterns of posture, as it was originally put into
practice) is an exciting new direction for the Anatomy Trains model.
We live in a dynamic era, poised atop two crucial turning points. One is the
dynamic between the "old" anatomy--the reductive anatomy of the
musculoskeletal system as we have understood it since Vesalius--and the more
"holistic" vision implied by the Anatomy Trains model, fractal mathematics,
systems theory, and a host of recent research on myofascial force transmission.
The attempt in Anatomy Trains, and certainly the attempt here in this book, is to
bend these two ends and make them meet.
"Particulate" anatomy--"this muscle goes from origin to insertion and thus
performs this set of actions"--is clearly inadequate to explain what is going on
during daily coordinated movement. On the other hand, the holistic premise
--"everything is connected to everything else"--while true, leaves the questioner
in a vacuous world where everything is possible. So how do we strategize? How
do we decide where to go and what to do next and when we are finished?
The "parts" view and the holistic view must be married, and Born to Walk gets
them at least affianced, if not all the way down the aisle. The physiotherapist will
find much in this book to get his or her teeth into in terms of specifics and
isolating tests for determining the site of malfunction, and the model is built on
classic gait theory. The holistic practitioner will likewise find much to fill in the
"everything's connected" trope with practical advice as to how to see, assess, and
work with the whole person in motion.
The second turning point we are at, in this early part of the twenty-first century,
is the increasing amount of somatic alienation and "sensori-motor amnesia" that
we see in our texting young, our sedentary workers, and our debilitated elderly.
Clearly, we need an integrated approach to "KQ" (Kinesthetic Intelligence,
Movement Literacy) for our urbanized populace--a group that includes more
than just city dwellers. I live in a town of six hundred souls in a lovely, rural part
of the United States, but I still live an entirely "urbanized" life.
Aside from educating current and upcoming generations, we need to educate our
professional brethren. The emerging field of "Spatial Medicine"--changing the
body position or movement to change the person--will bring together
orthopedic doctors, physiatrists, physiotherapists, osteopaths, chiropractors,
personal trainers, Pilates and yoga teachers, bodyworkers and manual therapists of
all stripes, and somatic educators like Alexander Technique teachers and
Feldenkrais practitioners. In my experience, each of us has something to learn
from all these approaches, each of which have something to offer the whole field,
and each separate school of thought has much to learn from the other parts of the
field.
Over the next generation, all these tender "shoots" will eventually bind into a
strong and comprehensive theory of anthropological development, biomechanics,
physical education, rehabilitation, and skill maintenance that will promote a
functional body, no matter what one's individual circumstances are. As we move
behind the tail of the Industrial Revolution and enter the mouth of the
Electronic Era, this effort--to reach out, understand the value in other
approaches, and to apply the results toward a grand theory--will take on greater
and greater significance, as our children's connection with nature is curtailed and
"virtual reality" becomes less virtual and more palpably real.
Born to Walk is a vital step along this path, the bringing together of the holistic
and the classical view to understand the uniqueness of human gait in terms that
are both practical and visionary, scientific and poetic, grounded and uplifting.
I enjoy the book you have in your hands, and I expect that you will too.
Thomas Myers
Clarks Cove, Maine
November 11, 2013
Introduction
Man is a model of the world.
--Leonardo da Vinci c. 1480
"Vitruvian Man," Leonardo da Vinci's instantly recognizable sketch of the
proportions of man, is a powerful symbol that demonstrates the relationship
between architecture and anatomy and has been a source of inspiration for artists
and architects over the centuries (fig. 0.1). Yet it is also one of the clearest
expressions of the reasons for our limitations in the study of anatomy over the last
3,700 years.
Figure 0.1. "Vitruvian Man" by Leonardo da Vinci, c. 1487.
Along with the accompanying text, it outlines the ideal human proportions and is sometimes referred to as the
"Canon of Proportions" or "Proportions of Man."
We can't really blame Leonardo, however. The symbol was drawn at a time of
human history when we knew no better. In fact, the sketch was probably the
epitome of the contemporary thinking of the Renaissance. Da Vinci made
concrete and visible the ideal relationships between human anatomy, the divine,
and the universe, as described by Vitruvius.
Writing sometime around 20 BCE, Vitruvius was instructed by the emperor
Augustus to redesign, reformulate, and reinvigorate the beleaguered Roman
Empire. Vitruvius wanted to establish a new format for the design of towns and
buildings, and Augustus wanted a "Corpus," literally a body of work that would
encapsulate the reformation of the "body of the empire." Vitruvius's De
architectura libri decum (Ten books on architecture) was the outcome. It was the
first work to outline the role and aspiration of an architect, and it sought to define
many of the necessary elements of architecture.
Vitruvius's fundamental tenet was that "the power of nature has acted as
architect" in biology: universal laws of nature had brought about human
anatomy, and so, within our body's design, we had a map of the macrocosm. The
body was literally a minor mundus, a "mini world," and, thereby, a reflection of
the universe. The implication was that the architect should apply the wisdom and
proportions of the body's design to architectural design and creation: "No temple
can be put together coherently without symmetry and proportions unless it
conforms exactly to the principle relating to the members of a well-shaped man."
Figure 0.2. The statue of the spear-bearer by the Greek sculptor Polykleitos was originally created 450�400 BCE. It
was referenced by many as an example of the ideal proportions of a man, including Galen, the hugely influential
physician, six hundred years later, as well as by Vitruvius and, eventually, by da Vinci.
In drawing Vitruvian Man, da Vinci wanted to demonstrate his mastery of
anatomy and his understanding of the divine, as well as his mechanical and
architectural prowess. By encapsulating the human form within the circle and the
square, he was demonstrating the divine and the earthly relationships of the body,
the slight upward shift of the circle allowing the navel to become the geometric
center as well as a physiological one. The problem is that he operated with the
tools of the time: a set square and a compass. In doing so, Leonardo set a
foundation stone of anatomical misunderstanding within the modern world, by
setting out a geometrical perfection of anatomy that would be associated with the
tools and methods of fifteenth-century construction.
The use of the human body as the model for architecture lasted for many
centuries. The body was used to inspire architecture, and the inverse was applied
as well, with architecture and the idea of bricks and mortar being used to build an
understanding of anatomy. Herein lies the problem with our traditional analysis of
anatomy.
We naturally understand the progression of setting one brick on top of another--
most of us have been doing that experiment since we first sat up and began
playing with blocks. It is one of our first learned constants of the world: the
relationship between gravity, inertia, and balance. Just as we used the body to
inform architecture, over the centuries we have used our understanding of
architecture to inform our experiments with the body. We have walked a two-
way street with one discipline informing the other.
Many anatomy books still use the block-type image to portray the human form.
It is still a popular depiction within my own profession, structural integration,
employed by its originator, Dr. Ida Rolf. The language of engineering has
entered the anatomical lexicon with the use of levers, cantilevers, force couples,
supports, and attachments. And so we are naturally seduced into seeing anatomy
with the same eye that we use to look at the manmade world around us.
While da Vinci may have been the source of this misinformed view of the body,
he was also the inspiration for a new way of thinking about the body. Late
fifteenth-century thinking was dominated by the Bible and by Aristotelian
teachings of the natural and religious worlds. The writings of Galen were almost
universally accepted without question. Da Vinci was among the first to start
breaking this tradition, separating dogma from observable, demonstrable fact. By
separating these two elements within Vitruvian Man--the circle (the divine) and
the square (the earthly)--he was anticipating the changes that would develop
through the world in the following few centuries.
Immersing himself in anatomy and, in the process, revolutionizing its portrayal,
da Vinci began to see that many anatomical features were not as had been
described by Galen 1,200 years previously. Many of these mistakes were still
being taught in universities and, rather than trust the "wisdom" of his
contemporary anatomists, da Vinci undertook many of his own dissections, the
sketches of which are now kept as part of the Royal Collection in London.
Da Vinci inspired many scientists to follow in his footsteps. The Belgian
anatomist Vesalius (1514�64) took further liberties in challenging the Galenic
tradition, and in his dissections at the University of Padua acted as both dissector
and lecturer (ostensor cum sector). This went against the established practice of
having a dissector (sector), demonstrator (ostensor), and a lecturer (lector). The
latter's job was primarily to simply regurgitate the writings of Galen as the
dissector cut and the demonstrator pointed to the relevant parts, whether or not
they matched the descriptions being given.
Shortly after Vesalius's time in Padua, the English physician William Harvey
(1578�1657) also wished to branch out, preferring to believe his observation
rather than received wisdom. His persistence--some might say obstinance--
resulted in the medical breakthrough of the understanding of the circulation of
blood.
Thus scientists in the sixteenth and seventeenth centuries began to challenge the
orthodoxy, casting a new light of inspection onto many of the ancient scripts that
had hitherto been accepted without question. Everything was up for scrutiny, and
thinkers like Ren� Descartes and Francis Bacon gave the world the tools it
needed for critical analysis, leading us into the Age of Enlightenment (from
around 1650).
The explosion in scientific undertakings in the mid-and late seventeenth century
included Huygens (mathematics and astronomy), Boyle (chemistry), Wren
(architecture and physics), Leibniz (mathematics), Hevelius (astronomy),
Leeuwenhoek (microscopy), and two of our heroes for this book--Isaac Newton
(1642�1727) and Robert Hooke (1635�1703).
Newton's work on gravity and motion is familiar to many of us, but the work of
Robert Hooke, Newton's contemporary, is less so, even though it covered many
more areas and foresaw much that could not be fully understood at that time. To
appreciate the benefits of our bipedal gait and our design as nature intended, we
must pay homage to the work of both men. We must understand Newton's
principles of motion and our interactions with gravity and the ground, but they
fully make sense only if we also invoke the elastics of Hooke.
Despite publishing one of the earliest--if not the earliest--close-up images of a
flea (fig. 0.3), Robert Hooke only worked with nonorganic elastics and springs,
and so we cannot be fully informed by his work. But we will see that the
interaction between the principles of gravity and elasticity established by these
two men, who at times were adversaries, gives a new understanding on how our
bodies function. Hooke has been honored by having the symbol representing the
elastic sections in the body named after him (see chapter 1).
Figure 0.3. Published in 1665, this image, from Micrographica by Robert Hooke, helped to popularize science. It
was perhaps the first "popular science" title and included many other firsts, such as the use of the word cell, as
well as early work on fossils, predating Darwin by some two hundred years.
It is through the combination of gravity and our tissue's response to our
momentum that we can gain practically free energy. By using the body's
movement to stretch elastic tissues, we recruit the captured energy and then
recoil the kinetic energy (the energy of motion) to help create a return
movement. It is to this mechanism that much of this book is dedicated; it gives us
the gift of relaxed and graceful movement that we recognize through its ease and
the flow through and incorporation of the whole body.
Up until the twentieth century, scientists took a predominately Cartesian
approach to the body, concentrating on "parts" and maintaining the image of the
body working as an architectural machine. This concept of the body was not
really challenged until 1948, when the sculptor Kenneth Snelson produced a
series of structures that unintentionally imitated the interaction between the
bones and the myofascia of the body (see fig. 0.4). Snelson, then studying with
the philosopher and architect Buckminster Fuller, used tensioned wires to support
solid, compressional struts. Fuller went on to develop the ideas and geometry of
what he came to term "tensegrity" structures, using them as models for elements
of the natural world from the atom to humanity to the universe (an interesting
echo of the earlier natural philosophers' desire to show the geometry of the
microcosm matching the macrocosm).
Figure 0.4. Using tensioned wire and metal struts, self-supporting structures can be created. The integrity of the
structure requires the interplay between the compression and tension elements. As Snelson points out, however,
while the breaking of one element in a simple structure can lead to its collapse, challenging one area in more
complex constructions will be less catastrophic (for more, see his website, http://kennethsnelson.net/faq). We will
see this again as we look further at the body and how it can adapt to dysfunction in any area.
In Snelson's and Fuller's world, to understand the system, we have to fully
comprehend the connecting elements. That universal connecting ingredient in
our bodies is the fascial tissue, a previously under appreciated element of our
makeup, yet a wondrous multifaceted material that both binds and separates
organs, and stabilizes and facilitates the mobility within us.
Now, in the twenty-first century, the fascial system seems to be attracting the
attention it deserves. This has been due to the groundwork established by many
pioneers, including Ida Rolf (1896�1979) and her many students, Thomas Myers
in particular, with his development of the comprehensive fascial map, Anatomy
Trains. By combining the principles of the physics of Newton and Hooke; the
systems of Fuller and Snelson; the anatomy of Thomas Myers; and the functional
movement of other pioneers, such as Jacquelin Perry, Gary Gray, and David
Tiberio, I hope that this text can bring a united understanding of one of
humanity's defining characteristics, bipedal gait.
This book aims to show that the body is "designed" along the lines of a different
model from that extrapolated from the world of masons so beautifully
encapsulated by da Vinci in his Vitruvian Man. I hope to show a model that will
prove to be far more informative and satisfying, one that allows the whole body
to adapt and cooperate with the movement of walking, and one that shows how
we utilize the energy-saving mechanisms inherent within our anatomy. And, if I
can borrow the words from Newton's reply to Hooke's accusation of plagiarism,
if there is anything worthwhile in this book, "if I have seen any further," then it
is not through my own efforts, but simply because I have had the opportunity to
"stand on the shoulders of ye Giants."
And so I must thank all of those who have given of their time to me: Trefor
Campbell, without whom this journey would not have gotten started on this
path; Don Thompson and Kathy Green, without whom the journey would be
less fun and certainly much longer; Thomas Myers, Art Riggs, and David
Tiberio, who made the path smoother and less winding through their guidance;
my loving partner, Liza Cawthorn, without whom the journey would have been
long and lonely, her kind supportive guidance and affection made this trek
smoother and I would certainly not have reached the end without it (plus a huge
thanks from every reader for the many hours of editing, the book would not have
made sense without it!); and, of course, my parents, without both of them the
first steps would never have been taken. Thanks to my long suffering support
team at Lotus Publishing, Simon Chiu for his expert technical support, Amanda
for her patience as I often read the map upside down or back to front and we had
to double back a few times, Wendy for her clarity in putting the map on the
page, and, of course Jon who let us go on this saunter together.
Solvitur ambulando, St. Jerome was fond of saying. To solve a
problem, walk around.
--Gregory McNamee
People usually consider walking on water or in thin air a miracle. But I
think the real miracle is not to walk either on water or in thin air, but
to walk on earth. Every day we are engaged in a miracle which we
don't even recognize: a blue sky, white clouds, green leaves, the black,
curious eyes of a child--our own two eyes. All is a miracle.
--Thich Nhat Hanh
1 The "Walking System"
Four legs good, two legs bad.
--George Orwell, Animal Farm
The body divides itself into two units: passenger and locomotor.... The
passenger unit is responsible only for its on postural integrity.
--Jacquelin Perry, Gait Analysis
Walking while nursing an injured arm in a cast throws off your balance
and distorts your geometry of the walking body, creating various
tensions and asymmetries that in themselves create further pain. My
broken arm ached and it made the rest of my body ache, too.
--Geoffrey Nicholson, The Lost Art of Walking
Walking on two legs requires a tremendous act of balance and is often described
as "controlled falling"--if we do not successfully put one foot in front of the
other, we'll fall to the ground. For our four-legged friends, walking must be so
much easier, as they always have at least two points of contact with the ground at
any one time. For us, walking requires the ability to have just one foot on the
ground and to maintain some form of equilibrium within our tall, straight, and
very unstable structures.
We walk to move around, to take our head and hands to other places, to achieve
needs and desires. This apparently simple action requires a brain and nervous
system; it demands internal planning and an ability to predict actions and
reactions. It makes use of the many other cooperative senses that we have
developed over millions of years. For elegant and efficient walking, each of our
"systems"--especially those of sight, balance, and sensation--must be
communicating in harmony. This requires the coordination abilities of the brain
and nervous system.
One of the inherent problems in the study of anatomy is that we organize
anatomy by these "systems." In breaking the organization of the body down into
similar tissue types, we tend to focus our attention on just one system at a time.
Ideally, we should talk about the "walking system" throughout this book, but,
alas, that would be a much larger tome, and it would require knowledge beyond
my capabilities. Therefore, I must limit myself to analyzing the body's neuromyo-
fascial-skeletal-vestibular system, and my main focus will be on the myofascial
elements and their cooperation.
Homo sapiens developed as generalists; we can adapt to many different situations,
weaknesses, and disabilities. A glance at the people on any city street will quickly
demonstrate various strategies for what we call "walking." There are many factors
--neurological, visceral, emotional, cultural, and structural--that can alter how
we walk. The number of possible interactions within those factors would be too
large to list and would possibly require consultation with just as many
professionals to unravel. It is for that reason that I will concentrate on developing
a model of "normal," nonpathological gait.
This book presents a version of what can happen when the whole body is
allowed to move together. I hesitate to call it "normal," but it is a pattern that is
inherent within most of us--within the lines and grooves, contours and forms of
our inherited anatomy. It is the relaxed, repetitive walking that allows our brains
to be otherwise occupied, facilitating our gift to "walk and talk," to philosophize,
to compose, to fall in love, to meander through any number of human
preoccupations. It is a gift eulogized by many--from the peripatetic philosophers
to Wordsworth and Dickens--and a facility brought about through what
Bernstein (the founder of motor-control theory) referred to as "level B
functioning." Walking, according to Bernstein, uses synergy among many
different muscles, coordinated without any input from the brain, relying on self-
monitoring by the proprioceptive system (Latash 2012). In our exploration of the
myofascial system, we will see how the mechanoreceptors are located within the
fascial tissue and seem to form a computation system that allows walking to be a
subconscious activity.
Your body is built for walking.
--Gary Yanker
I believe the whole body walks. That might sound like a ridiculously obvious
thing to say, but many schools of thought exist in the modeling of gait that
narrow their gaze to analyzing just one aspect of human motion. One of the most
widely accepted theories splits the body into "locomotor" and "passenger"
sections--the pelvis and lower limbs versus the head, arms, and trunk (Perry and
Burnfield 2010). Another school of thought, put forward by Gracovetsky,
suggests that we only require the deep spinal muscles to move (2008). The
alternate contraction of the multifidi, he argues, gives us the rotational movement
we need to propel ourselves in any direction.
While there is certainly a truth in each of these theories, they are--for me--quite
incomplete. We use the whole body to walk: the pelvis and legs are assisted by
the trunk and the arms. The whole body helps balance and movement by
increasing and decreasing the forces moving through the soft tissue. The whole
body also works to lessen the amount of distortion that reaches the head. We
need to keep our eyes relatively level, and we certainly do not want the force of
impact rattling our brains at each heel strike, so we require the trunk and
shoulder girdles to constantly adapt to keep the head steady.
The three elements of the walking system I will focus on most will be the fascial,
muscular, and skeletal elements. These combine to form a wonderful, symbiotic
map of the forces that travel through the body. The shapes and contours of the
bones and their joints create pathways, like dry riverbeds, which, come the flood,
will direct the water along preferred paths. The bones and joints assist the body
through a controlled pattern of shock absorption, with the folding of joints taking
place along predictable lines that send the force of impact into the semifluid
streams of myofascial tissue.
The first port of call for our journey through the walking body will be the
sequence of events in the bones and joints, in chapter 2. Understanding the
natural inclination of the bones and the way they move on impact will allow us
to interpret the role of the soft tissues, which--provided the other systems are
properly in place--react to the forces by keeping us upright and still moving
forward.
The myofascial tissues are not always consciously directed (as most anatomy
---
[Cuối tài liệu]
Neanderthal. see also Evolution; Homo sapiens; analysis, 4.1; calorie intake of, 4.2
Neck; to foot through DFL, 6.1; supporting muscle, 6.2
Newton's third law
Non-Newtonian fluid
Nutation
Orthotics
Osteokinematic movement
Pelvis. see also Hip; Lateral line; Leg; Spine; ability testing, 4.1; anterior tilt of
human, 5.1; chimpanzee pelvis, 1.1; to foot through DFL, 6.1; to head
through DFL, 6.2; ligaments, 5.2; rotation, 5.3, 6.3; sacrum in, 5.4;
stabilization, 1.2; and thorax rotation, 4.2; torsion correction, 5.5;
torsions, 3.1
Preloading principle
Pre-swing, 3.1; knee position, 3.2
Proprioceptive sense, 4.1; minimal sole for, 8.1
Proprioceptors, 1.1, 1.2; and coordinating abilities, 4.1; on DFL, 6.1; function,
5.1, 8.1
Propulsion, 1.1. see also Push-off; Spring walker; leg springs, 3.1, 3.2; swing foot
behind for, 3.3
Psoas. see also Heel--whip
Push-off. see also Catapult mechanism; ankle rocker, 3.1; anterior DFL in, 6.1;
catapult mechanisms during, 3.2; on DFL, 6.2; head position, 3.3; heel
rocker, 3.4; hip extension/flexion, 3.5; knee extension, 3.6; line of
tension at front, 8.1; lumbar extension, 3.7; mid-foot rocker, 3.8; thoracic
extension, 3.9; toe rocker, 3.10
Right spiral line
Rotation; lumbar, 5.1; pelvic, 3.1; between pelvis and thorax, 4.1; in spinal
segment, 3.2; in thoracics, 4.2, 5.2
Sacroiliac joint mobility
Sacroiliac ligament
Sacrum, 1.1, 5.1
Sagittal plane movement
SBAL. see Superficial Back Arm Line (SBAL)
SBL. see Superficial Back Lines (SBL)
SFAL. see Superficial Front Arm Line (SFAL)
SFL. see Superficial Front Lines (SFL)
Shock absorption, 1.1, 2.1
Skeletal movement analsis
Sole, minimal. see also Foot
Spinal engine theory
Spine. see also Pelvis; pelvis ability test, 4.1; rotation in, 3.1, 5.1; sections for
transverse motion of gait, 5.2; SFL and SBL, 5.3; side flexion, 4.2; side
flexion of, 4.3
Spiral line, 5.1, 5.2, 5.3. see also Deep Front Line (DFL); Functional lines; Lower
limb mechanics; Walking; arm swing, 5.4; axial-to-appendicular-to-axial
link, 5.5; to correct pelvis torsion, 5.6; EMG readings of anterior, 5.7; to
fascially engage anterior, 5.8; hamstring and erector contralateral
relationship, 5.9, 5.10; ilial tilt reduction, 5.11; lumbar rotation to absorb
transverse plane movement, 5.12; movement from ilia to sacrum, 5.13; in
movements, 5.14; muscles from other lines, 5.15; nutation, 5.16; overlaps
with SBL, 8.1; pelvis in rotation, 5.17; reducing, 5.18; right spiral line,
5.19; rotational force in thoracics, 5.20; on sacroiliac joint, 5.21; sacroiliac
joint mobility, 5.22; sacroiliac ligament, 5.23; sagittal plane movement of
feet, 5.24; spinal sections for transverse motion of gait, 5.25; spine
rotation, 5.26; transverse plane movement, 5.27; in upper body, 5.28
Spring walker, 8.1. see also Propulsion; elastic tissues with energy, 8.2; effect of
elevated heel, 8.3; fascial efficiency through motion, 8.4; hip adduction,
8.5; interference in joint alignment, 8.6; lateral line stretch, 8.7; to
lengthen adductor magnus, 8.8; to lengthen deep front line, 8.9; to
lengthen superficial back line, 8.10; minimal sole, 8.11; movement and
force, 8.12; orthotics, 8.13; proprioceptor function, 8.14; spiral line
overlaps SBL, 8.15; tension through oblique Spiral Line, 8.16; threat of
technology shoes, 8.17; wider toe box, 8.18
Stabilization. see also Bipedal gait; anatomical neutral, 4.1; center of gravity, 4.2;
cervical stability, 4.3; inner ear adaptation, 4.4; lateral stability, 2.1; stance
stability, 1.1, 2.2; walking for, 8.1
Stiffness, 1.1. see also Lateral line; Spiral line; Superficial Back Lines (SBL);
Superficial Front Lines (SFL); adjusting system, 1.2; fascia recoiling, 1.3;
muscles as, 1.4
Stretch shortening cycle, 1.1, 1.2, 8.1
Superficial Back Arm Line (SBAL)
Superficial Back Lines (SBL), 3.1. see also Push-off; dorsiflexion lengthening, 3.2;
extension and, 3.3; lengthening, 8.1; pelvic rotation, 6.1; pelvic torsions,
3.4; plantar flexion at heel strike on, 3.5; tensioned fascia, 3.6
Superficial Front Arm Line (SFAL)
Superficial Front Lines (SFL), 3.1. see also Deep Front Line (DFL); Lateral line;
Push-off; Superficial Back Lines (SBL); head position, 3.2, 3.3; pelvic
rotation, 6.1; pelvic torsions, 3.4; tensioning exercise, 3.5; toe rockers to
propel leg forward, 3.6
Sustentaculum talus
Swing leg, vertical loading in
Swingwalker mechanism
Talocalcaneonavicular joint
Technology shoes threat
Tensegrity, 1.1. see also Gait; applicability of, 1.2; resilience, 1.3; sacrum, 1.4;
structures, 1.5
Tensional integrity
Tensioning exercise
Thoracic extension
Thoracic rotation
Thoracolumbar fascia wrapping, 1.1, 1.2
Tiktaalik fossil
Toe rocker, 3.1, 3.2; to propel leg forward, 3.3
Transverse plane movement
Triangulation, 1.1, 1.2
Unipennate muscle
Upper-limb architecture
Upright stance on DFL
Valgus, 2.1; force at knee, 5.1
Waiter's tray. see Sustentaculum talus
Walking, 1.1. see also Spiral line; Triangulation; aspect of human motion, 1.2;
bipedal gait, 2.1; communication of force, 1.3; controlled falling, 1.4;
elements of, 1.5; in evolution, 1.6; factors in, 1.7; impact of foot on
ground, 1.8; gait cycle divisions, 2.2; gravity and, 1.9; ground reaction
force, 1.10; lateral stability, 2.3; line of support, 2.4, 2.5; lower limb
mechanics, 5.1; lumbar-extension, 1.11; movement strategies, 1.12;
myofascial tissues response, 1.13; proprioceptors, 1.14, 1.15; propulsion,
1.16; shock absorption, 1.17, 2.6; for stability, 8.1; stages of gait, 2.7;
stance stability, 1.18, 2.8; system coordination in, 1.19; theories on, 1.20;
thoracolumbar fascia in, 1.21; and time dimension, 1.22; whole body
involvement, 1.23
Weight acceptance
Wider toe box
Windlass effect, 3.1. see also Catapult mechanism; Achilles tendon on, 3.2;
exercise on, 3.3; factors in, 3.4
Z stretch, 6.1; and hip position, 6.2
BOWEN UNRAVELLED: A JOURNEY INTO THE
FASCIAL UNDERSTANDING OF THE BOWEN
TECHNIQUE
Julian Baker � 978 1 905367 40 5 (UK) 978 1 583947 65 4 (US) � �16.99/#29.95
� 168 pages � 275 � 212mm � paperback The Bowen Technique, named after its
originator Tom Bowen, has grown hugely in popularity since it was first taught
in the 1980s. This book breaks down the concepts of The Bowen Technique and
develops an understanding of what is going on during a treatment, including
explanations of why things happen the way that they do.
Julian Baker is the principal of the European College of Bowen Studies, and is one of the world's leading
experts on The Bowen Technique, fascia and connective tissue.
FASCIAL RELEASE FOR STRUCTURAL
BALANCE
James Earls and Thomas Myers � 978 1 905367 18 4 (UK) 978 1 556439 37 7 (US)
� �24.99/#34.95 � 288 pages � 275 � 212mm � paperback Fascial Release for
Structural Balance combines manual therapy skills with the exciting new field of
structural therapy, which employs the unique and newly discovered properties of
fascial tissues. Through informed assessment and manipulation of fascial patterns,
you can help eradicate many of your clients' chronic strain patterns--for good.
The book is designed for any bodywork practitioner using manual therapy who can help their current and
future clients by giving them a structural analysis and creating a treatment strategy using the techniques
included in this book. The authors bring together a unique introduction to fascially informed structural
anatomy with a method for postural analysis and detailed and easily applied techniques.
Thomas Myers has practiced integrative structural therapy for over 30 years in a variety of clinical and
cultural settings. He is the author of Anatomy Trains (Elsevier 2001, 2009) and numerous collected articles
for journals and trade publications.