Reformer Pilates: Abdominal Oblique Preparation

Reformer Repertoire

Warm Up:

Abdominal Oblique Preparation

Alternate Names

Chest Lift with Rotation, Oblique Curl

Derived From

Classical Reformer: The Hundred

Primary Element

Warm

Why for Primary?

To develop range of motion in thoracic flexion and shoulder extension and warm up the abdominal oblique muscles for further work in the programme as well as develop control in the deep abdominal muscles transversus abdominis to create pelvis and torso stability.

Secondary Element

Stability

Why for Secondary?

To develop control in the deep abdominal muscles transversus abdominis to create pelvis and torso stability.

Tertiary Element

N/A

Why Tertiary?

N/A

Repetitions

4-5 each side

Apparatus Setup

Suggested springs

  • Number system: 1 spring
  • Colour system: 1 x red spring
  • Resistance: light to medium

 

Headrest position flat unless any neck issues, or the client feels more supported with the head lifted using the headrest or a slightly deflated Pilates ball or cushion.

Foot Bar one position down from vertical, or on many Reformers the top angled position.

Plane of Motion

Sagittal and Transverse

Targeted Muscles

For torso flexion the targeted muscles are rectus abdominis or the ‘six-pack’ muscles at the front of the torso. 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 torso flexion or engagement of the abdominals is contraindicated.
The exercise may be difficult for clients who present with tight hip flexors, or lumbar pain due to the legs being lifted at a 90-degree angle. Try and round the lumbar spine and relax into the carriage and bring the knees in towards the chest. Alternatively, place the feet onto the foot bar and place the straps away as if working on a mat.

Execution

Lie supine on the carriage with the legs in a tabletop position (hips and knees at a 90-degree angle). Place the hands in the short loops with the arms vertical – above the shoulders, maintaining slight tension on the straps.

Exhale lift the head and chest, and rotate through the rib cage (avoiding lateral flexion) while pressing the arms down with one between the knees and one to the outside of the leg. Coordinate the movement by first contracting the abdominals (maintaining engagement throughout), then lifting the upper body and rotating while lowering the arms. Inhale, lower the upper body, and lift the arms to the starting position, maintaining muscle engagement and slight tension in the straps throughout the movement.

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
  • Pelvis
    • Are the hip bones even horizontally or is the client leaning to one side?
    • Is the client laterally flexing to one side, or can they lift and rotate the rib cage whilst keeping their pelvis still (ideal)?
  • Legs
    • Are the legs at a 90-degree angle and not reaching away causing an arch in the lumbar spine?
  • 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, keeping tension on the ropes and stopping when the arms come back above the shoulders.

Learning Style Technique Cues

 

Auditory – word associations that connect mind and body

  • Keep the legs still in tabletop and avoid flexing laterally during the movement or rotating from the shoulders, the idea is to turn from the rib cage
  • Aim to create four movements – forward lift and rotate, come back through the center and down
  • Say the client’s name when you’re about to interact with them

 

Visual

  • Imagine the rib cage spiraling around creating the twist movement through the torso
  • You may demonstrate a part of the movement as a visual representation for the client to see

 

Kinaesthetic

  • Feel the adductors drawing the legs towards the midline of the body to help keep the pelvis and legs still, then turn and rotate away from that stable base
  • Reverse the breathing and inhale to lift and rotate, expanding the lungs and rib cage to help feel the movement happening from the rib cage

Modifications and Variations

Regress the exercise by

  • Keeping the feet on the foot bar and dropping the hand straps to focus on the chest lift movement and rotation rather than adding the movement of the carriage
  • Supporting the upper body with a foam wedge or cushion, keeping the head down and working through the arms press movement whilst maintaining the legs in tabletop
  • Reducing the repetitions and/or pace

 

Progress the exercise by

 

Client experiencing neck strain or pain?

  • Place the straps away and place the feet down onto the foot bar as if working on a mat
  • Lengthen the back of the neck so the chin is gently tucked and place the hands behind the head to support the weight of the head with the arms
  • Look to the knees first, inhale, then exhale to lift the head (maintaining the angle of the neck as if blowing air to the knees) and lift the sternum forward before rotating the rib cage. Inhale to return to the starting position.
  • If the client finds it difficult to regulate or manage the angle of the neck try placing a ‘chin ball’ or tennis ball under their chin to assist in the head and neck positioning. You may have heard the cue “Imagine a peach or plum under the chin”, this is where that more traditional cue originates.

 

Client experiencing tight hip flexors?

  • Try and let the legs separate and externally rotate, and hook one ankle over the other to create some support for the weight of the legs
  • Stretch the hip flexors prior to the exercise
  • Place the straps away and place the feet down onto the foot bar as if working on a mat

Series and Transitions

This exercise is part of the Abdominal Work series which includes a range of other exercises in the fundamental and progressive repertoire. The Abdominal Work series can also be found in the Mat Work and Cadillac repertoire.

Transition to Abdominal Work: Criss Cross by returning to a supine position with the arms lifted above the shoulders ready to lift and rotate the rib cage into an oblique curl with the reach of the opposite leg.

The traditional order of the Abdominal Work series is

 

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

Warm Up repertoire

 

Fundamental repertoire

 

Progressive repertoire