Reformer Pilates: Bend and Press

Reformer Repertoire

Side Kick Series:

Bend & Press

Alternate Names

Single Leg Press

Derived From

Mat Pilates: Side Kick Series

Primary Element

Stability

Why for Primary?

To create, develop and connect with the pelvis stabilisation muscles such as gluteus medius and minimus and the deep core transversus abdominis.

Secondary Element

Strength

Why for Secondary?

To develop and improve gluteal and leg muscle strength, particularly in the gluteals and quadriceps of the pressing leg.

Tertiary Element

Mobility

Why Tertiary?

The hip, knee and ankle joints are all working here, although not always through their full range of motion.

Repetitions

8-10 each side

Apparatus Setup

Suggested springs

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

 

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

Use a ball or cushion under the client’s head for neck support, and use a small hand towel or foam under the client’s underside waist to aim for a neutral position even if lying on their side.

Plane of Motion

Sagittal

Targeted Muscles

To create, develop and connect with the pelvis stabilisation muscles the focus is gluteus medius and gluteus maximus and the deep abdominal muscles transversus abdominis.

To work on strengthening the leg muscles the focus is on the below:

The ‘knee extensors’ or quadriceps muscle group of the anterior thigh facilitate the pressing away of the carriage creating a concentric contraction. They comprise:

  • Rectus femoris
  • Vastus intermedialus
  • Vastus medialis
  • Vastus lateralis

 

Hip extensors – muscles which open or lengthen the front of the hip and move the leg backwards. Primary hip extensors include:

  • Gluteus maximus
  • Posterior head of the adductor magnus
  • Hamstrings

Warnings

This exercise may be difficult for clients with tight hip flexor muscles, as it may be uncomfortable to be close to the stopper in deep hip flexion. Start the client out further away from the stopper and aim to avoid coming too close into the stopper on the return phase of the movement, or not bending the knee in as far.

It may also be unsuitable for clients with some hip, knee or ankle issues, or who are unable to move in a pain free range of motion.

Execution

Lie on one side of the Reformer leaning on the forearm of the lower arm with the hands behind the shoulder rests. Place the foot of the top leg into the front strap, bending the bottom leg. Engage the underside oblique abdominal muscles and shoulder stabilisers to support the torso. Lift the top leg up to hip height, or slightly higher, and bend the knee into a tabletop or 90-degree position.

Exhale to extend the top leg towards the foot bar and back slightly to move into hip extension, inhale to bend the knee controlling the movement back to tabletop or 90 degrees.

Observations

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

  • Pelvis
    • Are the hip bones even vertically or is the client leaning their top hip bone back?
    • Is the client arching their back to achieve the hip extension movement, or are they able to stay within a range of motion pressing back that enables the pelvis to stay still?
    • Is the client neutral with their pelvis, with a gap underneath the underside waist?
  • Legs
    • Is the pressing leg knee locked? You’re looking for a soft and straight knee, not dropping inwards and not locked. Have the client reach the knee up slightly to connect more into gluteal stability muscles
    • Is the client able to keep the top leg at hip height or higher? Keep the leg lifted to avoid engaging the hip adductor muscles
  • 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

  • Aim to keep the hip, knee and foot of the top leg on the same horizontal line or in line with the Foot Bar
  • Try to minimise rocking the torso back and forwards
  • Say the client’s name when you’re about to interact with them

 

Visual

  • Imagine that both legs are on the Foot Bar and you’re pushing away. Everything remains the same keeping the structure stable and balanced
  • You may demonstrate a part of the movement as a visual representation for the client to see

 

Kinaesthetic

  • Engage the abdominal muscles to stabilise the torso, maintaining neutral pelvis alignment with a gap under the underside waist
  • Bias most weight into the strap and reach the leg out into the strap

Modifications and Variations

Regress the exercise by

  • Reducing repetitions and/or pace
  • Reducing the range of motion so the client can focus on pelvis stability without the hip flexors taking over. Create more of a pulse movement from the extended leg position half way into the stopper to avoid going into deep hip flexion on the return phase
  • Working on Leg Work: Single Leg Press

 

Progress the exercise by

  • Increasing the spring settings to two red and one blue springs
  • Adding variations such as pulses, external or internal rotation
  • Progress towards

Series and Transitions

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

Transition to the second Side Kick exercise by straightening the top leg towards the Foot Bar ready for Side Kick Series: Single Side Kick.