Reformer Repertoire
Forward Facing Arm Work:
Hug-A-Tree
Alternate Names
Seated Arm Work series, Front Rowing exercises
Derived From
Classical Reformer: Arm Circles
Primary Element
Strength
Why for Primary?
To strengthen the shoulder adductors and chest muscles, in particular Anterior and Middle Deltoids against gravity and the spring resistance to reach the arms up and forward as well as abduct or reach the arms outwards, and eccentrically to control the movement of the arms back and inwards.
Secondary Element
Stability
Why for Secondary?
To create and develop torso and scapula stabilisation.
Tertiary Element
N/A
Why Tertiary?
N/A
Repetitions
8-10
Apparatus Setup
Suggested springs
- Number system: 1 spring
- Colour system: 1 x red spring
- Resistance: light to medium
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
Sagittal and Frontal
Targeted Muscles
Shoulder horizontal adductors primarily
- Pectoralis major
- Latissimus dorsi
- Teres major
Shoulder flexors
- Anterior and Middle Deltoids – the anterior deltoid muscle also participates in the adduction of the shoulder
- Pectoralis Major
- Biceps Brachii
When the arms are moving forward and in the Pectoralis Major and Anterior Deltoid are contracting, when the arms are moving back to the start position these muscles are working eccentrically against gravity and the resistance of the springs to maintain control.
Warnings
This exercise may be unsuitable for clients where kneeling is contraindicated or creates pain. It can be done sitting on a Pilates box, or sitting with the legs crossed or extended.
The exercise may be difficult for clients who present with tight chests or pectoralis muscles. Pectoralis release work or stretches may be beneficial before this exercise to assist with activation and range of motion.
Execution
Kneel upright on the Reformer carriage facing the foot bar with the tops of the feet on the head rest and the back of the pelvis against the shoulder blocks. Place the thumbs into the short straps with palms facing up. Bend the elbows and lift the arms up in line with the shoulders creating the ballet arm position ‘Second Position’ with the chest open and the elbows soft and palms facing inwards.
Exhale to adduct the shoulders until the finger tips touch, inhale to abduct the shoulders – working on the eccentric contraction of the muscles of the chest as the arms return to the start without moving the scapulae.
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 as the arms move
- 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?
- Arms
- Are the shoulders lifted up and back before the movement of the arms?
- Can the client maintain the connection between the shoulder blades and identify when to stop reaching the arms? I.e. when they lose the shoulder stability and connection
- Can the client abduct the shoulders and move the arms back with control against gravity without puffing the chest forwards and activating or gripping down into the latissimus dorsi muscles?
- Legs
- Are the legs relaxed and in a comfortable seated position?
Learning Style Technique Cues
Auditory – word associations that connect mind and body
- Engage the transverse abdominis before moving, anchoring the sit bones down
- 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 a foam roller behind your spine, hug the shoulder blades around the foam roller and keep the back of the head connected to the foam roller as you reach the arms forward
- Imagine a balloon or small Pilates ball under the armpits as you bring the arms around and forward, then back in again to avoid jamming or locking down on the return phase of the movement
- Imagine the ballet arm position ‘Second Position’ with the chest open and the elbows soft throughout the movement
- You may demonstrate a part of the movement as a visual representation for the client to see
Kinaesthetic
- Feel the co-contraction of the abdominal muscle and the back extensors to create a stable torso from which to move from
- Keep the elbows high and a light feeling under the arm pits throughout the movement to avoid locking down into latissimus dorsi muscles
- Feel the shoulders lifting up and back to start the movement
Modifications and Variations
Regress the exercise by
- Reducing the spring setting to one blue spring
- Reducing the repetitions and/or pace
- Working on the movement but with 0.5 kg hand weights or no weights to create the pattern before adding load
- Stretching the chest and Pectoralis muscles to increase the range of motion through the shoulders before attempting the exercise
- Working on Forward Facing Arm Work: Offering
Progress the exercise by
- Increasing the repetitions and/or pace
- Increasing the spring set to one blue spring and one red spring
- Sit on a less stable surface, for example, a foam roller or yoga bolster or lift up into a high kneeling position with the feet against the shoulder blocks to create instability
- Progress into Forward Facing Arm Work: Salute
Series and Transitions
This exercise is part of the Forward Facing Arm Work series which includes a range of other exercises in the fundamental repertoire. The Forward Facing Arm Work series can also be found in the Cadillac repertoire, or performed on a mat using hand weights or a resistance band looped behind the waist.
Transition to Forward Facing Arm Work: Salute by drawing the arms up with the back of the hands to the forehead ready for Forward Facing Arm Work: Salute.
Inspired Academy follows the order to create strength in more straightforward movements before adding complexity
Fundamental repertoire
