Reformer Pilates: Oblique Twist

Reformer Repertoire

Kneeling Arm Work:

Oblique Twist

Alternate Names

Swakatee

Derived From

Classical Reformer: Swakatee Series, Arm Chair: Swakatee Series

Primary Element

Mobility

Why for Primary?

To further develop thoracic rotation and mobility through the torso.

Secondary Element

Strength

Why for Secondary?

To develop and build strength in the abdominal oblique muscles and develop pelvic stabilisation throughout the movement.

Tertiary Element

N/A

Why Tertiary?

N/A

Repetitions

4-5 each side

Apparatus Setup

Suggested springs

  • Number system: 0.5 spring
  • Colour system: 1 x blue spring
  • Resistance: light

 

Foam padding may be used underneath the knees to create a more comfortable position, or the exercise can be performed sitting on a Pilates box, or with the legs crossed or extended if kneeling is contraindicated or creates pain.  

Plane of Motion

Transverse

Targeted Muscles

To create the rotation of the rib cage the focus is on the abdominal oblique muscles

  • internal obliques – same side rotation muscle
  • external obliques – opposite side rotation muscle

 

To create pelvis stability the targeted muscles are the deep abdominal muscles transversus abdominis.

Warnings

This exercise may be unsuitable for clients where engagement of the abdominals is contraindicated, or where kneeling is contraindicated or creates pain. If painful to kneel try sitting on a Pilates box, or sitting with the legs crossed or extended.

Execution

Kneel on the Reformer upright facing sideways on the carriage, shoulders stacked over the pelvis, head rest side hand holding the short loops or ropes with both elbows softly bent and the hands interlaced in front of the sternum creating a circle shape.

Exhale to rotate the rib cage towards the foot bar, maintaining stability through the shoulders and pelvis, inhale to return to the starting position with control.

Observations

Do a body scan of the client taking note of the following points

  • Head and Neck
    • Is the back of the neck long and crease free? A slight retraction of the neck with the chin tucked can help avoid straining the neck forward and up
    • Aim to keep the neck in line with the spine, and avoid turning the head independently of the spine. It may help to lead from the sternum
  • Pelvis
    • Are the hip bones even horizontally or is the client leaning to one side?
    • Is the client about to keep a posterior tilt throughout with engagement of the abdominals? Look for the rib cage popping forward, ideally it is kept down and in with the pelvis tucked to avoid arching in the lumbar spine
    • Can the client avoid leaning towards the head rest, but keep tall and engaged through the torso?
  • Arms
    • Are the shoulders lifted up and back before the movement begins?
    • Can the client maintain the round shape of the arms throughout the movement? If not, the spring may be too heavy
    • Can the client keep their arms lifted at the same height the whole time?
  • Legs
    • Is the client comfortable kneeling? If not move to a seated position

Learning Style Technique Cues

Auditory – word associations that connect mind and body

  • Aim to keep the range of motion only to where the rib cage can no longer rotate, avoiding pushing with the shoulders
  • Bias the pelvis towards a slight posterior tilt in order that you can avoid extending or arching the lumbar spine
  • Say the client’s name when you’re about to interact with them

 

Visual

  • Imagine holding a magic circle and keep the arms still throughout the movement
  • You may demonstrate a part of the movement as a visual representation for the client to see

 

Kinaesthetic

  • Feel the rotation from the wait up, avoiding movement from the ASIS or hip bones down. 

Modifications and Variations

Regress the exercise by

  • Reducing the spring setting to one yellow spring on the high hook, then further regressing to one yellow spring on the low hook if required
  • Reducing the repetitions and/or pace
  • Working on the movement but with 0.5kg hand weights or no weights to create the pattern before adding load
  • Using a Magic Circle to hold with the arms wrapping around it (one pad to the sternum, the other held with the hands) to keep the round shape of the arms as well as the height of the arms
  • Working on Kneeling Arm Work: External Rotation

 

Progress the exercise by

  • Increasing the repetitions and/or pace
  • Increasing the spring setting to one blue spring on the high hook or one red spring
  • Progress into Kneeling Arm Work: Halo

Series and Transitions

This exercise is part of the Kneeling Arm Work series which includes a range of other exercises in the progressive repertoire. The Kneeling Arm Work series can also be found in the Mat Work using a Theraband or resistance band or hand weight, and the Cadillac repertoire.

Transition to Kneeling Arm Work: Halo by separating the hands to hip bone width apart and lifting the arms in front of the sternum.

The traditional order of the Kneeling Arm work series (or Swatakee) is

  • Swatakee 1 (or what we know as Kneeling Arm Work: Draw a Sword)
  • Swatakee 2 (where the inside arm holds the strap and reaches to the ceiling or ‘shaves the ear’
  • Swatakee 3 (where the outside arm reaches overhead into a tricep press, which then leads into a circle motion)
  • Swatakee 4 (where both arms lift overhead from a T-position (similar in principle to what we know as Kneeling Arm Work: Halo)

 

Inspired Academy follows the order to create stability and mobility before building strength.

Progressive repertoire