Healthcare and Medicine Reference
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nate these new insights more widely (though this process
is underway).
Assessing movements by means of still photographs
is a frustrating way to go about it, but is necessitated by
the form of a book. Assessing clients in standing is
explored more deeply in the next chapter, and in-person
classes and DVD courses in motion assessment are
available (, ivmv.astonenterprises.
com) (DVD ref: BodyReading 101).
These examples serve to show a few of the directions
where the Anatomy Trains scheme can be applied in
action. Obviously, applications into yoga, Pilates, per-
sonal training, and physical therapy rehabilitation can
be expanded and given in more detail, but we have
chosen to give a wider introduction in the available
pages. The principles, however, are the same: look for
the areas where fascial or muscle shortening are limiting
motion, and then check out the full length of the lines in
which these specific structures live and have their being.
On the other side of the coin, areas that have laxity or too
much movement / too little stability can be identified
and similarly strengthened. Strengthening through a
line - so that the line as a whole responds rather than just
a specific muscle - can improve functional stability.
When doing a functional assessment of a client or
student, it is obviously useful to observe and assess
which specific structures might be involved in an action
or in its restriction. The examples in this chapter will
perhaps have convinced the reader of the value in doing
a more global myofascial meridian assessment as part
of this process. View clients as they perform an action,
preferably from a bit of a distance so that the entire body
is within your foveal vision. Looking at clients slightly
askance so that you assess their movement from your
peripheral vision - originally developed to detect move-
ment, after all - can also be helpful, and is sometimes
more revealing than staring right at them, trying to
deduce the fault in the movement. See whether one or
more of these lines is not restricting the overall move-
ment. Working with the entire line will often bring an
increased freedom that working on only the obviously
affected part will miss.
1. Kingsley B and Ganeri A. The young person's guide to the
orchestra. San Diego: Harcourt Brace & Co.; 1996.
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