The way I Plan and Construct an F.I. Lesson

Eli Wadler

In the first session, I ask the new patient to walk around the room.

I will ask the patient to pay attention to the side she or he have chosen to turn around, the way the shoulders are held, to the sounds produced by walking, to what the eyes see, to the size of the step of each foot and to the time the foot rests which is different for each foot. I will share the information I draw with the patients and will let them know to what extent their body language express things they have never thought about, and how many different movement expressions have been overlooked by or hidden from the patient. This causes the patient to start getting that the responsibility for her/his body DOES NOT lie in the hands of various masters of the profession.

What will encourage the patients to take part in being aware to their movements is the interest and the curiosity of the wonders of movement, and by no means the misery of pain. This is when I expect the patient stop being passive in the treatment, and the lesson becomes an interesting one to participate and to take responsibility in. Taking responsibility will be for example paying attention during the F.I. session that will turn into learning, and later with the patient being active in endless adventures – movements and solution that will patients will give by themselves TO themselves in the ATM lesson.

The F.I. consists as described by Moshe Feldenkrais in his book “Chapters in My Method”, of a series of lessons that are built one lesson on top of the previous one, and they are actually layers built and ordered in development in accordance with each patient’s individual learning ability.

I will always ask the patient what is the convenient position for you to lie down, to sit or to stand, because many times the pain DICTATES the preference of one position above all the others. It is obvious that it is convenient to create a dialog using are non-verbal movement language – a language in which I talk using my body and my hands. If I ask that the body and the mind of the patient will have a dialog with me, my strain of “speaking” should be in the limits of what is familiar, safe and convenient for the patient. I will NEVER DICTATE any movement, but look for the both of us for what is available and possible.

A person in pain is unsafe in her/his own movements, and the touch of another’s hands is difficult to accept, even if the logical confidence and the knowledge of my professionalism and mastery. I have to have a conversation with this uncontrolled “fear zone” and gain the patient’s confidence initially tin his/her movements, and them in my movements as well. How is this done?

From the technical movement aspect. My hands are on the patient’s body, mainly as information sensors – to sense the direction and the magnitude of the patient’s movement. My hands are not the “main player”. My body is: my pelvis, shoulder belt, my head’s weight. The right extent of my straddle, the way I sit or stand to avoid strain from my pelvis and my back.

My hands express gently the movement of my pelvis if my request is to move the patient’s pelvis. My hands express my shoulders’ movement if I wish to move the patient’s shoulders etc.

This causes the same factors in the patient’s personality that cause the stoned movements being afraid of the pain, to experience the confidence that my hands do not interfere with the considerations of the patients but accept them without judgment. My hands may even introduce to the patient a few gentle options to consider according to what she/he senses, respecting the patient’s feelings and sensitivity to pain.

My hands take the patients muscle efforts defended by extra tonus very seriously, and will cause the extra tonus to weaken in favor of “exiting the shelter” of stoned movement. After the “sounds” of movement relaxation that I will contribute in the first treatments-lessons, in which people listen mainly to the pains and constrains, I will start expanding gradually the positions the patient is accustomed to. Additional possibilities, never extreme ones, are introduced in order for the patient to get that “the war is over and it is safe to move from the bunker to a regular shelter”. Later I will start adding other movements out of the patient’s repertoire, which are still latent to the patient in this stage.

For example: I will have the patient lie on a yellow Oval shaped ball with almost no air in it. The patient will lie on her/his side and will be asked to make circles with the upper hip I will probably find the chest vertebrae and their ribs also move a little. I will put the palm of my hand on the moving part in an almost unseen movement’ and I will ask the patient to make small circles around the palm of my hand. Suddenly the pelvis movement will become easier. Then I will put my warm hand on the sore lumbar vertebrae and will ask the patient to “fill” my hand with them, and later have them touch a little less. This way a movement will interlace another movement and another vertebra to the chain of the patient’s spine until the whole body will be moving in gentle circles.

At the end of the session I will ask the patient to roll down from the bed and walk a little around the room. I will draw the patient’s attention using questions like:" what parts of your body are moving now?” , “How do you use your feet” and additional questions that draw the patients attention to the possible and to the moveable and not to the painful and constraining.

This way the patient leaves another lesson with expanded movement and aware to her/his possibilities, and with the feeling that she/he also (and MAINLY) contributed to that.

In the next lessons the patient will be asked where the improvement is felt, and well there is still a missing movement that used to be there. Like in an ATM lesson I will go from the easy to the still locked until the patient has the ability to lubricate the key and open the constrains of fear and pain that lock the movements. We will have to outline the path from scratch for every person, to find the solution with soft stubbornness and with fresh sharp vision daily.

We have to allow ourselves to make mistakes and change direction, to invent additional options out of the patient’s subtle latent movements of the body “casted” as a result of pain. These movements could not hide from our curious experienced eyes. This should never be done out of empty professional arrogance.

To conclude, we can say that we have chosen a profession in which we learn mainly during day-to day experience. What we learn out of books, articles and videos empowers us and enables us to learn and expand and to refine ourselves daily without ever entering the FALSE confidence of knowledge.


Die Osteoporose (Kalziumabbau) ist eine Krankheit, die sich durch langsamen

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Diese Webseite enth?lt Informationen und Anleitungen zur Feldenkrais-Methode, so wie Sie vom Nachfolger von Dr. wird, der ?ber zehn.

Die Osteoporose (Kalziumabbau) ist eine Krankheit, die sich durch langsamen

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enth?lt Informationen und Anleitungen zur Feldenkrais-M

Movement is life. Without movement, life is unthinkable.
Dr. Moshe Feldenkrais
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