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course, sweep across the body, changing their angles of
pull second by second (for example, the footballer
kicking or the discus thrower). Although an Anatomy
Trains analysis could probably be made of complex
movements, it is not clear that this would add a great
deal to contemporary kinesiological discussion. On the
other hand, an analysis of which lines restrict the
response of the body to the primary movement or sta-
bilize to enable the primary movement - in other words,
which lines of stabilization are overly tight or necessar-
ily held - is very useful and leads to new strategies of
structural unfolding.
The strict lines with their tracks and stations are
shown at the beginning of each chapter. The articular
chains of myofascia are described at some length. Larger
issues around the penumbra of each line or section of
the line are discussed at the end of the line's description
or otherwise noted in a sidebar. The first line described
(Ch. 3, the Superficial Back Line) lays out the terminol-
ogy and concepts used throughout the rest of the chap-
ters, and is thus worth reviewing first.
Each chapter also contains a guide to palpation
and movement of the line, designed as a guide for
both consumer and practitioner. While some clinical
approaches are discussed, individual techniques, many
of which come from the library of Structural Integra-
tion, 2 are presented sparsely, for several reasons.
For one, the Anatomy Trains can be successfully
applied across a variety of manual and movement tech-
niques; presentation of any one set of techniques would
be unnecessarily exclusive of others. It is the author's
intention for this theory to contribute to the dialogue
and cross-pollination across technical and professional
There is also a severe limitation in presenting a living
technique in a book, usually involving dreadful, posed,
black and white photographs of a practitioner's hands
on the model on a treatment table. The author is reluc-
tant to contribute to such an unaesthetic process, and
prefers technique to be taught from hand to hand with
a feeling unattainable in topic form. If this topic inspires
an appetite for techniques to deal with the patterns
revealed by the meridians analysis, so much the better,
and the reader is urged to seek out a class or a mentor
or at the very least a video of instruction, rather than a
book, to satisfy that hunger. A complete set of videos of
fascial release techniques to accompany this topic, as
well as a list of other recommended videos, is available
Chapters 10 and 11 present specific applications of
the system in terms of structural analysis and, briefly,
some other applications, with which the author has
some familiarity. It is fervently hoped that practitioners
in other disciplines will carry forward this type of analy-
sis into their field of expertise.
The only way to parse body structure
Many forms of structural analysis are abroad in the
world. 2 ^* The method described in Chapter 11 has shown
itself to be useful in practice, and has the advantage of
being psychologically neutral. Some approaches overlay
a grid, plumb line, or some form of platonic 'normal' on
the varieties of human physique. We prefer to keep the
frame of reference to relationships within the individual
A complete anatomy text
Although the subject of this topic is musculoskeletal
relationships, it is not designed as a comprehensive
anatomy text. Anatomy Trains could be described as a
'longitudinal anatomy'. The use of any good regionally
organized anatomy atlas as a supplement to the text and
illustrations included here is recommended. 5- 9 (DVD ref:
Myofascial Meridians)
A scientifically supported theory
The concepts in this topic are backed by the anecdotal
evidence of years in practice, and are successfully
being applied by therapists in a number of different
disciplines. The dissective evidence included in
this edition is an early indication that supports the
ideas, which have not yet been confirmed by detailed
dissection or other scientifically reliable evaluation.
Caveat emptor - Anatomy Trains is a work in
How we present the lines
1. Myers T. Fans of the hip joint. Massage Magazine No. 75
January 1998.
2. Rolf I. Rolfing. Rochester, VT: Healing Arts Press; 1977.
3. Aston J. Aston postural assessment workbook. San Antonio,
TX: Therapy Skill Builders; 1998.
4. Keleman S. Emotional anatomy. Berkeley, CA: Center Press;
5. Netter F. Atlas of human anatomy. 2nd edn. East Hanover,
NJ: Novartis; 1997.
6. Clemente C. Anatomy: a regional atlas. 4th edn. Philadelphia:
Lea and Febiger; 1995.
7. Biel A. Trail guide to the body. Boulder, CO: Discovery Books;
8. Ross L, Lamperti E. Atlas of anatomy. New York: Thieme;
9. Gorman D. The body moveable. Cuelph, Ontario: Ampersand
Press; 1981.
Presentation of three-dimensional, living and moving
anatomy on the quiet two-dimensional page has plagued
anatomy teachers since Renaissance times when Jan
Stefan van Kalkar started drawing for Andreas Vesalius.
The myofascial meridians can be described in a variety
of ways: as a strict one-dimensional line, as an articular
chain of myofascia, as representing a broader fascial
plane, or as a volumetric space (see Figs In. 15-17). We
have attempted to blend all four of these in this topic,
in hopes of catching the reader's imagination with one
or more of them. The medium of the map is, as always,
inadequate to the territory, but nevertheless can be
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