Reformer Repertoire
Leg Work:
Side Splits - Adductors
Alternate Names
Standing Adduction
Derived From
Classical Reformer: Side Splits
Primary Element
Mobility
Why for Primary?
To develop and improve mobility at the hip joint.
Secondary Element
Stability
Why for Secondary?
To create, develop and connect with the pelvis stabilisation muscles such as gluteus medius and the deep core transversus abdominis whilst working in hip abduction and adduction.
Tertiary Element
Strength
Why Tertiary?
To develop and improve hip adductor strength, namely adductor longus, adductor brevis, adductor magnus, and gracillisas, as the carriage is returning towards park or the stopper.
Repetitions
8-10 each side
Apparatus Setup
Suggested springs
- Number system: 0.5 spring
- Colour system: 1 x blue spring
- Resistance: light
Foot bar at the lowest position or horizontal position. If a foot plate extender is available that can be used to create more space to place the foot, otherwise ensure the foot plate itself is free from trip hazards such as the foot strap.
A pole may be used for balance if required.
Plane of Motion
Frontal
Targeted Muscles
To create, develop and connect with the pelvis stabilisation muscles the focus is gluteus medius and gluteus minimus and the deep abdominal muscles transversus abdominis.
To strengthen the adductors or inner thighs in adduction the focus is on adductor longus, adductor brevis, adductor magnus, and gracillisas.
Warnings
This exercise may be difficult for clients who struggle with balance or who may be nervous standing on a moving platform. Use a pole to assist with balance if required, or alternatives could be to practice a similar movement lying on a Mat such as Side Kick Series: Single Side Leg Lift.
It may also be unsuitable for clients with some hip, knee or ankle issues or if the client is unable to work through a pain free range of motion.
Execution
Standing facing the foot bar end of the Reformer step one foot up onto the foot place (or foot plate extender), before stepping the second foot up onto the carriage. Adjust both feet to the edges of the platforms and lift the arches of the feet. Hold the arms to a T-position.
Exhale to abduct the hips, opening the legs and allowing the carriage to move out. Pause at the end of range of motion, then inhale to adduct the hips, bringing the legs in towards each other and the carriage back to the start position. Pause before the next repetition to avoid using momentum and riding the springs.
Observations
Do a body scan of the client taking note of the following points
- Pelvis
- Are the hip bones even horizontally or is the client leaning to one side?
- Is the client neutral with their pelvis, with a posterior tilt?
- Legs
- Are the knees locked? You’re looking for a soft and straight knee, not dropping inwards and not locked.
- Feet
- Are the insides of the foot lifting or leaning outward? (supinated)
- Are the insides of the foot rolling inward? (pronated)
- Apparatus
- Is there tension on the springs the whole time? Or is the carriage crashing to the stopper or ‘park’ indicating a lack of control and a push by the client beyond their ideal range of motion? If the carriage is crashing encourage the client to reduce their range of motion and slow their movement down to focus on controlling the return phase, or reduce the spring load so the client can control the spring.
Learning Style Technique Cues
Auditory – word associations that connect mind and body
- The aim is to keep the pelvis still whilst the legs are moving
- Say the client’s name when you’re about to interact with them
- Bias the pelvis towards a slight posterior tilt in order that you can achieve neutral whilst moving
Visual
- Imagine a wine bottle opener or a puppet on a piece of string moving and maintaining length through the torso
- Imagine the legs are chopsticks are you’re moving back in from the top of the legs engaging then drawing down to the feet at the end point.
- You may demonstrate a part of the movement as a visual representation for the client to see
Kinaesthetic
- Feel the shoulders relax and choose an arm position that allows for that including hands on the hips as an alternative to the T-position
- Feel the controlled release as the legs open and then the suction as they return
Modifications and Variations
Regress the exercise by
- Increasing the spring resistance to one blue spring and one yellow spring to provide more support and work on the stability component of the exercise.
- Turning the foot of the footplate leg out so there is more surface area to stand on
- Reducing the repetitions and/or pace
- Working on Reformer Side Kick Series: Drop and Catch as there is still adduction at the hips but in a more supported position without as much balance work involved
- Adding the Pilates box in the ‘short box’ position and positioning the carriage foot against it for support
- Working on Leg Work: Side Splits from the fundamental repertoire to practice the hip abduction movement (pressing away) before bringing in the return phase adduction component
Progress the exercise by
- Decreasing the spring setting to one yellow spring, adding pace and repetitions, and making it more challenging to control the carriage due to the lighter spring setting
- Adding light (1kg – 2kg) hand weights to challenge shoulder stability and build shoulder strength
- Bending the knees into a squat position throughout to engage the quadriceps and maintain the abduction and adduction movements
- Progress into Leg Work: Standing Saw and Leg Work: Picking Flowers
- Working towards Wunda Chair: Single Leg Press Crossover and Wunda Chair: Going Up Side
Series and Transitions
This exercise is part of the Leg Work Abduction and Adduction series which includes a range of other exercises in the fundamental and progressive repertoire. The Leg Work series can also be found in the Wunda Chair repertoire and the Cadillac repertoire.
Transition to the Leg Work: Standing Saw by bringing the carriage back into park or the stopper and continuing with the same frontal plane movement.
