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the science of White Belt principle 9Embody and Share
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© 2010 Nia Technique, Inc. | NiaNow.com Principle 9 Lesson Plan | 1
The White Belt Continuing Education Course is an integral part of your Nia Livelihood Package. This course supports
you in deepening your Nia education at home, helping you physically embody the White Belt Principles in and out of
Nia class. Your Embody and Share book is chaptered by principle, with each chapter supported by these Lesson Plan
downloads you can work with at your own pace.
science - craft - Art
Exploring the Science, Craft and Art of Nia naturally
reveals the magic of nature and the human form—the
patterns, beauty and expressions of life sensed and lived
in a body.
Science explores the “why” of what we do. Craft explains
the “how” of what we do. Art expresses “what” we do to
make Nia a unique expression of ourselves.
All Nia practice is supported by The Body’s Way, an
applied science of using the body in accord with its specific
structure and design. The more you understand the design
of the body, the more you can make conscious choices to
improve your overall comfort, functioning and health.
Science: Why
True embodiment of information occurs when we
integrate cognitive learning, somatic awareness and
an understanding of the physical laws of nature. These
natural laws are rooted in the sacred geometry of life,
the mathematical blueprint found in every aspect of
the biological universe. What exactly does this mean?
When viewed closely, every element of nature can
be broken down into a pattern of smaller parts, which
too can be broken into yet smaller parts, and so on
“The feeling of awe and a sense of wonder arises from the recognition of the deep mystery that
surrounds us everywhere, and this feeling deepens as our knowledge grows.”
—Michael S., Schneider,
A Beginner’s Guide to Constructing the Universe: the Mathematical
Archetypes of Nature, Art, and Science
without discernible end. This infinite, universal pattern
is the foundation of the term “Sacred Geometry,” the
mathematical wisdom that forges a bridge between the
“one” and the “many” within everything—including our
human bodies.
On a molecular level, geometry is encoded in our
bodies and thus in the way we move. From the angles
of atomic bonds to the spiraling helix of our DNA; from
each spherical cell branching out into tetrahedral shapes,
which together form greater parts—which too form
greater parts—everything in our bodies represents a part
of a greater whole, one geometrically interconnected,
inseparable and unified. Our movement is no different.
From the moment we are created in the womb, we
are moving—creating new patterns and rhythms in
the world in accord with the sacred geometry of our
bodies. By visualizing the underlying shapes of our
upper extremities—the sacred geometry of The Body’s
Way—we can truly connect with the design and function
of our arms, hands and fingers. We can use them to
their full potential for dynamic healing and expression,
independant but integrated with the whole of our bodies
and lives.
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Craft: How
Our hands and arms are designed to reach out and draw
in, moving energy into and away from the center of our
bodies. Through the sensation of “touch,” our hands
connect us to both our physical bodies and to the person
within. While our upper extremities have a specific
design, form and function, they also reveal our individual
stories—past, present and future. In other words, each of
us has a unique shape and movement pattern within The
Body’s Way that reflects our personal history—the result
of all the choices, attitudes and beliefs that have shaped
our bodies and lives.
Like everything in the universe, the body is designed to
ebb and flow, to continually reach out and draw in. This
is how energy is cultivated, exchanged, transformed and
harmonized. Because the upper extremities are highly
moveable, they naturally foster great change, the root
of ebb and flow. As conscious beings, we can actively
foster the ebb and flow of healing and conditioning by
changing the way we move. Our mobile, expressive
upper extremities remind us that by moving with
awareness—by creating conscious change—we become
free to direct the course of our bodies and lives.
Each part of the body functions best when it can move
freely, while also integrated with the whole. Our most
natural movement occurs when our actions are a direct
response to an internal force, such as emotion, desire,
or intent. These “internal response actions” stimulate
dynamic, integrated movement that begins from the core
and moves outward through each part of our bodies,
triggering our upper extremities to organically move
in unique and expressive ways. The force of emotion is
birthed from the emotional body, physically sensed and
expressed as speed and core impulsiveness. The force of
desire is birthed from the mental body recognizing the
emotional body, and expressing it to the outside world.
Desire is physically sensed as magnetism and a core
ache. The force of intent is birthed from the mental body
choosing a specific outcome to manifest, and is physically
sensed as laser-like power.
Art: What
The upper extremities include your two hands (and
all ten fingers); your two wrists, two elbows and
two shoulder joints; your four forearm bones (two
on each arm), two upper arm bones, two clavicles
and two shoulder blades. Each part is designed for a
specific function, and each is designed to work both
independently and together.
In Nia, the primary tools we use to condition and
explore our upper extremities are imagery and
visualization. Imagining your hand to be a paintbrush,
for example, naturally stimulates your fingers, wrists
and the palms of your hands to move as you are
painting. For further inspiration, you might visualize
colors flowing from all ten fingertips as you “paint”
the space around you. Or, you might imagine you
are a cat or a fierce lion, stimulating your hands to
move like soft paws, or sharp claws. These powerful
cognitive “tools” naturally inspire your arms, hands
and fingers to come alive and move and in their
full range of motion, expressing what you think and
feel—almost as if on their own!
Movement Arts inspiration
Each of the three movement arts of Nia (Martial
Arts, Dance Arts and Healing Arts) brings a unique
inspiration to the upper extremities.
Martial Arts inspires your upper extremities with the
force of focused intent and the concept of “energy
follows attention.” For example, in an upper or outward
block, you might use your elbow with the focused
intent to direct the energy of your block. Or, you might
focus on using the heel or “blade-side” of your hand to
direct your movement with precision.
Dance Arts inspires your upper extremities with the
force of emotion and personal expression. For example,
you might say “Yes!” as you raise your hands up toward
the sky, or release a sound of anger when throwing your
hands out in fists.
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Healing Arts inspires your upper extremities with the
force of desire. For example, you might use the desire to
heal your shoulder joints to dictate the direction of your
palms as you move, which plays a key role in the way your
shoulder joint opens or closes. You might also use different
parts of your hands—front, back, or sides—to direct energy
in ways that support healing in your whole body.
With all upper extremities moves, always begin and
end in neutral position. Neutral is the sensation of your
shoulder girdle resting like a relaxed halo above your
ribs, allowing your upper arm bones to hang down into
the pull of gravity. In neutral, your shoulder blades rest
easily over your ribs, ready to be engaged. Beginning and
ending in neutral allows you to move from your center,
a place of strength, stability and relaxation, naturally
recycling energy so you can sustain power and grace.
Each time you return to neutral, you have an opportunity
to consciously realign, re-focus and more skillfully begin
your movement from a place of dynamic ease. When
a movement begins “out of neutral,” you might sense
imbalance, lack of power, or dynamic tension, rather
than ease. When this happens, simply return to neutral
and mindfully begin again.
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Read
For this part of the lesson plan, you will read sections from
your Embody and Share book and answer questions about
what you learned.
Move
These lessons help you embody Principle 9, The
Upper Extremities of the Body, transmitting cognitive
information into physical sensations.
Self-Assess
These lessons gauge your growth and competency in
Principle 9, The Upper Extremities of the Body.
Exploring The Body’s Way
This section includes quotes and reflections to help you
explore the White Belt Principles.
Watch
For this section, log into NiaNow.com and go to the
Continuing Education section to watch the Principle 9
Teacher Training video with Debbie Rosas.
Lesson Plan Format
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the Upper extreMities of the Body
Principle 9
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Read1. Read Chapter 9, The Upper Extremities of the Body,
in your White Belt Embody and Share book.
2. In your journal, answer the questions below.
introduction
•Describe two ways in which consciously working
with Principle 9, The Upper Extremities of the Body,
has changed your body and life.
•How has a deeper understanding your upper
extremities enriched the health and well-being of
your body and life?
•What is the most dramatic shift in your movement
that has taken place since consciously working with
Principle 9?
principle 9: the Upper extremities of the Body and your Body
•How often do you acknowledge the amazing
healing, conditioning and expressive powers your
upper extremities provide your body?
•What can you do to make activating and moving
your upper extremities a part of your daily life?
•When you are not activating your upper extremities,
how do you recognize this disconnection and what
do you do to consciously reconnect?
•What main techniques does Nia provide to help
you stay connected to your upper extremities?
Voice of the Upper extremities of the Body
•Describe what this voice has inspired, motivated and
educated you to do.
•What self-healing wisdom from the upper extremities
has revealed itself to you?
science
•Describe how and why Nia’s approach to the upper
extremities is The Body’s Way.
•How does the way you move your upper extremities
affect your nervous system?
•How does the way you move your upper extremities
promote self-healing in your body? In your mind,
emotions and spirit?
craft
1. Teach one person who is fit and one person who
is unfit how to heal his or her shoulder girdle using
“palm directions.”
2. Using the triad for Principle 9, create an affirmation
that helps you self-heal your upper extremities. Make
this self-healing act a part of your Nia classes and
lifestyle practice.
Example: Before you get out of bed in the morning, say:
“Today, I will direct my upper extremities by connecting my
hands to the world, consciously touching everything with
awareness, including the space around me. As I touch, I will
both receive and give.”
Art
Write your personal story about discovering the upper
extremities of your body (3 - 5 paragraphs). Share how you
are able to increase pleasure, comfort and self-healing in
your life by moving your hands and arms while activating
the conscious awareness of sensation. We invite you to
share your story on the Nia Forum!
recall
Celebrate what you know! Use Recall to strengthen your
competency in this principle. For any questions you cannot
answer, enjoy the process of learning something new—go
onto the Nia Forum and discuss Principle 9, The Upper
Extremities of the Body, with your Nia community.
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embodiment
•Practice movement exercises 1- 4 from your
Embody and Share book.
• Journal about your experience and answer the
questions below.
how did principle 9 help you...
• Physically change the way you move?
• Mentally affect your movement choices?
• Emotionally connect to yourself and the world
around you?
• Spiritually increase self-love?
the nia 52 Moves
• Practice all 52 Moves to Nia’s Learn the Move and
Move the Move DVD, focusing on name recognition
and the specific language used to model and master
the upper extremities moves.
• Once you can physically respond to the name of each
move and model it with dynamic ease, dance to the
52 Moves voice-prompted CD. Self-assess and observe
what you learned from your practice with Learn the
Move and Move the Move. Pay attention to how easily
you can respond to the moves’ names and verbally
share the language of the techniques.
• Using the process of “Show” (moving without
speaking) and “Tell” (saying the name of the move
with the phrase “I sense my...”), dance to the 52
Moves Energize the Move workout DVD. Focus on
conditioning the upper extremities of your body
with the Five Sensations (Flexibility, Agility, Mobility,
Strength and Stability—FAMSS).
• To support your learning process, consciously
personally train yourself (CPT) using the catch phrase,
the language of this principle’s triad, and the language
of the Five Sensations, as described in the Nia
Technique book.
create your Kata
“Kata” is a Japanese word for choreographed patterns of
movements, used in theater, tea ceremonies and martial
arts. In Nia, “kata” refers to a move or a series of moves
in a pattern, used to strengthen your skill and technique.
1. Choose any song from the NiaSounds library or
follow the suggested song list below.
2. Create your own kata, including one move from
the base, one move from the core, and one move
from the upper extremities (refer to the 52 Moves
list in the Nia Technique book and to the Learn
the Move and Move the Move DVD), or follow the
movement suggestions below.
3. Listen to a variety of music and put the same Nia
moves to the sounds you hear.
For this lesson, pay close attention to the choices you
make to guide your upper extremities. Consciously
use imagery and visualization, as well the energy of
Nia’s three movement arts (Martial Arts, Dance Arts
and Healing Arts), to inspire and direct your movement
in ways that support healing, conditioning and free
expression.
Kata Examples
For this lesson, Debbie recommends working with
the music of the Nia routine “Velvet.” Pay attention
to your body’s way of moving your arms, hands and
fingers. Play with spine movements, focusing on
mobility and stability as you explore Principle 9, The
Upper Extremities of the Body.
Music: Velvet – Your Sincerely 6:40
•Lesson: Warm up the Upper Extremities using the
set choreography of this song, moving your Base
by walking FreeDance style / Engage the Core by
moving your rib cage / Palm Directions to create
your kata.
Move
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Music: Velvet – Oolong Journey 4:32
•Lesson: Get Moving the Base of the Body using
the set choreography of this song and practice the
stances / Engage the Core by sounding “A” as you
lean / Web Spaces to create your kata.
Music: Velvet – Show You Something 6:27
•Lesson: Get Moving the Base of the Body using the
set choreography of this song, moving through space
in FreeDance style / Engage the Core by poking the
space / Finger Extensions to create your kata.
Music: Velvet – Let Your Soul Guide Your Heart 6:13
•Lesson: Get Moving the Base of the Body using the
set choreography of this song with kicks / Create
Core Stability using your hands / Finger Flicks to
create your kata.
Music: Velvet – How Does It Feel 5:04
•Lesson: Cool Down the Base of the Body using the
set choreography of this song, sensing relaxation in
your Upper Extremities / Engage the Core with the
sensation of Flexibility / Touch to create your kata.
Music: Velvet – Spring Again 5:28
•Lesson: Create your own FloorPlay with the Base
of the Body using movements of the Nia 5 Stages /
Engage the Core with all of the 5 Sensations, shifting
sensations / Touch to create your kata.
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Using the chart below, assess your skill in modeling the
52 Moves while focusing on Principle 9, The Upper
Extremities of the Body. Pay close attention to which
moves you can perform with ease, grace and power.
Seek the sensation of support coming from the ground
up—through your feet, into your core, and out through
your arms, hands and fingers. Seek the sensations of
flexibility and mobility in your connective tissue; agility,
mobility and stability in your joints and muscles; and
strength from balancing all sensations with stability. Use
repetition to develop precision and skill, while staying
connected to the sensation of dynamic ease in your
spine, core and upper extremities.
Play with hand and palm directions to develop equal
power and fluidity in both sides of your body, always
seeking the sensation of systemic movement, comfort
and pleasure. These are the voices that confirm you are
moving The Body’s Way while respecting your body’s way.
Develop freedom in your core and spine by noticing the
areas in which you tend to “lock up,” and then tweaking
your movements to support comfort and efficiency in your
whole body.
This month, repeat two Nia moves each day, paying
attention to which moves need more mobility or stability
to establish freedom in your upper extremities. When
you sense effort or tension, stop! Slow down and direct
your attention to your base, your primary support for
your core, spine and upper extremities. Strong base
support allows all other body parts to relax. Place your
feet underneath you and step at a speed and in a range
of motion that allows your connective tissues, joints and
muscles to interact and respond simultaneously, without
effort. Practice each move in all three intensity levels
until you can maintain the correct form and technique,
regardless of your speed or range of motion.
•Observe which moves ask you to slow down or
reduce your range of motion. A sense of effort or
imbalance may mean:
• Your feet are not directly underneath you, causing
your hands to tense and your shoulders compress
upward, backward or forward.
•Your stance and/or range of motion is too big,
causing your feet to tense up and contract, which
prevents your base from supporting your upper
extremities from the ground up.
•One of your base joints (ankles, knees, hips) is
locked, interrupting the flow of energy into your
upper extremities.
•You are holding your breath, rather than blending
your body with breath. As you move, focus on the
exhale to integrate your movement, so you can
efficiently support the flow of energy through your
arms, hands and fingers. Remember: When you
focus on the exhale, the inhale will naturally take
care of itself.
•Your hands are clenched and/or not engaged with
space. When you use your hands to touch and
interact with the space around you as if it is tangible,
your core will naturally support the movement of
your upper extremities. This allows your upper body
to relax and sense where it is in relationship to the
space around it.
•You are “holding” one or more of your three body
weights (pelvis, chest or head). Consciously release
your pelvis, chest and head to give your spine the
freedom it needs to support the movement of your
upper extremities.
•You are emotionally and energetically “flat.” Use
imagery and visualization to consciously shift your
emotions and bring a sense of “aliveness” to each
move. Fully integrated movement engages your
body, mind, emotions and spirit, conditions your
nervous system, and keeps your upper extremities
agile, adaptable and ready for anything!
Self-Assess
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BASE
feet - 8 Moves
Heel Lead
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻�Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
Whole Foot
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
Ball of the Foot
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
The 52 Moves: Exploring the Upper Extremities of the BodyAs you practice the 52 Moves for this lesson plan, refer to the following downloads from NiaNow.com:
•Nia White Belt 52 Moves Movement Analysis—FAMSS
•Nia White Belt 52 Moves Anatomical Analysis—Muscle and Joints
•Nia White Belt 52 Moves Movement Analysis—Movement Forms
To activate my upper extremities and sense systemic, whole body integration as I skillfully create shapes in space, I need more movement in my:
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Relevé
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
Rock Around the Clock
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
Squish Walk
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
Duck Walk
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
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Toes In, Out and Parallel
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
stances - 6 stances
Closed Stance
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
Open Stance
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
A-Stance
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
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Riding or Sumo Stance
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
Bow Stance
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
Cat Stance
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
steps - 9 Moves
Sink and Pivot Table Wipe
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
9lesson
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Stepping Back Onto the Ball of Your Foot
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
Cross Front
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
Cross Behind
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
Traveling in Directions
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
9lesson
© 2010 Nia Technique, Inc. | NiaNow.com Principle 9 Lesson Plan | 15
Lateral Traveling
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
Cha Cha Cha
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
Slow Clock
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
Fast Clock
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
9lesson
© 2010 Nia Technique, Inc. | NiaNow.com Principle 9 Lesson Plan | 16
Kicks - 4 Moves
Front Kick
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
Side Kick
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
Back Kick
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
Knee Sweep
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
9lesson
© 2010 Nia Technique, Inc. | NiaNow.com Principle 9 Lesson Plan | 17
CORE
pelvis - 2 Moves
Pelvic Circles
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
Hip Bumps
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
chest - 4 Moves
Chest Isolations
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
Shimmy
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
9lesson
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Undulations
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
Spinal Roll
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
head - 1 Move
Head and Eye Movement
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
9lesson
© 2010 Nia Technique, Inc. | NiaNow.com Principle 9 Lesson Plan | 19
UPPER ExTREMITIES
Blocks - 4 Moves
Upward Block
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
Outward Block
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
Inward Block
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
Downward Block
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
9lesson
© 2010 Nia Technique, Inc. | NiaNow.com Principle 9 Lesson Plan | 20
punches - 4 Moves
Upward Punches
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
Outward Punches
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
Across Punches
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
Downward Punches
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
9lesson
© 2010 Nia Technique, Inc. | NiaNow.com Principle 9 Lesson Plan | 21
elbow strikes - 3 Moves
Elbow Strikes Down
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
Elbow Strikes Back
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
Elbow Strikes Out
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
hands - 7 Moves
Touching
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
9lesson
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Fist
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
Pumps
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
Strikes
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
Chop-Cut
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
9lesson
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Web Spaces
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
Palm Directions
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
fingers - 8 Moves
Finger Extensions
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
Finger Flicks
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
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Creepy Crawlers
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
Spear Fingers
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
Catching Flies
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
Claw Hand
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
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Power Finger Crossover
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
Balance Finger
◻�Hands/Fingers—Using every part of my hands to create shapes and connect my lower body to the movements of my upper body
◻ Wrist Joints—To take energy in and move it out through my upper extremities
◻�Forearm Bones—To spiral energy into and out of my body
◻�Elbow Joints—To direct the movement of my upper arm bones, while freeing and engaging my shoulder blades and joints
◻�Upper Arm Bones—To open and close the front and back of my body
◻�Shoulder Joints—Using Palm Directions to safely move the bones of my arm
◻�Clavicle Bones—To extend my hands and arms away from my core and open the front of my chest
◻ Shoulder Blades—To squeeze and release my rhomboid muscles, the muscles between my shoulder blades
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Exploring The Body’s WayExplore all Nia principles with awareness. Awareness is the
body’s ability to pay attention to detail and respond without
intellectual judgment or reasoning. Physical awareness
helps you develop flexibility, agility, mobility, strength,
stability, comfort and alignment. Mental awareness helps
you craft the life you desire. Emotional awareness guides
you to internal peace. Spiritual awareness connects you to
your higher self, keeping you aligned with your purpose.
Activate Awareness
• As you receive information, consciously notice the
physical, sensory relationship between your body and
the internal experience you are having.
• Slow down, sense and observe your body’s responses.
establish Awareness
•Pay attention to what you sense in your body.
Notice if the information you are receiving
increases joy and pleasure.
• Seek sensations in your body that either clarify or
challenge what your mind believes to be true.
• Confirm what you believe to be true through
sensation. Use the triad Listen, Think, Test to validate
and embody the Nia White Belt Principles for yourself.
research triad
Listen Think
Test
listen
Proactively seek information from resources you find
motivating and inspiring.
think
Apply a Nia principle or concept to your new information.
test
Pay attention to what you sense in your body to confirm
what you believe to be true.
“The triad is the form of the completion of all things.”
- Nichomachus of Gerasa (c. 100 A.D., Greek noe-Pythagorean philosopher and mathematician)
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“25 centuries ago, Plato wrote that the most important
task for a society was to teach the young to find
pleasure in the right objects.”
— Mihaly Czikszentmihalyi,
Creativity: Flow and the Psychology of
Discovery and Invention
Body
“There are a number of examples in which pressure of
the tips of the thumbs on one another or on the floor,
or the compression of the fleshy mound at the base of
the thumb (the thenar eminence), results in additional
pressure of the scapula on the rib cage, provided
the forearm is pronated and the humerus is rotated
laterally. For example, lift the arms in parvatasana or
virabhadrasana I, fingers interlaced, the palms inverted
so as to face upward and the biceps turned laterally;
at the same time, lower the scapulae. Then press the
tips of the thumbs into one another as the upper arms
are rotated laterally, and feel the stronger bite of the
scapulae onto the rib cage as they press the sternum
forward and upward. The thumb-to-thumb effect is
weak to nonexistent if the scapulae are allowed to rise
(upper trapezius contracted) as the arms are extended
upward.”
— Mel Robin, A Handbook for
Yogasana Teachers: the Incorporation of
Neuroscience, Physiology, and Anatomy
into the Practice
Debbie says: There are so many subtle differences we can
make to improve what we feel—to enhance pleasure and
functioning in the body. I am always impressed with how
the seemingly subtle use of my fingers and hands makes
every part of my body engage in ways that make me
whole and strong.
“The hand consists of the metacarpals and phalanges
together with the surrounding muscles, vessels,
nerves,skin, etc. The hand is a versatile “tool,” capable
of tasks ranging from fine precision (playing piano,
threading a needle) to great strength (swinging a
sledgehammer, unscrewing a stubborn jar lid). The
success of humans as a species is due in large part
to our ability to grasp and manipulate objects. The
strong, opposable thumb is crucial in this respect,
and is one adaptation which allowed humans to
take the evolutionary ‘quantum leap’ beyond their
primate ancestors.”
— Blandine Calais-Germain,
Anatomy of Movement
Debbie says: What a gift the thumb is! If you strain your
thumb, you will quickly learn that the thumb is one of the
most important parts of the human hand. As the nurturing
finger, the thumb reminds me to nurture everything I
touch. My thumb makes me feel more connected to my
heart in more ways than one. Is the thumb evolutionary or
a necessity, reminding us humans to have a heart?
“The Rock Cycle. Consider the slowly changing rocks
that mesh their own long cycles of weathering, melting,
cooling, crushing, compression, and reformation within
the greater whole.”
— Michael S., Schneider,
A Beginner’s Guide to Constructing the
Universe: the Mathematical Archetypes
of Nature, Art, and Science
Debbie says: I am struck by the similarity of the Rock
Cycle and the cycles of human transformation. As I
observe myself and my students attempting to change
their movement habits, I see the weathering effect old
habits have on the body. As we dance, I see a melting
away of “doing it the same way”; a releasing of what
was, a crushing of the old; and the reformation of
movement within a greater whole—one of change and
P9 Quotes
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transformation. I am a rock, slowly changing how I use
my hands and arms. I am aware of the weathering effects
old movement habits have on my neck and shoulders. In
time, this too will change. My lesson is to be patient, to
allow my bones and tissues to shift in their own time, in
their own cycles of weathering, melting, cooling, crushing,
compressing and reformation, so that I might feel a greater
connection to wholeness.
“The first thing to decide is whether or not such habitual
use of the head and neck is important. Consider this:
the whole region at the base of the neck, both front and
back, is a veritable maelstrom of muscular coordination.
It is here that those most inadequete evolutionary
adaptations – the shoulders and upper arms – will exert
their distorting influence during the many activities in
which we engage.”
— Wilfred Barlow,
The Alexander Technique: How to Use
Your Body Without Stress
Debbie says: I have often wondered how I can imprint the
deep relaxation I feel in my neck and shoulders after a
good cry into my daily movement. What is it that happens
when I cry? My extremities allow the core of my body—
my pelvis, chest and head—to be my primary support.
Now, I consciously seek the sensation of what I call my
“cry dance,” to help me release any exerting influences my
shoulders and neck might have on the rest of my body.
Mind
“The wave is not the water. The water merely told us
about the wave moving by.
—R. Buckminster Fuller (1895-1983),
American inventor, engineer, poet,
mathematician, and futurist)
Debbie says: Watching hands and arms moving in space,
I am constantly reminded that when the body is being
moved, it is not the person moving the body. We mentally
intend to lift our hands up to the sky, and as we do, we get
to witness the invisible force of the universe made visible,
rippling through the body. This is one of the great joys I
get from watching bodies move through space—I get to
witness the magic of the universe rippling itself through
the body. It is the endless wave that like the tides, come
and go.
“To execute [even such a simple thing as sitting down]
must require the right degree of action of a great many
muscles and nerves, some hundreds to thousands of
nerve fibers and perhaps a hundred times as many
muscle fibers. Various parts of my brain are involved
in the coordinative management of this, and in so
doing, my brain’s rightness of actions rests on receiving
and dispatching thousands of nerve messages, and on
registering and adjusting pressures and tensions from
various parts of me.”
— Wilfred Barlow,
The Alexander Technique: How to Use
Your Body without Stress
Debbie says: I am in awe of the task of caring for a body
from the perspective of the body. I do my best to be aware,
to pay attention, to listen and respond. I am slow. Therefore,
the best thing I can do for my body is remain sensitive
to pleasureable sensations. The way I use my hands can
positively affect the messages my body receives and
dispatches. I want the receiving and the dispatching to be
rooted in pleasure and love, so my job is to choose comfort
and pleasure. In doing so, I will accomplish my desire.
“In the Two we experience the very essence of numbers
more intensely than in other numbers, that essence
being to bind many together into one, to equate
plurality and unity. Our mind divides the world into
heaven and earth, day and night, light and darkness,
right and left, man and woman, I and you—and the
more strongly we sense the seperation between these
poles, whatever they may be, the more powerfully do
we also sense their unity.”
— Michael S., Schneider,
A Beginner’s Guide to Constructing the
Universe: the Mathematical Archetypes
of Nature, Art, and Science
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Debbie says: The power of two in the human body is
visible in our two feet, two ankle joints, two sets of shin
bones, two knees, two thighbones, two hip joints, two
sides of the pelvic girdle, two kidneys, two lungs, two ears,
two eyes, two nostrils, two lips, two sides of the brain, two
shoulder joints, two shoulder blades, two clavicle bones,
two sides of the rib cage, two upper arm bones, two
elbows, two forearm bones, two wrists—and two hands!
By consciously recognizing my two hands, I am able to
sense seperation and independence: my left hand holding
my right hand. I am able to also sense dependence, the
balance and harmony that can only come when two
become one.
“I think that all mind patternings are expressed in
movement, through the body. And that all physically
moving patterns have a mind. That’s what I work with.
In every workshop there’s a certain mind, or mood of
the room, when most of the people are doing any given
pattern. And then, when we change patterns, the feeling
in the room changes. For instance, when you are in the
push patterns, it’s like being in a cave; whereas, when
you go to the reach and pull patterns, the whole room
lightens up. All of a sudden people are aware of the
light and sound and others. So people are impressed—
in any of the work, whether it’s through the body
systems or through the developmental work—that we’re
really dealing with the physical manifestation of mind.
And by becoming attuned to the alignment of the mind
and the physical activity, the element of choice comes
in; one has conscious choice then.”
— Bonnie Bainbridge, Cohen, Sensing,
Feeling, and Action
Debbie says: Changing our mind is how we accept and
make choices. The body desires change. In my hands, I
am constantly reminded of the changes, the choices, I
have access to at any given moment. The dance of my
hands and arms as they express themselves provides me
with a picture of the moving patterns of my mind. In my
hand gestures, I am able to witness my thinking mind.
emotions
“Five-fold symmetry fills a special place in nature’s
design lexicon. The five-pointed star’s association with
excellence, power, and authority is manifested in nature
as beautiful and efficiently designed forms. Pan’s fertility
was symbolized by the five-pointed star because the
shape is a key to nature’s fecundity and generative
powers, providing freshness, fullness, and fertility of
life. The archetype of five-ness expresses itself as living
forms and in the attributes of living creatures.”
— Michael S., Schneider,
A Beginner’s Guide to Constructing the
Universe: the Mathematical Archetypes
of Nature, Art, and Science
Debbie says: When it comes to my upper extremities, it
is my hands that shape the generative powers inherent
in moving. Changing the way I reach out with my hands
adds a freshness to my experience. The freshest experience
of all is when I remember to emotionally connect to the
five-ness of my hands, the quality that connects me to all
living forms. I move my hands and am in awe of the magic
of my body and the world I live in. In these moments, I am
emotionally full. I am in peace and in love.
“The arms are like wings; we have to learn how to
use them. They become light, very light, when the
grounding is properly done with gravity under our feet.
Leonardo da Vinci gave a great deal of attention to the
flight of birds, since he was experimenting with the
possibility of human flight. He wrote: “When a bird
flies down, then the bird’s center of gravity is outside
the center of his resistance.” We must realize that the
gravity under our feet, attracting us towards the center
of the earth, is outside our bodies. This is similar to
what happens between the earth and the sun: the earth
gravitates around the sun, but the sun is outside the
earth attracting it towards itself.”
— Vanda Scaravelli,
Awakening the Spine: the Stress-free
New Yoga That Works with the Body to
Restore Health, Vitality, and Energy
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Debbie says: What a gift it is to see through another’s eyes,
to receive understanding from some else’s viewpoint. The
concept of “oneness” was brought home to me when I
realized I am the eagle—I must learn how to fly and use
my wings! I must explore movement, not only by sensing
my body, by watching my body and other bodies, but also
by watching the world moving around me—by watching
the birds, dogs, cat and all animals, as they are in constant
motion and harmony. They will teach me to fly with the
wings of my hands and arms.
“The benefit of thumb action in paschimottanasana is
especially clear. With the hands holding the feet, the
fingers wrapped around the lateral edges of the feet, press
the thumbs into the first metatarsal heads. This action
serves two important purposes in this posture: the thumb
action not only helps the depressed scapulae lift and open
the chest, but also supports the strong foot position, which
helps straighten the legs and spread the toes.”
— Mel Robin,
A Handbook for Yogasana Teachers:
the Incorporation of Neuroscience,
Physiology, and Anatomy
into the Practice
Debbie says: To mindfully guide my body by sensing pleasure
is one thing. To use greater body knowledge—to draw upon
the wisdom of yoga—is to receive detailed information so I
can go even deeper into sensation. The result is that I learn
how to live in my body more functionally. The simple act
of using my hands and fingers amazes me. “Coming into”
each of my body parts helps me awaken to deeper levels
of sensation, to a deeper knowledge of how all parts work
together and rely on one another.
“...one can set the hands on the wall with the edges of the
thumbs and the index fingers touching the wall, and then
press both to the wall while rotating the upper arms and
depressing the scapula in adho mukha svanasana. When
in the position with the hands blocked, if the heels can be
blocked as well, then the effects on the scapulae are further
magnified.”
— Mel Robin, A Handbook for
Yogasana Teachers: the Incorporation of
Neuroscience, Physiology, and
Anatomy into the Practice
Debbie says: My upper extremities are my connection to the
sense of touch. Touching the invisible, the space around me,
I feel the activation of Natural Time measurement. Through
touch, I get to see my body’s proprioceptors in action. I get
to experience something magical inside me: proprioception,
the internal voice that lets me know where my body is
and what it is doing—a voice that comes to me through
sensation. It is my responsibility to do all I can to enhance
my ability to sense, to develop my senses, so I may have a
healing and loving relationship with my body.
spirit
“When truth has been revealed to us, we cannot go
back into the old pattern with our usual silly mistakes.
No excuses can be accepted, no justifications can be
offered; life is too demanding and we have to hold it in
our hands.”
— Vanda Scaravelli,
Awakening the Spine: the Stress-free
New Yoga That Works with the Body to
Restore Health, Vitality, and Energy
Debbie says: The idea of holding life in my hands makes
me acutely aware of my hands. The understanding that life
is always in the palms of my hands inspires me to move in
loving and grateful ways. I seem to touch the world more
gently knowing that at my fingertips is life itself.
“The feeling of awe and a sense of wonder arises from
the recognition of the deep mystery that surrounds
us everywhere, and this feeling deepens as our
knowledge grows.”
— Michael S., Schneider,
A Beginner’s Guide to Constructing the
Universe: the Mathematical Archetypes
of Nature, Art, and Science
Debbie says: Knowledge is fuel that inspires us, our bodies
and our students. Knowledge is all around us, as the
mathematical wisdom of Sacred Geometry is everywhere we
look. Like the plants that have a five-fold pattern, my hands
also have a five-fold pattern. When I look into the palms of
my hands, the center of my two fives, I am aware that in the
palms of my hands is life itself. Every time I reach out with my
hands, I am one with the plants and the universe.
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“Harmony makes small things grow. Lack of it makes
great things decay.”
—Sallust (c. 86-34 B.C.,
Roman historian and politician)
Debbie says: Spirit is my messenger. When I listen to the
voice of my spirit, I am always guided into alignment. By
moving my upper extremities, I receive the opportunity
to sense and cultivate harmony. Tracking the sensation
of harmony is how I move and heal; how I avoid the
decay that comes from lack of harmony—the sensation
of struggle, effort, pain and strife. Harmony is always
available to you in the palms of your hands, in the
movement of your shoulder joints, hovering and sliding
underneath your shoulder blades. When we move our
arms, hands and fingers, harmony is there, waiting for us
to dance and play.
“Unlike the still center, the circumference speaks of
movement. We replicate this universal principle in our
geometric constructions whenever we turn the compass
around its point and scribe a circle. Symbolized in
nearly every culture as a wheel, the circle represents
nature’s universal cycles, circulations, circuits, orbits,
periodicities, vibrations, and rhythms.”
— Michael S., Schneider,
A Beginner’s Guide to Constructing the
Universe: the Mathematical Archetypes
of Nature, Art, and Science
Debbie says: No other part of the body connects me as
deeply to the spirit of our universal cycles and rhythms
as my hands. My hands are constantly speaking to me
and to the world. As I observe them in motion, I see
they move much like a compass. My thoughts and
emotions are the fuel that inspires my hands and arms
to gesture, to scribe their messages around me, always
following the shape of a circle. My hands reach out
and come back to me, swimming in the sea of life’s
patterns—of Sacred Geometry.
resources
Barlow, Wilfred. The Alexander Technique: How to Use
Your Body Without Stress. Rochester, Vt.: Healing Arts,
1990. Print.
Calais-Germain, Blandine, and Stephen Anderson.
Anatomy of Movement. Seattle: Eastland, 1993. Print.
Cohen, Bonnie Bainbridge. Sensing Feeling and Action:
The Experiental Anatomy of Body-mind Centering. 1980-
1992. Berkeley, CA, USA: North Atlantic, 1993. Print.
Csikszentmihalyi, Mihaly. Creativity: Flow and the
Psychology of Discovery and Invention. New York:
HarperCollinsPublishers, 1996. Print.
Robin, Mel, and Mel Robin. A Handbook for Yogasana
Teachers: the Incorporation of Neuroscience, Physiology,
and Anatomy into the Practice. Tucson, AZ: Wheatmark,
2009. Print.
Schneider, Michael S. A Beginner’s Guide to Constructing
the Universe: the Mathematical Archetypes of Nature,
Art, and Science. New York, NY: HarperPerennial, 1995.
Print.
Scaravelli, Vanda. Awakening the Spine: the
Stress-free New Yoga That Works with the Body to
Restore Health, Vitality, and Energy. [San Francisco]:
HarperSanFrancisco, 1991. Print.
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debbie’s recommended reading list:
Calais-Germain, Blandine, and Stephen Anderson.
Anatomy of Movement. Seattle: Eastland, 1993. Print.
Hogarth, Burne. Dynamic Anatomy. New York: Watson-
Guptill Publications, 2003. Print.
Myers, Thomas W. Anatomy Trains: Myofascial Meridians
for Manual and Movement Therapists. Edinburgh:
Churchill Livingstone, 2001. Print.
Rolf, Ida P. Rolfing: the Integration of Human Structures.
Santa Monica, CA: Dennis-Landman, 1977. Print.
Schultz, R. Louis, and Rosemary Feitis. The Endless Web:
Fascial Anatomy and Physical Reality. Berkeley, Calif.:
North Atlantic, 1996. Print.
Todd, Mabel E. Thinking Body. Hightstown, N.J.:
Princeton Book Company, 1991. Print.