anatrains

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http://slidepdf.com/reader/full/anatrains 1/52

na o y rains Anatomy Trains yofascial eridians

Instructed by James Earls

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Copyright Kinesis UK Table of Contents 1

TABLE OF CONTENTS

TIMELINE OF STRUCTURAL INTEGRATION AND ANATOMY TRAINS / WHAT ARE THEFORCES THAT SHAPE US? / LAYERS OF MYOFASCIA ............................................................1RULES OF THE GAME / ANATOMY TRAINS IS NOT / ANATOMY TRAINS IS.....................2TENSEGRITY / FASCIAL TENSEGRITY IS EVOKED WHEN TISSUES ENGAGE / FASCIALTENSEGRITY ALLOWS ...................................................................................................................3TYPES OF FASCIA / MYOFASCIA / FASCIA IS: ..........................................................................4THREE SYSTEMS/THREE TUBULAR NETWORKS / PAIN AREAS ..........................................5ANATOMY TRAINS: SUPERFICIAL BACK LINE ........................................................................6

TRACKS AND STATIONS............................................................................................................7FASCIAL RELEASE TECHNIQUES (FRT) .................................................................................8

ANATOMY TRAINS: SUPERFICIAL FRONT LINE ....................................................................10TRACKS AND STATIONS..........................................................................................................11FASCIAL RELEASE TECHNIQUES (FRT) ...............................................................................12

ANATOMY TRAINS: LATERAL LINE .........................................................................................14TRACKS AND STATIONS..........................................................................................................15FASCIAL RELEASE TECHNIQUES (FRT) ...............................................................................16

ANATOMY TRAINS: SPIRAL LINE..............................................................................................18TRACKS AND STATIONS..........................................................................................................19FASCIAL RELEASE TECHNIQUES (FRT) ...............................................................................20

ANATOMY TRAINS: FUNCTIONAL LINES................................................................................22TRACKS AND STATIONS..........................................................................................................23FASCIAL RELEASE TECHNIQUES (FRT) ...............................................................................24

ANATOMY TRAINS: THE ARM LINES .......................................................................................26TRACKS AND STATIONS..........................................................................................................27FASCIAL RELEASE TECHNIQUES (FRT) ...............................................................................29

ANATOMY TRAINS: THE DEEP FRONT LINE...........................................................................31TRACKS AND STATIONS..........................................................................................................32FASCIAL RELEASE TECHNIQUES (FRT) ...............................................................................35

ANATOMY TRAINS: BODYREADING BASICS .........................................................................37TERMINOLOGY ..........................................................................................................................37

KINESIS BODYREADING FORM..................................................................................................38BODYREADING 101 TM RED FLAGS.............................................................................................39FASCIAL RELEASE TECHNIQUE.................................................................................................41ANATOMY TRAINS PRINCIPLES AND APPLICATION ...........................................................45

PRINCIPLES OF USE ..................................................................................................................45PRINCIPLES FOR APPLICATION .............................................................................................45

FASCIAL AND MYOFASCIAL MANIPULATION...................................................................46ANATOMY TRAINS REFERENCE MATERIAL ..........................................................................47

GLOSSARY...................................................................................................................................47KINESIS COURSE OFFERINGS.....................................................................................................48

KINESIS UK COURSES...............................................................................................................48KMI TRAINING............................................................................................................................49

ANATOMY TRAINS ESSENTIALS ...............................................................................................50READING/REFERENCES ...........................................................................................................50FACULTY .....................................................................................................................................51

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Copyright Kinesis UK 1

Dr. Milton Trager Trager Technique Founder

Dr. Andrew Taylor StillDiscovered Osteopathy

Dr. Daniel David Palmer Chiropractic Founder

Fredrik Mathias Alexander Alexander Method Founder

Moshe FeldenkraisFeldenkrais Technique Founder

Dr. Ida P. Rolf Structural Integration Founder

Buckminster Fuller A Futurist and a World Healer

Tom Myers Anatomy Trains / KMI Founder

A Timeline of Structural Integration and Anatomy Trains

www.anatomytrains.co.uk

1872 1895 1932 1940 1955 1988

What are the forces that shape us ?

• Our environment• Movement behaviors• Genetics• Hydrodynamics• Structural adaptation

Layers of Myofascia

Dermis

(Skin backing)

Superficial Fascia

Areolar / Adipose

Deep investing layer

Epimysium

PeriosteumSeptum

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Rules (Guidelines)of the Game

• Follow the grain or line of pull• Note the Stations (boney attachments) - no

changes in depth or direction• Note any tracks that converge or diverge• Look for underlying single joint muscles

(Expresses vs Locals)

Anatomy Trains is NOT

• A comprehensive theory of manipulativetherapy

• A comprehensive theory of muscle actions or movement

• The only way to parse the body

Anatomy trains IS

• An excellent way to see & explain posturalcompensations

• An exploration & explanation of one structureaffecting a distant structure

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Tensegrity: “Continuous tension members and

discontinuous compression membersoperating with maximum efficiency.”

--- Buckminster Fuller

Fascial Tensegrityis evoked when tissues engage;

• Along the idealvector of pull

• Along the lineswith an eventone

• In a coordinatedmanner

Fascial Tensegrity allows;

• Maximized stability and mobility• Minimized joint compression• The feeling of lightness and ease (poise)

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Types of Fascia

Adipose - highly vascular, found aroundorgans & subcutaneous

Areolar - loose network found betweenstructures seen in Guimberteau

Dense Connective Tissue

Irregular - dermis, periosteum, cartilage etc.

Regular - tendons, aponeurosis, ligaments

MyofasciaConsists of:fibrous elements (tropocollagen,

collagen, elastin & reticulin) whichtransmit force

ground substance (glycosaminoglycans,mucopolysaccharides) which carry &transmit chemistry & provides the visco-elasticity in the tissue (hyaluronic acid)

Fascia is:

• The tissue of shape, support & organisation• Protective - mechanically & chemically• Visco-elastic• An adaptive matrix - self-monitoring• A tension distributor • Communicating - contacts every cell

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Neural Vascular Fibrous

Mechanical ForcesChemical SignalsElectrical Codes

System Type

Corresponds via

Milliseconds Minutes / Hours Days / Weeks

Pelvis / Gravity Ctr.Chest / HeartHead / Brain

Reaction Time

Centered In

Thoughts/ Memory Emotions Beliefs / Movements

SpaceMatter Time

Governs

Governed By

Communicates Sustains SuspendsCharacteristics

Three Systems / Three Tubular Networks: Reflect our whole shape

www.anatomytrains.co.uk

PAIN AREAS

DORMANTSOMATIC AMNESIA

NO MOVEMENT AT ALL

NOT AVAILABLETHREE

CHRONICMOVES IFCHALLENGED

NOT SO EASILY AVAILABLE

TWO

NONEMOVABLEEASILY AVAILABLEONE

AWARENESS OF PAINMOVEABILITYAWARENESSAVAILABILITY

PAINAREAS

“Where you think it is it ain’t!” ---Ida P. Rolf

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ANATOMY TRAINS: SUPERFICIAL BACK LINE

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TRACKS AND STATIONS

13. Frontal brow ridge12. Galea aponeurotica / Scalp fascia11. Occipital ridge

10. Erector spinae / sacro-lumbar fascia9. Sacrum8. Sacrotuberous ligament7. Ischial tuberosity6. Hamstrings5. Condyles of femur4. Gastrocnemius / Achilles tendon3. Calcaneus2. Plantar fascia and short toe flexors1. Plantar surface of toe phalanges

Overview: See also Chapter 3 pg 61The Superficial Back Line (SBL) connects the entire posterior surface of the body from the bottomof the foot to the top of the head. Originally thought to be derailed at the knee, the recent dissectionshave now shown it to be continuous (for more information see “Anatomy Trains Revealed: EarlyDissective Evidence” DVD).

Postural function:The overall postural function of the SBL is to support the body in full extension, resisting thetendency to curl over into flexion. This all-day postural function requires a higher proportion ofslow-twitch, endurance muscle fibers in the muscular portions of this myofascial band and extra-heavy sheets and bands of fascia in the fascial portions.

The exception to the extension function comes at the knees, which are uniquely flexed to the rear bythe muscles of the SBL. In standing, the interlocked tendons of the SBL assist the cruciateligaments in maintaining the postural alignment between the tibia and femur.

Movement function:With the exception of the flexion at the knees and plantarflexion at the ankle, the overall movementfunction of the SBL is to create extension and hyperextension. In human development, the musclesof the SBL lift the baby's head from embryological flexion, with progressive engagement andreaching out through the eyes and the rest of the body, as the child achieves stability in each of thedevelopmental stages leading to upright standing, about one year after birth.

Because we are born in a flexed position, with our focus very much inward, the development ofstrength, competence, and balance in the SBL is associated with the slow wave of maturity movingfrom this primary flexion into a full and easily maintained extension.

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FASCIAL RELEASE TECHNIQUES (FRT)

SBL

Fascial Region: Plantar Surface of the Foot Technique: Plantar Fascia

Intention : lengthen / differentiate / shift

Client position : Supine Knees UP/ Feet Down Side Lying Prone Sitting

Hand Positions: Fingers Knuckles or Soft Fist Forearm Elbow Other

Practitioner Movements : Sitting at the clients feet, engage tissue / move tissue frommetatarsal base towards calcaneus

Client Movements: Dorsi – flexion and plantar flexion / spread toes

Considerations: Assess foot to heel ratio - lengthen for a short heel

SBL

Fascial Region: Posterior Calf Technique: Gastrocnemius



Hand Positions: Fingers Knuckles Soft Fist or Forearm Elbow Other

Practitioner Movements : Standing to side of leg, use one or both fists or forearm to engage tissueand glide from below knee to Achilles’ tendon

Client Movements: Dorsi – flexion and plantar flexion

Considerations: Assess foot to heel ratio - lengthen for a short heel

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SBL

Fascial Region: Technique:

Intention: lengthen / differentiate / shift


Hand Positions:Fingers Knuckles Soft Fist Forearm Elbow Other:

Practitioner movements :

Client Movement :

Considerations:

SBL






Client Movement :

Considerations:

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ANATOMY TRAINS: SUPERFICIAL FRONT LINE

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TRACKS AND STATIONS

13. Scalp fascia12. Mastoid process11. Sternocleidomastoid

10. Sternal manubrium9. Sternalis / sterno-chondral fascia8. 5th rib7. Rectus abdominis6. Pubic tubercle5. Anterior Inferior Iliac Spine4. Rectus femoris / quadriceps

PatellaSub-patellar tendon

3. Tibial tuberosity2. Short and long toe extensors,

tibialis anterior, anterior crural compartment1. Dorsal surface of toe phalanges

Overview: See also Chapter 4 Pg 93The Superficial Front Line (SFL) connects the entire anterior surface of the body from the top of thefeet to the side of the skull in two pieces – toes to pelvis and pelvis to head - which, when the hip isextended as in standing, function as one continuous line of integrated myofascia.

Postural function:The overall postural function of the SFL is to balance the Superficial Back Line (SBL), and to

provide tensile support from the top to lift those parts of the skeleton which extend forward of thegravity line – the rib cage, pubis, and face. Myofascia of the SFL also maintains the posturalextension of the knee. The muscles of the SFL stand ready to defend the soft and sensitive parts thatadorn the front surface of the human body, and the tensile strength of the SFL myofascia protects theviscera of the ventral cavity.

Sagittal postural balance (A-P balance) is primarily maintained throughout the body by either the easyor the tense relationship between these two lines. When the lines are considered as parts of fascial

planes, rather than as chains of contractile muscles, it is worth noting that in by far the majority ofcases, the SFL tends to shift down, and the SBL tends to shift up in response.

Movement function:The overall movement function of the SFL is to create flexion of the trunk and hips, extension at theknee, and dorsiflexion of the foot. The SFL performs a complex set of actions at the neck level, whichcomes up for discussion below. The need to create sudden and strong flexion movements at thevarious joints requires that the muscular portion of the SFL contain a higher proportion of fast-twitchmuscle fibers.

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SFL

Fascial Region: Sternal and clavicular region / Technique: Fountain Head or the” I” move



Hand Positions: Fingers Knuckles Soft Fist Forearm Elbow Other:

Practitioner Movements : engage tissue and move in an upward direction

Client Movements : breathing and specifically, lateral breathing with clavicular work

Considerations : personal space, particularily for women. / Working on sternum is sensitive

SFL

Fascial Region : Thigh Quadriceps / Technique: Quadriceps / Quadratus Femoris



Hand Positions: Fingers Knuckles Soft Fist Forearm Elbow Palm Other

Practitioner movements: Engage tissue and move towards AIIS. / Secondly, work into the pocket between rectus femoris, TFL, and sartorius.

Client Movements: Knee flexion and extension. / The pelvic response to knee flexion is posteriortilt. / With the pocket at the top of RF, the client movement is to reach heel off of the table.

Considerations: Watch the hinging of the pelvis in combination of with knee flexion and extension. Encourage the pelvis to drop back with knee flexion.

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ANATOMY TRAINS: LATERAL LINE

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TRACKS AND STATIONS

18. Occipital ridge / Mastoid process16, 17. Splenius capitis / Sternocleidomastoid

1st and 2nd ribs

14, 15. External and internal intercostals13. Ribs11, 12. Lateral abdominal obliques9, 10. Iliac crest, ASIS, PSIS8, 7. Gluteus maximus / Gluteus Medius

Tensor fasciae latae6. Iliotibial tract5. Lateral tibial condyle4. Anterior lig. of head of fibula3. Fibular head2. Peroneal muscles

lateral crural compartment1. 1st & 5th metatarsal bases

Overview: See also Chapter 5 Pg 121The Lateral Line (LL) traverses each side of the body from the medial and lateral mid-point of thefoot around the outside of the ankle and up the lateral aspect of the leg and thigh, and passing alongthe trunk in a 'basket weave' pattern to the skull in the region of the ear.

Postural Function:The LL functions posturally to balance the front and back, and bilaterally to balance the left andright sides. The LL also mediates forces among the other superficial lines - the Superficial FrontLine, the Superficial Back Line, the Arm Lines, and the Spiral Line.

Movement Function:The LL participates in creating a lateral bend in the body - lateral flexion of the trunk, abduction atthe hip, and eversion at the foot - but also functions as an adjustable 'brake' for lateral and rotationalmovements of the trunk. It is primarily a stabilizer of the body in movement with each heel strike

adjustments are made along its length to maintain upright posture. This is particularly obvious atthe level of the hip muscles.

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LL

Fascial Region: Side of Hip Technique : Hip Fan Release


Client position : Supine Knees Up Side Lying Prone Sitting

Hand Positions: Fingers Knuckles Soft Fist Forearm Elbow Other:

Practitioner Movements : Sit on table behind client & engage tissue of hip flexors then extensorsas they perform opposing movement along bolster

Client Movements : Hip flexion then extension

Considerations: Place a pillow under the leg to be worked / concentrate on shorter groupdependent on pelvic tilt pattern

LL

Fascial Region: Side Body / Obliques / Technique: lateral abdominal scoop




Practitioner Movements : Engage tissue, drop the elbows and using a scooping motion. Lift thetissue and carry it up onto the ribs.

Client Movements : Breathing / anchoring the pelvis

Considerations : Create space between pelvis and 12 th rib / be very mindful of the heads of floating ribs.

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LL






Client Movement :

Considerations:

LL






Client Movement :

Considerations:

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ANATOMY TRAINS: SPIRAL LINE

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TRACKS AND STATIONS

1. Occipital ridge, Mastoid process,Atlas, axis TP’s

2. Splenius capitis and cervicis3. Lower cervical, upper thoracic SP’s

4. Rhomboids major & minor5. Medial border of scapula6. Serratus anterior7. Lateral ribs8. External oblique9. Abdominal aponeurosis,

Linea alba10. Internal oblique11. Iliac crest, ASIS12. Tensor fasciae latae

Anterior edge of iliotibial tract13. Lateral tibial condyle14. Tibialis anterior15. 1st metatarsal base16. Peroneus longus17. Fibular head18. Biceps femoris19. Ischial tuberosity20. Sacrotuberous ligament21. Sacrum22. Sacro-lumbar fascia, Erector spinae23. Occipital ridge

Overview: See also Chapter 6 Pg 139The Spiral Line (SL) loops around the body in a helix, joining one side of the skull across the backto the opposite shoulder, and then across the front to the same hip, knee, and foot arches, running upthe back of the body to rejoin the fascia on the skull.

Postural functionThe SL wraps the body in a double-spiral that helps to maintain balance across all planes. The SLconnects the foot arches with the pelvic angle, and helps to determine knee-tracking in walking. In

imbalance, the SL participates in creating, compensating for, and maintaining twists, rotations, andlateral shifts in the body. Much of the myofascia in the SL also participates in other meridians,involving the SL in a multiplicity of functions.

Movement functionThe overall movement function of the SL is to create and mediate spirals and rotations in the body.

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SL

Fascial Region: Abdominal Obliques / Technique: Internal and External Obliques



Hand Positions: Fingers Knuckles Soft Fist Forearm Elbow Other

Practitioner Movements: start with the internal oblique and aponeurosis, across the linea alba to pick up the opposite external oblique, over the ribs to the other side

Client Movements: breathing

Considerations: work the short leg of the abdominal X / be mindful of the ribs

SL

Fascial Region: rhombo-serratus sling / Technique: Serratus Anterior




Practitioner Movements: engage tissue into the serratus anterior / lateral border of the scapula.Bring the tissue around the rib cage

Client Movements : breathing and lifting the sternum on the inhalation

Considerations : the breathing and lifting also helps to shift and / or reinforce the “up the front /down the back” relationship.

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SL

Fascial Region: Lower Spiral Line / Technique: TA and fibularis sling




Practitioner Movements : work the TA and fibularis in the appropriate directions. When workingto shift the tissue relationships, work close to your client with elbows wide. When working to shiftthe tissue, keep hands within an inch of each other.

Client Movements: plantar and dorsiflexion

Considerations: imagine the TA / fibularis sling and decide what is locked long and locked

SL




Hand Positions:

Fingers Knuckles Soft Fist Forearm Elbow Other:


Client Movement :

Considerations:

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ANATOMY TRAINS: FUNCTIONAL LINES

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TRACKS AND STATIONS

Back Functional Line

1. Shaft of humerus

2. Latissimus dorsi3. Lumbodorsal fascia4. Sacral Fascia5. Sacrum6. Gluteus maximus7. Shaft of femur8. Vastus lateralis9. Patella10. Sub-patellar tendon11. Tuberosity of tibia

Front Functional Line

1. Shaft of humerus2. Lower edge of pectoralis major3. 5th rib and 6th rib cartilage4. Lateral sheath of Rectus abdominis5. Pubic symphysis6. Adductor longus7. Linea aspera of femur

Overview: See also Chapter 8 Pg 183The Functional Lines are extensions of the Arm Lines across the surface of the trunk to the contralateral

pelvis and leg. These lines are called the ‘functional’ lines because they are, in my experience, rarelyemployed, as the other lines are, in modulating standing posture. They come into play during athletic or otheractivity where one appendicular complex is stabilized, counterbalanced, or powered by its contralateralcomplement. An example is in a baseball pitch, where the player powers up through the left leg and hip toimpart extra speed to a ball thrown from the right hand.

Postural function:As mentioned, these lines are less involved in standing posture than any of the others lines. They aresuperficial, for the most part, on the body, and involve muscles so much in use during day-to-day activitiesthat their opportunity to distort posture is minimal. Once the deeper myofascial structures relating to such

distortions have been balanced, these Functional Lines often fall into place without presenting significantfurther problems of their own.

Movement function:These lines enable us to give extra power and precision to the movements of the limbs by linking themacross the body to the opposite limb in the other girdle. Thus the weight of the arms can be employed ingiving additional momentum to a kick, and the movement of the pelvis contributes to a tennis backhand.While the applications to sport spring to mind when considering these lines, the mundane but essentialexample is the contralateral counterbalance between shoulder and hip in every walking step.

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Functional Line

Fascial Region: Pectoral Region / Technique: Pectoralis Major




Practitioner Movements: following the leading edge of the pectoralis major and follow to thedivision of the biceps and triceps

Client Movements : starting position with arm abducted and elbow flexed. Client stretches the armover head

Considerations: be mindful of breast tissue / nerve symptoms indicating you have come off of pectoralis major.

Functional Line

Fascial Region: abdomen / Technique: Rectus Abdominis




Practitioner Movements: Engage tissue and drop the heels of your hands to engage the fabric ofthe abdomen. Work from the bottom towards the intersection of abdominals and pec major.

Client Movements : Breathing / client may also alternately engage and relax abdominals

Considerations : For reasons of privacy, do not work below umbilicus

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Functional Line






Client Movement :

Considerations:

Back Functional Line Movement and Assessment Exercise

Fascial Region: Back Functional Line



Practitioner Movements : Standing behind the client holding both hands. 3 elements 1. Extendthrough tension 2. Medially rotate arm 3. Walk across the body and sequence the movements.

Arm – scapula – upper ribs, - mid ribs – lower ribs – crossing over ~ L5 / S1 to hip

Client Movements: Passive while being organized by the practitioner and the clients hand.However the client can organize this fundamental movement

Considerations : center of gravity is in the pelvis / the opposite arm being translated across the table becomes a brake, should it feel like they are going to fall off of the table. If you are working on thefloor, you can roll completely over (assuming arms are over head).

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ANATOMY TRAINS: THE ARM LINES

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TRACKS AND STATIONS

Deep Front Arm Line

1. Ribs 3,4,52. Pectoralis minor, clavipectoral fascia3. Coracoid process4. Biceps brachii5. Radial tuberosity6. Radial periosteum

(anterior / lateral border)7. Styloid process of radius7a. Radial collateral ligaments7b. Scaphoid, trapezium8. Thenar muscles9. Outside of thumb

Superficial Front Arm Line

1. Medial third of clavicle, costal cartilages,thoracolumbar fascia, Iliac crest

2. Pectoralis major, Latissimus dorsi3. Medial humeral shaft4. Medial intermuscular septum5. Medial humeral epicondyle6. Flexor group7. Carpal tunnel8. Palmar surface of fingers

Deep Back Arm Line

1. Spinous process of lower cervicals

and upper thoracic, C1-4 TPs2. Rhomboids and levator scapulae3. Medial border of scapula4. Rotator cuff muscles5. Head of humerus6. Triceps brachii7. Olecranon of ulna8. Ulnar periosteum9. Styloid process of ulna9a. Ulno collateral ligaments9b. Triquetrum, hamate

10. Hypothenar muscles11. Outside of little finger

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Superficial Back Arm Line

1, 2. Occipital ridge, Nuchal ligament,3. Thoracic spinous processes4. Trapezius

5. Spine of scapula, acromion,lateral third of clavicle

6. Deltoid7. Deltoid tubercle of humerus8. Lateral intermuscular septum9. Lateral epicondyle of humerus10. Extensor group11. Dorsal surface of fingers

Overview: See also Chapter 7 Pg 159In this chapter we identify four distinct myofascial meridians that run from the axial skeleton to thefour ‘sides’ of the arm and hand, namely the thumb, the little finger, the palm, and the back of thehand. Despite this apparently neat symmetry, the Arm Lines display more cross-over myofasciallinkages among themselves than do the corresponding lines in the legs. This is because humanshoulders and arms are specialized for mobility (compared to our more stable legs). Therefore thesemultiple degrees of freedom require more variable lines of control and stabilization. Nevertheless,the arms can still be seen quite logically as having a deep and superficial line along the front of thearm, and a deep and superficial line along the back of the arm. The lines in the arm are named fortheir placement as they cross the shoulder.

Postural functionSince the arms hang from the upper skeleton in our unique human posture, they are not part of thestructural 'column' as such. Thus we have included the appendicular legs in our discussion of thecardinal and spiral lines, but left the arms for a separate consideration. Given their weight and theirmultiple links to our activities, the Arm Lines do have a postural function: elbow position affectsthe mid-back, and shoulder position has a significant effect on the ribs, neck, and beyond. This

postural relationship between the axial skeleton and the arms can also have a limiting affect on themobility and effectiveness of the arms in action.

Movement functionIn myriad daily manual activities of examining, manipulating, and responding to the environment,

our arms and hands, in connection with our eyes, perform through these lines. The Arm Lines actacross the 10 or so levels of joints in the arm to bring things toward us, push them away, pull or push our own body, or simply hold some part of the world still for our perusal and modification.These lines connect seamlessly into the other lines, particularly the Lateral, Spiral and FunctionalLines.

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DFAL

Fascial Region: clavipectoral fascia / Technique : pectoralis minor


Client position : Supine Knees Up/ Feet Down Side Lying Prone Sitting


Practitioner Movements: Engage tissue – pec minor attaches to 3 rd , 4 th and 5 th rib. Practitioneraccesses the leading edge at approximately the nipple line. You may access the 1 st, 2nd or 3 rd slipand its associated fascia. Take tissue towards the coracoid process or toward the proximalattachments.

Client Movements: Breathing / Arm overhead / scapular depression and adduction

Considerations: The angle of the fingertips is crucial to avoid unnecessary discomfort. / Brachial plexus runs underneath the upper pec minor. Discontinue in the event of nerve symptoms

SFAL

Fascial Region: upper arm / Technique: medial intermuscular septum




Practitioner Movements: Strum just proximal to medial epicondyle. Place 2 fingers at the centerof the string (no longer than 1.5 inches) and stretch towards either end. A few passes is often allthat is necessary to soften tissue.

Client Movements: none required, but could do a little elbow flexion / extension.

Considerations : nerve symptoms - discontinue

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DBAL

Fascial Region: Rotator Cuff / Technique: Teres Minor




Practitioner movements: Locate teres minor by going way between posterior acromion processand axillary fold. Pin teres minor to the scapula and call for movement.

Client Movements: Medial rotation and of humerus as client reaches dangling arm forward

Considerations: Strum across and muscle test to differentiate from teres major.

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ANATOMY TRAINS: THE DEEP FRONT LINE

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TRACKS AND STATIONS

Upper anteriorCranium and facial bonesJaw muscles

23. Mandible22. Suprahyoid muscles21. Hyoid bone20. Infrahyoid muscles,

Fascia pretrachialis19. Posterior manubrium18. Fascia endothoracica,

Transversus thoracis17. Posterior surface of subcostal

cartilages, xiphoid process16. Anterior diaphragm,

Crura of diaphragm9. Lumbar vertebral bodies

Upper middle15. Basilar portion of occiput, cervical TPs14. Fascia prevertebralis,

Pharyngeal raphe,Scalene muscles,Medial scalene fascia,Mediastinum,Parietal pleura,

13. Pericardium,12. Central tendon,

Posterior diaphragm,Crura of diaphragm

9. Lumbar vertebral bodies

Upper posterior11. Basilar portion of occiput10. Anterior longitudinal ligament,

Longus colli & capitis9. Lumbar vertebral bodies

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Lower anterior9. Lumbar vertebral bodies and TPs8. Psoas, iliacus, pectineus,

Femoral triangle7. Lesser trochanter of femur

Medial intermuscular septum,

(anterior to adductor group)Adductor brevis, longus

6. Linea aspera of femur

Lower posterior9. Vertebral bodies

Anterior longitudinal ligament,Anterior sacral fascia,Pelvic floor fascia,Levator ani,Obturator internus fasciaIschial ramusIntermuscular septum(posterior to adductor group)Adductor magnus

5. Medial femoral epicondyle

Lowest common5. Medial femoral epicondyle4. Posterior fascia of popliteus,

Knee capsule3. Posterior tibia/fibula2. Tibialis posterior, long toe flexors,

Interosseus membrane1. Plantar tarsal bones,

Plantar surface of toes

Overview: See also Chapter 9 Pg 191Interposed between the left and right Lateral Lines in the coronal plane, sandwiched between theSuperficial Front Line and Superficial Back Line in the sagittal plane, and surrounded by the Spiral,Functional, and Arm Lines, the Deep Front Line (DFL) comprises the body’s myofascial ‘core’. Theline begins deep in the underside of the foot, passes up just behind the bones of the lower leg and behindthe knee to the inside of the thigh, and in front of the hip joint, pelvis, and lumbar spine. The DFLcontinues up along several alternate paths around and through the thoracic viscera, ending on the

underside of both the neuro- and viscero-cranium.

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Compared to our other lines, this line commands definition as a three-dimensional space, rather than aline. Of course, all the other lines are volumetric as well, but are more easily seen as lines of pull. TheDFL very clearly occupies space.

In the leg, the DFL includes many of the deeper and more obscure supporting muscles of our anatomy,though the line itself is fundamentally fascial in nature. Through the pelvis, the DFL has an intimate

relation with the hip joint, and relates the pulse of breathing and the rhythm of walking to each other. Inthe trunk, the DFL is poised, along with the autonomic ganglia, between our neuro-motor ‘chassis’ andthe more ancient organs of cell-support within our ventral cavity. In the neck, it provides thecounterbalancing lift to the pull of both the SFL and SBL. A dimensional understanding of the DFL isnecessary for successful application of nearly any method of manual or movement therapy.

Postural function:The DFL plays a major role in the body’s support:

lifting the inner archstabilizing each segment of the legssupporting the lumbar spine from the frontstabilizing the chest while allowing the expansion and relaxation of breathing

balancing the fragile neck and heavy head atop it all

Lack of support, balance and proper tonus in the DFL (as in the common pattern where short DFLmyofascia does not allow the hip joint to open fully into extension) will produce overall shortening inthe body, encourage collapse in the pelvic and spinal core, and lay the groundwork for negativecompensatory adjustments in all the other lines we have described.

Movement functionThere is no movement that is strictly the province of the DFL, yet neither is any movement outside itsinfluence. The DFL is nearly everywhere surrounded or covered by other myofascia, which duplicatethe roles performed by the muscles of the DFL. The myofascia of the DFL is infused with more slow-twitch, endurance muscle fibers, reflecting the role the DFL plays in providing stability and subtle

positioning changes to the core structure to enable the more superficial structures and lines to workeasily and efficiently with the skeleton.

Thus, failure of the DFL to work properly does not necessarily involve an immediate or obvious loss offunction, especially to the untrained eye or to the less than exquisitely sensitive perceiver. Function canusually be transferred to the outer lines of myofascia, but with slightly less elegance and grace, andslightly more strain to the joints and peri-articular tissues, which can set up the conditions over time forinjury and degeneration. Thus, many injuries are often set in motion by a failure within the DFL some

years before the incident that revealed them takes place.

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DFL

Fascial Region: Thigh / Technique: Posterior Intermuscular Septum




Practitioner Movements: Locate the medial femoral epicondyle. Locate the hamstring tendonswhich create a valley with adductor magnus. Allow finger tips to move upward towards sitting

bones.

Client Movements: Flex and extend the knee / reach through the heel on extension.

Considerations: Awareness that this septum blends into the Obturator internus fascia and continuesfascially, to the pelvic floor.

DFL

Fascial Region: Illiopsoas / Technique: Junction between Iliacus and Psoas




Practitioner Movements: fingers at level of ASIS. Following the bowl of the pelvis until you reachthe lateral line of the psoas. Rest your finger tips at this junction and call for movement.

Client Movements: To muscle test, hip flexion to feel contraction of psoas. Send knee forward over foot/second toe or extend the leg through the heel.

Considerations : Do NOT go below the ASIS or above umbilicus. Discontinue with any sharp, acuteor radiating pain. Practitioner must differentiate between psoas and bowels by muscle testing /reporting symptoms.

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DFL






Client Movement :

Considerations:

DFL






Client Movement :

Considerations:

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ANATOMY TRAINS: BODYREADING BASICS

TERMINOLOGY

TiltDescribes simple deviations from vertical or horizontal.

The term is defined by the direction to which the top of the structure is tilted.

Example: In a left sided tilt of the pelvic girdle, the client’s right hip bone would be higher.

RotateIn standing posture, rotations usually occur around a vertical axis in a horizontal plane, and thusoften apply to, for example, the femur, tibia, pelvis, spine, head m humerus, or rib cage.

The term is modified by the direction in which the front of the named structure is pointing.

Example:In a right rotation of the head, the nose or chin would face to the right of the sternum.

ShiftDescribes a translation of one body part relative to another which moves its centre of gravity.

Examples:The pelvis can be shifted anteriorly relative to the malleoli.The torso is left shifted relative to the pelvis.

BendA bend is a series of tilts resulting in a curve, usually applied to the spine.This is a short hand for describing what is really a series of tilts of one vertebra on the next.

Example:A lordotic spine could be described as having a strong back bend to the lumbars.

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KINESIS BODYREADING FORM

Goals / Results

Obs:

Tx:

KEY

Rotation

/ Tilt

Shift Bend

Short

Long(R) Right

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BODYREADING 101 TM RED FLAGS

SFL- the ProtectorFront: Where is the SFL open/closed?Side : Excessive dorsiflexion

Leg tiltAnterior pelvic shiftAnterior pelvic tiltPulled down rib cage/restricted breathingStuck on inhale/exhaleAnterior tilt of the neckHead forward postureWhere is fascial cape pulled down?

SBL- the SustainerBack: Is the back alive?Side: Areas of Hyperextension

Excessive PlantarflexionAnterior Heel shift (3:1 from Lateral Malleolus)Hyperextended kneesPosterior pelvic tilt‘Bow’ in back lineFloating ribs inferiorly shifted, too close to pelvisBreathing-pushed forward?Primary/secondary curve balance/ Wave of maturity

Neck hyperextension/posterior tilt of the headWhere is the fascial cape pulled up?

LL (lateral line) – the StabilizerSide: Lateral X- is C7 to pubis same as sternal notch to sacral apex?

Relation of front to back-front of LL pulled down, back pulled up?Lateral ArchFreedom in peroneals/fibulariiPelvic tiltDoes breath fill the sides?Are Shoulders centered over hips? (Forearms on the shoulders test)

Front/Back: Compare two sides- shoulders, hips , knees ,etc. Level?Medial/Lateral tilt of foot/ arch supportDistance from iliac crest to lateral archIs tissue outside of knees pulled up? Or down?X and O legs

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SPL (Spiral line)- the double HelixRed Flags: head tilt or shift

One shoulder forward of the otherMeasure 7th rib to opposite ASISMedially rotated KneeShoulder X-Rhombo-Serratus balance

Pect. minor- Trapezius balance(shoulder to spine relationship/ flat back vs. round back)Arch patterning-pronated/supinated4th hamstring: hip extension/knee flexion

Functional Lines- the Action heroesThese lines are rarely active in Posture, except for the most one sided athletes

Shoulder to opposite hipHelical body patterning in strong arm or leg movement

Arm lines- the Manipulators

SFAL- Arm flexion , carpal tunnel, medial rotation of humerusDFAL- Anterior scapular tilt, elbow flexion, radial deviation, base of thumbSBAL- Trapezius superior shift, wrist hyperextensionDBAL- Rhomboid- Levator superior shift, rotator cuff trouble, ulnar deviation

DFL (Deep Front Line) –the COREMedial arch supportExcess PlantarflexionX and O legsMedial or lateral rotation of the kneeInner thigh issues-pulled up or down

Aliveness / motion in inner (medial) hip jointAnterior/ Posterior pelvic tiltLeft /right pelvic tiltPelvic floor tonus/ responsivenessLumbar bend and support‘Umbilicus points away from the tight Psoas’‘Pubic bone points to the short pectineus’Diaphragm / pelvic floor couplingRib tilts- left, right , anterior, posteriorAnterior neck flexionVocal or swallowing issuesJaw tightening or trackingFacial asymmetry-one eye more deeply set or higher than the other, or jaw to one side

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Now sink into the adipose layer become aware of the different quality of the sensations in yourfingers. How does this layer differ from being “in the skin”? Press a little more firmly and you canfeel another taught layer below this, more taut and “bouncier” than the skin. Can you move theadipose over this second skin? Feel how the skin and the adipose move easily together gliding overthis first layer of myofascia; the deep investing layer. Maintaining your pressure to keep your digitsin the adipose tissue angle your pressure toward your elbow taking up any slack and then slowly

flex your wrist. Can you feel the stretch on the skin? With a firmer grip and more movement youcan feel how this type of contact can become uncomfortable, similar to a Chinese (or in the USA,an Indian) burn so beloved of school playground bullies and older brothers the world over.

Once you recover from the slight abuse you’ve just given yourself (and hopefully not elicited toomany traumatic memories!) allow your fingers to descend through the layers again, this timeovercoming the resistance given by the deep investing layer of fascia. You’ll feel yourself now

pushing onto the muscle belly, using the tone of the muscle as your guide to assess which levelyou’re on, the focus is the “skin” of that first muscle you encounter. You can check to see if youare in the right layer by flexing your wrist again, do you feel the muscles stretching below your

point of contact similar to your first attempt or do you feel the tissue around the fingertips pull themtoward the wrist?

If you are in the correct layer you can now begin applying fasical release technique on your wristextensors by “hooking” the tissue, pushing toward your elbow as you slowly flex your wrist again.Be aware of the different sensations in the tissues between the two different levels of connection. Ifyou have got it right it should now feel like a deeper burning but more pleasant, sometimes clientsreport it as a “good pain” the tissue almost crying out for the release, stimulation and stretch.

You can now explore through all of the musculature of the forearm, feel for the differences in tone,not just in the muscle but also that fascial skin, the epimysium. Compare the flexor compartment tothe extensors, use movement to find the intermuscular septum between the muscles, use movementto identify exactly where you are play with flexion and extension in combination with radial andulnar deviation. What difference does it make in the tension produced under your working hand?Can you sense that certain directions of movement give a better challenge to the tissue? As you

become more proficient using the technique, which is just a matter of doing it regularly, all of thiswill give you information about the area you’re working on, its condition and where you need tofocus your attention. You will be able to subtly alter the angles of movement to make your workeven more effective.

Under a skilled practitioner’s hands fascial release technique is a wonderfully releasing, pleasurable

but challenging experience, but like many tools, when wielded by a novice, it can be disastrous.Often I have been “mauled” and not only by neophytes but also by some supposedly accomplishedtherapists. In order to avoid putting your clients through this I recommend spending some timeworking through and playing with the five stages below, it is a common mistake to believe that theonly thing that matters is “getting the work done” but if we are to be a client centred therapy thenit’s incumbent upon us to stay aware of the fact we are working on a person, not a collection ofdysfunctional tissue crying out for our saving, healing, sometimes over eager, touch.

DevelopmentMany bodywork approaches talk of “melting” into the tissue, “sinking through the layers” and FRTis no different in that. Just as you did in the exercise above be aware of the layers as you pass

through them, allowing the tissue to give way rather than bulldozing your way. Mould your hands,fingers, knuckles or whichever tool you are using to the shape of the bodypart being worked, useonly enough tension and pressure to get you to that first layer of resistance, wait to be invited in.

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Some schools teach that you can ask your client to exhale as you melt in and I often find this auseful addition but sometimes overused and distracting from the touch. Experiment with usingyour exhale to sink your bodyweight into the tissue. Having your centre of gravity high, keepingyour back foot raised allows you to position yourself over the area, exhaling (quietly!) and droppingyour centre of gravity (or sinking your Hara) is much easier for the client to receive than “pushing”

into it. The tension necessary to push will result in the client’s tissue resisting and set up a struggleeither one of you has to win.

Maintaining a relaxed point of contact avoids putting tension into the area being worked but alsokeeps you much more sensitive to variations in the myofascia. The less tone you have in yourworking limb the better able you are to sense the changes in your client.

Achieve this by getting as much of your force from muscles as distant from the point of contact as possible. For example, if you are using your fingertips they should retain only the tension neededto get through the layers, the initial force comes from your bodyweight coming over the area, as youneed to get to deeper levels increase your bodyweight by altering the angle of your back foot, pushfrom the back foot (remembering to engage your core), stabilise your shoulder girdle and arm,gently lock your elbow and wrist. Only as a last resort should you push with your fingers as it willthen feel “pokey” and uncomfortable.

AssessmentSo now that you’ve got “somewhere” you need to check two things – firstly, is it where you wantedto be? If, for whatever reason, you were trying to find the peroneals how do you know that you arereally on them? Secondly, if you are on them how do they feel? What kind of work do they need,what kind of tool should you be using? Your fingers, knuckles or elbow?

This is the stage of questions and obtaining information. Using both active and passive movementyou can gain much of what you need. Ask you client to pronate the foot as you search for the

peroneals can help you differentiate them from the soleus, feeling for the quality of the movementyou can assess which parts of the muscle open too much or not at all. You can begin to find theareas you’ll need to focus on but also how are you going to do it?

StrategyYou’ve got to where you want to be, you’ve found something that needs to be worked but now youhave to decide how you’re going to do it. Which direction will best engage that area? Whichmovement will you ask for? Which tool (fingers, knuckles, forearm etc) will best fit the area? Inthe words of every protective father; what exactly is your intention?

These last two stages are often skipped by practitioners, they are not discrete moments in time butmerely part of a thought process, a mindful decision making, ensuring that your work is specific tothe needs of the client rather than a treatment by rote. Of course a certain amount of a recipe isneeded for beginning practitioners, those of you from a massage background were given a basicsequence to get you through the early days of your practice but as you become more comfortablewith the techniques, more aware of their effects on the variations of clients and their tissue, themore you adapt that template to suit the present requirements. With fascial release technique thiscan be done with each and every stroke.

A stroke performed without the above two stages is a blind gesture.

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InterventionFinally you’ve got to the stage of doing the work. You’ve got and checked the area you’re workingon, you’ve decided on how to work it and now you can.

As part of your strategy you’ve already chosen which tool to use, you’re locked in the level andarea you want to be and now you slowly glide and/or ask the client to move. However for this stage

it is not so much how you perform the stroke but much more about what effect is it having. The practitioner has to constantly monitor what is happening below and around the point of contact; isthe tissue releasing? Is the right area being challenged with the movement? Is the tissue lifting ormoving? Is the client able to receive and process the information you’re offering to her?

Throughout the intervention or stroke you set up a feedback loop assessing its effectiveness, whatchanges can you make as you go through to assist you in the goals set above? With each changeyou have to re-evaluate.

Now you are truly listening to the client and their tissue, you’ve set up what we sometimes refer toas a “communication between two intelligent systems”. With your strategy in mind you areoffering information to the client, asking their tissue if it can change, and does the work make senseto them. By listening to the collection of systems under your hand and keeping yourself open totheir messages back, you will be able to reflect the abilities of the client’s tissue in your work.Providing you can attune your ear to the language their tissue uses to inform you in response toyour contact.

EndingAs you begin, so should you finish.So many therapists forget to that they’re working with a human, it’s almost like they’re so relievedto reach the end of their stroke that they jump out of the tissue. Now I’m not saying it’s wrong, justrude.

If you take all that time to take care of your client, sinking in, feeling its condition, listening to it asyou work give it a little respect by coming out of it slowly. Take your body weight back into yourforward leg, don’t push into the client to jerk yourself up; a mortal sin in my book. Once you haveyour weight back in your legs then you can lift yourself out of the stroke allowing the tissue time tosettle back in rather than letting it snap back.

Sometimes it can be more pleasant for the client to spiral out of the contact, slowly peeling yourskin out of contact with theirs. This is especially true when you work in areas where the skin may

be more sensitive such as around the armpit or the thigh adductors.

It is these small things that the client may not be aware of but makes a huge difference in theirexperience of the treatment. Fascial release can be a challenging treatment and the morecomfortable we can make it for the client the better they will be able to accept it.

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ANATOMY TRAINS PRINCIPLES AND APPLICATION

PRINCIPLES OF USE

Guidance in using the Anatomy Trains Myofascial Meridians system:1. In assessment, start from the affected / restricted / injured / painful area and move out

along the trains. If treatment to a local area is not working, seek other areas along the meridianwhich may yield results at the affected area, e.g. if the hamstrings are not yielding to directmanipulation or stretching, try elsewhere along the Superficial Back Line – on the plantar fasciaor sub-occipital areas, for example.

2. Work on the meridians can often have distant effects. By whatever mechanism, work onone area of a meridian can show its effect somewhere quite distant, either up or down themeridian involved. Be sure to reassess the whole structure periodically to see what globaleffects your work may be having.

3. Work the tissue of the meridian in the direction you want it to go. If you are simplyloosening a muscular element of a meridian, direction is not as crucial. If you are shifting therelation among fascial planes, it is. “Put it where it belongs and call for movement,” was Dr IdaRolf’s terse summary of her method. Frequently, for instance, the tissues of the SuperficialFront Line need to move up in relation to the tissues of the Superficial Back Line, which need tomove down.

4. Work from the outside in, and then inside out. Sort out the compensations in the moresuperficial layers first, as far as is possible, before taking on the more deeply imbedded patterns.In general, look for a uniform resilience and adaptability in the Superficial Front and Back

Lines, and the Lateral and Spiral Lines before attempting to unravel the Deep Front Line. Goingfor deep patterns too quickly, before loosening the overlying layers, can result in driving

patterns deeper or reducing the body’s coherence, rather than resolving problems. Once someresilience and balance is established in the DFL, return to the issues remaining in the moresuperficial lines, and drape the Arm and Functional Lines over the rebalanced structure.

5. Watch for where meridians cross each other. Where affected meridians cross each other – particularly where the Spiral and Functional Lines cross the cardinal lines – are areas thatfrequently bind when there are adverse or conflicting tensions.

PRINCIPLES FOR APPLICATION

Goals of myofascial or movement work:1. Complete body image – the client has access to the information coming from and motor access

to the entire kinaesthetic body, with minimal areas of stillness, holding, or ‘sensory-motor

amnesia’.2. Skeletal alignment and support – the bones are aligned in a way that allows minimum effort

for standing and action.3. Tensegrity / palintonicity – the myofascial tissues are balanced around the skeletal structure

such that there is a general evenness of tone, rather than islands of higher tension or slackenedtissues.

4. Length – the body lives its full length in both the trunk and limbs, and in both the muscles andthe joints, rather than moving in shortness and compression.

5. Resilience – the ability to bear stress without breaking, and to resume a balanced existencewhen the stress is removed.

6. Ability to hold and release somato-emotional charge – the ability to hold an emotionalcharge without acting it out, and to release it into action or simply into letting go when the timeis appropriate.

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7. Unity of intent with diffuse awareness – structural integration implies the ability to focus onany given task or perception while maintaining a diffuse peripheral awareness of whatever isgoing on around this focused activity. Focus without contextual awareness is fanatic; awarenesswithout focus is ineffective.

8. Reduced effort in standing and movement – less ‘parasitic’ tension or unnecessarycompensatory movement involved in any given task.

9. Range of motion , generosity of movement – less restriction in any given activity, and that,within the limits of health, age, history, and genetic make-up, the full rage of human movementis available.

10. Reduced pain – that standing and activity be as free of structural pain as possible.

FASCIAL AND MYOFASCIAL MANIPULATION

General principles for fascial and myofascial manipulation:1. Layering - Go to the layer that offers resistance, and then work along that layer.

2. Pacing - Speed is the enemy of sensitivity; move at or below the rate of tissue melting.

3. Body mechanics – Minimal effort and tension on the part of the practitioner leads to maximumsensitivity and conveyance of intent to the client.

4. Movement - Client movement makes myofascial work more effective. With each move, seek amovement direction to give the client. Again, “Put it where it belongs and call for movement”.

The client’s movement serves at minimum two purposes:1. it allows the practitioner to feel with ease in which level of myofascia he is engaged,2. it involves the client actively in the process, increasing the proprioception from muscle

spindles and stretch receptors.

5. Pain - Pain accompanied by “the motor intention to withdraw” is a reason to stop, let up, orslow down

6. Trajectory - Each move has a trajectory or an arc – a beginning, a middle, and end. Eachsession has an arc, and each series of sessions has an arc. Know where you are in theseoverlapping arcs.

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ANATOMY TRAINS REFERENCE MATERIAL

GLOSSARY

Anatomy Trains The entire system of eleven myofascial meridians

Myofascial Meridian A connected string of myofascial or fascial structures, one anatomy train line

Myofascial Continuity Two or more adjacent and connected myofascial structures within a myofascialmeridian

Track Myofascial or fascial element in a myofascial meridian

Station A place where the myofascial continuity or track in the ‘outer’myofascial bag is ‘tacked down’ or attached to the fascial webbing ofthe ‘inner’ bone-ligament bag

Express An express is a multi-joint muscle that thus enjoys multiple functions

Local A local is a single-joint muscle that duplicates one of the functions of a nearby oroverlying express

Cardinal line A cardinal line runs the length of the body on one of the four major surfaces: the SBLon the back, the SFL on the front, and the LL on right and left sides

Branch line An alternative track, often smaller or less usually employed, than the primarymyofascial meridian

Derailment An area within a myofascial meridian where the linkage only applies under certainconditions

Roundhouse An area within the skeleton where many myofascial continuities join, which is thussubject to a number of different vectors; in simple language, a bone where musclescoming from many directions meet.

Switch An area where fascial planes either converge from two into one, or diverge from oneinto two.

Direct connection A connection between two tracks across a station where the fascia is clearlycontinuous between the two

Mechanical connection A connection between two tracks across a station where the connection passes throughan intervening bone

Locked long Used to designate a myofascial unit held in a state longer than it usual efficient length.

Locked short Used to designate a myofascial unit held in a state shorter that its usual or efficientlength.

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KMI TRAINING

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ANATOMY TRAINS ESSENTIALS

READING/REFERENCES

Web Sites Resources:Myers, Thomas: Courses, Products, Forums, Explorationswww.anatomytrains.comSchleip, Robert: Related articles for Professional and Laymanhttp://www.somatics.de/International Association of Structural Integration:www.theaisi.orgStructural Integration Resource Websitehttp://insidesi.com/

Connective Tissue Subject Resource List:Myers, T. Anatomy Trains: Chapter 1

Schleip, Robert: Fascial Plasticity – A New Neurobiological Explanation Part 1 and Part 2http://www.somatics.de/First International Congress on Fascial Researchwww.fascia2007.comHorwitz, Alan F. Scientific American, May 1997, Integrins and HealthStanborough, M. (2004) Direct Release Myofascial Technique. Elsevier, EdinburghSmith, J. (2005) Structural Bodywork Elsevier, EdinburghMyofascial Research Summaries:http://www.myofascialpainrelief.com/MFRresearch.htmlSchultz, R. Louis and Feitis, Rosemary: Endless Web: fascial anatomy and physical reality.1996, North Atlantic Books. Berkley, California

Tensegrity Subject Resource List;Flemons, Tom The Geometry of Anatomy – the Bones of Tensegrity.http://www.intensiondesigns.comMyers, Thomas. Anatomy Trains: Chapter 1Myers, Thomas. Body 3, The Spine: Tensegrity ContinuumMyers, Thomas. Anatomy Trains Fascial Tensegrity DVDR. Buckminster Fuller: www.bfi.comSolit, Marvin:http://www.fnd.org/pgs/geo/holistic_geometry.htmhttp://en.wikipedia.org/wiki/TensegrityScientific American: January 1998 pg. 49The Architecture of Life, by Donald E. IngberAvailable as a download via http://www.childrenshospital.org/research/ingber/PDF/1998/SciAmer-Ingber.pdf

Tom Myers’ Anatomy Trains Myofascial Meridians Resources:Fredericks, Anne & Chris. Stretch To WinMyers, Thomas. Anatomy Trains Myofascial Meridians for Manual and Movement Therapists,Myers, Thomas. Anatomy Trains DVDOschman, James. Energy Medicine

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