“It’s your birthright to live into your entire body.” Matthew Sanford
Part 4: Grounding, Rhythm, and Movement
In Part One of this series we explored the atmospheric challenges of teaching in Senior Care spaces and focused on being creative and looking for hints of connection. In Part Two we discussed the importance of creating a welcoming community that can heal and transform by encouraging students to bring their stories into the space. We also looked at a few movements we might avoid with this population. Part Three was all about breathing and the body’s brilliance in using the breath as a problem-solving mechanism. We considered shifting our cueing in order to help students develop a more subtle relationship to the breath and body. In this fourth and final installment we will explore the grounding, rhythm, and movement.
Don’t Forget the Feet
I recently had a conversation with a yoga teacher who asked me to describe what it is I do. She said, “So, you get your students into parts of the shapes?” I replied, “I would argue there are no ‘parts of the shapes;’ you are either teaching a sensation of wholeness or you aren’t.” One of the things I frequently notice when observing Chair Yoga classes is that teachers often forgo mentioning the importance of how the feet and legs relate to spinal awareness and functional movement of the body.
“Chair yoga is not yoga from the waist up. Don’t forget the feet,” is something I preach in my workshops. The fact that many students with advanced aging sit for prolonged amounts of time, use wheelchairs, or need the assistance of walkers is all the more reason to cue them to use their legs to support their spines. By cueing through the feet and legs, not only are we building strength in the lower body and core, we are also getting more of the nervous system online.
We start the movement portion of my seated chair classes “walking in place.” As we move our legs, I ask students to walk their feet all the way out in front of their bodies and bring their awareness to how out of balance they just became from the waist up. We then walk our feet underneath our chairs and explore sensations from that position. I have them find the midpoint between those two extremes and ask them to notice the support the legs provide in this position. I cue them to firmly press down through their feet and use the strength of their legs to help them sit up a little taller. From there we explore how much effort we need to expend to maintain this posture. Efficient integration of our outer bodies leads to access into subtler spaces inside ourselves.
Rhythm is Powerful
Keeping the legs active in the posture above (aka Seated Mountain Pose), I ask my students to bring their awareness to their belly. Borrowing a cue I gleaned from renowned yoga therapy teacher Doug Keller, I playfully ask students to, “Imagine you’re putting on a ‘snug pair of pants.’ They've been in the dryer just a little too long. Button up those pants and keep them buttoned as you relax your ribs and breathe.” From there we begin to sway side-to-side, slowly creating circles, and rocking forward and back. All the while, I am cueing the feet, belly, and spine.
This sequence is the glue of my teaching and is my go-to transition. Knowing that rhythm is a powerful inroad to the nervous system, and swaying is usually accessible in some form or fashion for my students, I incorporate this sequence early and often. The repetition creates body memory and an anchor that students can return to if something we just attempted was difficult or challenging. In most cases, I will lose my students if I ask them to sit still in contemplation. So, we contemplate in movement.
Slow rhythmic movements are very calming and can be used as a grounding tool in chaotic environments. I had a student fall in class recently. We were all understandably concerned and dysregulated. While nurses and staff attended to the injured student, I led the students through a rocking and tapping sequence. We held our classmate in our hearts and extended our compassion to her. The energetic shift in the room was palpable within minutes. We were able to reset and continue with class as she received the medical care and attention she needed.
Another way to incorporate rhythm is to gently move the joints. Shrugging the shoulders, wiggling the fingers, swinging the legs, lifting the heels and toes, shaking the head yes and no are all familiar access points into the body. When taught with mindful intention, these movements are great opportunities to create connection by layering in the breath and/or adding detailed focus.
Here are a few examples: 1) Shake out your hands, breathe in, and sigh it out, 2) Lift your shoulders up and breathe in, lower them down and breathe out, 3) Wiggle your fingers and then touch your fingertips with your thumbs, 4) Open your hands wide, now make a fist, open your hands wide and breathe in, breathe out as you make a fist.
Movement Across the Midline
Moving across the midline is a staple of my sequencing; the midline is an imaginary line down the center of the body that divides it into left and right. This type of movement stimulates both hemispheres of the brain, but for students with a stroke history, coordinating movement across the midline can be challenging. Choosing an accessible pace and teaching with patience encourages students to problem solve.
Here’s an example: Cross your arms and take your opposite hand to your opposite leg, slide your bottom arm out and place it on top, once you start moving keep moving. You may notice that one arm is easier to move than the other, that’s okay, go as slow as you need to. Notice your breath. Breathe out and take a gentle breath in and a slow breath out.
I usually shy away from using left/right cues. Left/right discrimination is one of the things that students with age-related cognitive decline and dementia struggle with. When I do cue lefts and rights, I start a sequence on a specific side and see how the class responds. If I feel like they’re able to follow those instructions fairly well, I will keep using left and right language as a cognitive exercise. If I find the class is having a hard time, I get creative with my approach.
Let’s take a look at a few different ways you could cue a sequence that requires bilateral coordination. 1) Lift your right arm up toward the ceiling, now lift your left leg; or 2) Lift one arm up toward the ceiling, now lift your opposite leg; or 3) Let your hands rest on your legs, take one arm up toward the ceiling, now lift the leg that you’re touching.
The sequence we just explored in the last paragraph requires students to move in multiple planes at once, i.e., across the midline and in the upper and lower body. You may have noticed that I cued movement in the upper body first, then the lower body. This allows the students find precision on one side before they cross the midline and add on. My pace is usually slow and deliberate. I might eventually layer in the breath or ask them to lift the legs and arms at the same time once they have settled in to the sequence. If students are having a difficult time managing a task, let them move without expectation of outcome. Sometimes things work, sometimes they don’t. Non-attachment and going with the flow are necessary when working with this population.
I thank you for reading this series, and encourage you to connect with your students, find your unique voice, and get creative as you share yoga with this population. Things that may not look like “yoga” can be incorporated into your classes when practiced in the spirit of unity and connection. Feel free to reach out to me at email@example.com if you have any questions and I hope to see you again soon on the Accessible Yoga Blog.
This post was edited by Patrice Priya Wagner, co-editor of Accessible Yoga blog and member of the Board of Directors.