Does Acupuncture hurt?

We asked one of our Studio 26 acupuncturists, Daryl Thuroff, likely the most common question she gets in her first session with a new client: does acupuncture hurt?

Daryl responded candidly: “you’re being stuck with needles, so of course you will feel it!” But the needles we often envision: big and thick and hollow, poking into the tender undersides of our arms, are the needles used in Western medicine and not acupuncture. Acupuncture needles are solid. They can cause an initial pinch or a general sensation of dull achiness, but that’s usually the extent of it.

Acupuncture needles are small, thin, and flexible, roughly the diameter of a human hair. They have give in a way that syringes do not. This flexibility is important, because the aim of acupuncture is to keep energy (Qi) flowing. Acupuncture’s aim is to re-enliven parts of the body that have been dormant or in pain by encouraging movement.

Whether you are needle-phobic, needle-sensitive, or a needle-enthusiast, the goal of acupuncture is to foster well-being. Feelings of discomfort that may arise while receiving acupuncture are comparable to the experience of exercising muscles that haven’t been active in a long time; it may take some getting used to!

The Sound of Science: Grunting and the Disgruntled

Grunting has become a phenomenon. From over-exuberant tennis matches to power-cleaning hulks in the weight-room, the sounds of physical exertion have attracted a noteworthy amount of buzz. Whether the first was Andre Agassi or Monica Seles, it is rare to watch tennis pros nowadays without also experiencing a sonic volley of effort. After all, these athletes are pummeling balls at each other; the speeds and angles are awe-inspiring. From the Olympics to the gym around the corner, weight-lifting athletes test the extremities of their muscles’ power. These grunts and yells sometimes make it seem as though lifting those giant weights is more pain than gain. Consequently we began to wonder what purpose, physically and functionally, does the grunt serve?

Many scientific studies have been conducted to analyze the physical benefit of grunting, or releasing an exhale with forced sound. While many of the studies focus on the distracting nature of the sounds as a competitive strategy, many others approached the concept biomechanically. According to Professor Alison McConnell, author of Breathe Strong, Perform Better, the inhalation before a weight-bearing or force-propeling action serves as a protection of sorts, “holding air in the lungs helps to provide the stability required for injury-free and forceful movements of the trunk.” The stabilizing power of that breath quiets the inhibitory neurons in the lungs, ribs, and back that could block necessary movement and ultimately render trauma to stilted or held musculature (humankinetics.com).

McConnell addresses the grunt from a tennis-based perspective and focuses on the grunt’s function in the tennis ball-racquet-force relationship, but her reasoning is physiologically grounded. She says, “Simply exhaling as soon as the player has hit the ball will dissipate the stability and control in their core, this can throw them off-balance and break that all-important rhythm” but a “forceful exhalation using the larynx, or voice-box, [maintains] stability in the core.” Interestingly, McConnell also notes that sound is not necessary for correct execution, but helps tremendously with control when learning how to use breath to stabilize one’s core in tennis.

So what about the non-tennis grunt? Grunting has also been a large part of weight-lifting culture, and recently has evoked many a spat between grunters and the disgruntled. The most famous news story is about a man named Albert Arbigay, who was thrown out of a Planet Fitness gym (touted as a “Judgement-Free Zone”) after having grunted while lifting over 500 pounds. It is Planet Fitness law to prohibit loud grunting, and grunting at all potentially triggers the ‘lunk alarm,’ where a blue light flashes in the gym alerting the offender of their sonic crime, a lunk defined by Planet Fitness as someone who “grunts, drops weights, or judges.” Many of those who have been involved in situations like Arbigay’s say that these grunts are noises that cannot be avoided and are crucial to the physical work they choose to practice. In such weight-bearing circumstances perhaps it is important to wonder what potential injuries could occur if said grunts were contained.

Human physiology seems to be at the crux of the concept. A 175 pound person lifting 35 pound dumbbells is not going to make the same noise while physically exerting a lift as a 250 pound person who pushes 500 plus pounds. Further, if you simply change the variable, the exercise, even the same person would exert their body, and their voice box, differently. It is clear that paying attention to breath is important, and whether it manifests as a grunt or not.

Here at Studio 26 this study of breath and body has piqued our interest. We’re interested in all kinds of breathing, whether it is during a Pilates session, personal training regime, yoga practice, or restorative body work. It’s true that there are many ways in which to breathe, but what methods improve the function of some work and inhibit others? Stay tuned for more Studio 26 blog entries about breath and its many modalities.

cookies recommended by Chef Felton!

Jenn Felton, our resident chef and business manager extraordinaire, has made this recipe and raved about the delicious results. Try it out and let us know what you think!

For more information about GOOP, a weekly newsletter from Gwyneth Paltrow that shares recipes, travel notes, shopping ideas, and wellness tips, click here.

Kale Chips by our superstar nutritionist, Naima!

This week, we’ll be sharing delicious and healthy recipes from the foodies at Studio 26. We’ll start with Naima’s ever-popular Baked Kale Chips:

Ingredients:

• 1 large bunch curly kale
• 1 tablespoon olive oil
• 1 tablespoon rice vinegar
• Pinch sea salt
• 1 teaspoon toasted sesame seeds

1. Preheat oven to 375°F. Line two baking sheets with parchment paper.
2. Wash the kale and dry thoroughly. Tear the kale off of the thick center stems into bite-sized pieces and transfer to a large bowl.
3. In small bowl whisk together the oil and vinegar. Pour over the kale pieces and toss to coat, rubbing the oil mixture into each leaf.
4. Arrange kale pieces in a single layer on the prepared baking sheets and sprinkle with the salt and sesame seeds. Bake until crisp, about 10-15 minutes, repositioning baking sheets halfway through to prevent burning. Check frequently to avoid burnt chips!

Check out Naima’s blog for more recipes and nutrition tips here!

Winter Water: Why staying hydrated in the coldest months is beneficial… and crucial.

With temperatures dropping to bone-chilling lows, the instinct to curl up next to the radiator with a mug of hot chocolate grows stronger with every chilling wind. When the temperatures outside are in the single digits, trading that favorite hot beverage for a glass of water may sound less than appealing to your frozen fingers and chattering teeth, but winter is actually one of the most important times to keep hydrated, perhaps more than you would expect.

Winter is a time of massive dehydration. Outside, winter’s cold winds suck moisture from skin and out of the respiratory system. Inside, hot radiators and space heaters make the air dry and thin. Without adequate hydration, the body rations the water it has to focus on vital systems and leaves many other systems vulnerable and weakened.

With elevated exposure to dehydrating elements, the skin reacts to the deficit by becoming itchy, dry, and prone to breakouts. Dried out nasal passages and throats lead to chronic coughing and sneezing. Perhaps that winter ‘cold’ you fight for three weeks every January is just a lengthy reminder that you need some more H2O in your system. Water regulates all of the body’s functions. In regards to sickness, water supports the immune system’s ability to defend itself against virus and disease. Water is the key ingredient in the mucous that lubricates the sinuses, throat, and stomach. This mucous is the first line of defense against contaminating germs and bacteria that cause illness. When winter sickness runs rampant among weak immune systems, some of the best protection can be found in an 8 oz. glass of water.

Pilates Trainer, Sarah Smith, demonstrating great hydration practices!

Exercising in the winter can be a great way to raise your body temperature amidst cold weather climates. Winter can be a time when we pack on a few extra pounds from the holidays or swiftly forget new year’s resolutions. Consider this: dehydrated bodies hoard excess water if they are not receiving enough, which can contribute to water weight retention. Believe it or not, drinking more water can help the body get rid of extra weight from water. When not properly hydrated, the body thinks it is in crisis, weakening the body systems that rely heavily on water, such as the digestive system and the circulatory system. Keeping hydrated increases the amount of oxygen in the bloodstream, which aids the body to more efficiently burn fat as fuel. We are all 60-80% water, so it’s no secret that the body functions best when at its hydrated potential. And, when you have finished a rigorous Studio 26 workout, keep on drinking that water. Increased hydration oxygenates muscles, helping them repair, rebuild, and grow stronger, faster.

So how much is enough? It has been commonly recommended to drink eight 8 oz. glasses of water per day. However, it is necessary to take into account the things that counteract our best hydration efforts, like coffee, tea, and sugar. We know it’s cold, but if you have that extra coffee for warmth, think about matching it with another glass of water. Stay warm, stay strong, and drink up!

Eco-Friendly and EGO-FREE Yoga

A lot of people are talking about an article from this past week’s New York Times Magazine: “How Yoga Can Wreck Your Body.” The article explains the injuries that can result from yoga practice and their correlation to physical awareness. The article’s author asserts that injuries occur when yogis practice poses (asanas) without first listening to their bodies’ own limitations and capacities.

We asked some of our yoga instructors at Studio 26 to weigh in on the article. Jenn Whittemore’s yoga practice has left her injury-free because she “stopped pushing and started getting curious.” Instead of forcing the postures, she focused on her body’s own uniqueness. Yoga can be adapted for all bodies, but if a pose doesn’t work for you, you shouldn’t do it!

Jeffrey Duval talked about the yoga precept of non-violence known as Ahimsa. He said, “if you are hurting yourself, then you are not doing yoga.” Well said, Jeffrey.

Read the article here and let us know what you think!

We think what’s wrong with yoga isn’t yoga, but the egos that can go with it. Here at Studio 26 we are thinking about letting our egos go to get the best possible work-out: mentally, physically, spiritually.

new GREEN cardio equipment: reduce your footprint and improve function

We’re plugging out! The PlugOut Bike is an upright, spin bike that sends electricity generated from your workout and sends it back into the building’s power system.

And totally unplugged: the sleek WOODWAY CURVE Treadmill is a completely human-powered and non-electrical treadmill that responds to your motion as you walk or run along its frictionless, contoured panels. This treadmill erases your carbon footprint and enhances your physical footprint.

The CURVE achieves a superior workout than traditional treadmills: it burns up to 30% more calories because the user is actually powering the running surface, thus engaging more muscles. Research studies have proven that users can reach cardiovascular and caloric expenditure levels similar to those achieved while running on conventional treadmills while merely walking on the CURVE. This coupled with improved biomechanics from its curved design mean the CURVE is fantastic for those who are getting back into running or who are struggling to stay injury-free as avid runners. Mark Verstegen, Founder and President of Athletes Performance, writes: “the treadmill allows us to improve the motor programming of our athletes by naturally getting the body to learn and experience foot interaction with the ground while providing instantaneous feedback.”

It’s your chance to walk, bike, and run into the New Year at Studio 26!

Going When The Going is Rough: Contemporary Dancers Share Insight Into Performance and Injury

Written by Whitney Tucker, Edited by Emma Judkins

Underlying my practice of teaching one-on-one Pilates and personal training sessions is a desire to assist individuals in attaining physical balance, increasing proprioceptive abilities, and integrating their idiosyncratic movement patterns, all in order to meet their stated goals. I work with approximately 20 clients either once or twice a week and they vary in every manner imaginable. Each client maintains goals that range from gaining muscle tone, losing weight, reducing stress to event-related goals such as regaining strength after having three babies in four years or preparing for an important happening such as their wedding, a marathon, an endurance bike ride. Often times, we begin after a friend or physician advises them that Pilates may help them attain a specific physical goal. As a professional, I find it encouraging when I become a ritualistic part of a person’s life after a few sessions and when we both recognize positive “movement” towards their personal goals.

As my overall practice continues to evolve, I continue to work with contemporary dancers, which are a unique population. I find their physical tendencies and movement patterns to be some of the most unpredictable, textbook-defying, and complex of any athlete. I first recognize the complexity of treating this variety of a dancer when, through dealing with my own periodic injury, found it challenging to access physical therapy that deeply understood what I demanded of my body. This arose when I realized my desire to not only dance better but also longer, specifically for my work with David Dorfman Dance. Dorfman’s physical repertory is simultaneously nuanced, risky, athletic and anatomically complicated; if you are interested in learning more about the David Dorfman Dance movement quality, you can view the company’s work at www.daviddorfmandance.org

To heal my past injuries, I have periodically visited a number of physical therapists, Rolfers, acupuncturists, massage therapists, Pilates instructors, Orthopedic specialists, Osteopaths, Dance Medicine specialists, etc. and felt a unilateral lack of understanding of the demands many contemporary dancers place on their bodies. I found that, at best, most of these professionals had only worked previously with Broadway dancers or ballerinas. This left a gap in our communication, as they seemed to be more concerned with the degree of my turnout and less with the fact that I was lifting people much larger than myself and doing numerous turns off the vertical axis, etc.

In general, I believe that more traditional forms of dance and entertainment have more inherent financial clout and often offer the support of a trade union, regular company classes or compensated training and, in many cases, a set of medical benefits. In contrast, contemporary modern dance often asks its professionals to negotiate unpredictable pickup schedules, less overall financial compensation, as well as physical demands of hard-to-describe circa-linear movement patterns. In my experience, the Dance Medicine that meets a contemporary dancer lacks the ability to address his or her specific issues relating to injury as well as access to the care itself.

During three arduous weeks of performing at Lincoln Center, Bates Dance Festival, and Jacob’s Pillow, I wondered, “How do contemporary dancers manage injuries or physical imbalances that are detrimental to their ability to perform?” During a subsequent three-week performance tour, I posed a few questions regarding injury to fellow members of David Dorfman Dance. I mainly wondered if they accessed resources to cope with injuries as well as which preventative measures they took on a regular or as-needed basis.

When asked, “Have you ever been injured while dancing?” all but Raja Kelly responder answered “yes”. Their injuries ranged from torn ankle ligaments to lower back trauma. However, it seemed as though each person related their injuries to a specific instance in which they were fatigued or did an action repeatedly to the point of overuse. This made me wonder if any change in their dancing could be attributed to the injury, both in a mental and a physical sense.

When the dancers were asked, “What is your emotional response to performing while injured”, their answers varied greatly. Luke Gutsgell said that while dancing and injured, he feels a pull between “how persistent (he) can be/how well (he) can make [sic] choices and how much (he) can relish in this peak experience”. Meghan Bowden said she vacillates between “empowerment and helplessness.” She said this dichotomy results from “injury often being a way into knowledge about a physical system that I had never considered or understood. But, alongside that empowerment and understanding is the frustration in only being able to do so much.” Kendra Portier said her emotional response was to be “terrified with the general thought of ‘What if things never work again?” She said she had a fear of letting people down. Not all the dancers considered emotion in their answer to the question. Kyle Abraham said, “I’ve taped broken toes together, and just kept dancing”.

When asked what measures they took towards healing after an injury, they cited a variety of activities including strength-training, classic R.I.C.E. (Rest, Ice, Compression, Elevation) techniques, yoga asana, meditation, breathing techniques, and Qi Gong. They also consulted online advice or would consult a medical specialist or physical therapists. Alternatively, Raja said that he takes no steps (he also stated that he’s never been injured while dancing), as he assumes he “will get better with rest and time”.

I then asked, “how do you keep your body uninjured?” I noticed that a renewed dedication to a mind-body connection seemed to take precedence over physical modifications or physical correctives for most of the dancers. Luke answered that many of his injuries arose when he “was channeling anger through movement in a way that was uncontrolled.” Meghan responded that she is “beginning to wonder if (she is) ever actually uninjured? Is injury just another function of the body? Perhaps (injury) is more like massive recovery for massive output like trauma or overuse.” This question led Kendra to respond that, due to injury, she had to admit to herself, “there are particular actions that my body cannot do safely and I need to dance smartly.” For her, this means “creating alternate versions (to a pattern) and adhering to more “accurate” techniques in terms of alignment”. Raja Kelly seems to activate his will and answered that he feels as if he “is not allowed to be injured.” He did express certain effects dance has had on his body. “I [sic] have developed in imbalance to my right and left sides. My right knee has pain, I feel an unstable right foot, I have left hip soreness, and right shoulder bursitis.” Kyle said it has been imperative to know when his “body needs a rest”. Their answers made me wonder if our way “through” an injury is simply adopting a new perspective or mental approach to moving?

When asked about their physical dance preparation, they offered specific exercises that they do to avoid injury. Luke cited classic dance and fitness exercises such as plies, lunges, back extensions, and an occasional push-up. Similarly, Meghan said that planks make her “feel the strongest” and squats make her “feel tough.” Kendra mentioned vinyasa yoga and Pilates for joint-stabilization. Kyle said that abdominal work has helped maintain his core-strength, which has consequently made a “big impact” in his quest to stay injury-free.

Lastly, I wondered how being a member of David Dorfman Dance changed the bodies of the dancers. Luke answered that “dancing David’s work has been good for the most part because there is a lot of bounce in the vocabulary and my body avoids the trauma that comes with high-impact movement. Has my body changed? I think I have found a way of dancing with more of a released and free flowing quality.” Meghan has noticed a physical relationship “between strength and release and knowing when to activate and when to let go. My face is much more enlivened. I’m aware of my pelvic floor and internal abdominals.” Kendra responded, “Power thighs. The range of movement (in David’s work) is really extreme yet there is so much support required. I am not sure yet. This is demanding work, that’s for sure. In general, I feel that my range of motion has become curious. My normal range in the hips has lessened, unless it is tilted and turned-in. My fast-twitch muscles have become more readily accessible”. Raja said that he has “become much more muscular and expansive. I feel my body respond to impact with ease.”

In general, what was universal in their answers was a tendency to pay more attention to their mind when their body was injured. It seems as if injury offered them the opportunity to look closely at the cells and tissue that comprise their bodies. It seems as if the mind-body connection, if the two were considered separate at all before, we less so in the healing of an injury. Whether is was meditation, will, or seeking advice or training to chance a movement pattern, it was apparent that a mental focus and clarity arose in the healing process of an the injury. I now am wondering what sort of physical models or ideals do we hold onto mentally but therefore manifest physically and perhaps are the source of injury? Do these models inevitably inform our physical tendencies and form limitations we have for ourselves? More on this in another blog!

To see David Dorfman Dance in action, don’t miss the upcoming season at The Joyce Theater January 24th-29th! www.joyce.org

The Year of the Fascianista™ – notes from the Pilates Method Alliance Conference 2011

Attending the Pilates Method Alliance Conference 2011 for the first time was eye-opening and refreshing. It enabled me to connect with not only the history of Joseph Pilates’ work (chatting with Mary Bowen and Lolita San Miguel, two “Distinguished Elders” who studied directly with Joe, and seeing a great documentary on the influential work of Eve Gentry), but also the future of the field (I loved Dr. Carol Davies’ pre-conference workshop on fascia and keynote address about the growing recognition that biomechanics, functional movement, and energetics are key to restoring clients bodies and lives. So present, in fact, were biomechanic and fascial-minded work, that Rebekah Rotstein, Barbara Stamis and I were inspired to nickname ourselves Fascianista™’s! ).

Of equal value was meeting, working with, and socializing with my contemporaries (from 27 countries!) who will become the teachers of tomorrow. (I actually got too much attention from my peers, thanks to BASI’s Rael Isaacowitz’ frequent shout-outs of yours truly while my mat was front and center in his Ultra Marathon 3 hour Mat Class. Sorry, Rael, I wasn’t sore the next day – I’ll work harder next time!).

Between past and future, an impressive array of workshops offered education from some of the current brightest minds in the field: I was honored to help assist Madeline Black, my Passing the Torch mentor, noted for her smart integration of exacting alignment, biodynamics and energetics, and to experience Elizabeth Larkham’s unceasingly detailed class, otherworldly presence and astounding body of work, among many others).

Reviewing some of the newest products from manufacturers and educators (a highlight was Elizabeth Larkham giving me a private session on Balanced Body’s Rockin’ Reformer, and the unveiling of the Allegro 2 – a beautifully and intuitively designed Reformer/apparatus that looks even better in person than in its marketing materials), left colleagues /conference buds Rebekah Rotstein of New York and Barbara Stamis of Santa Monica and I in awe of how Balanced Body continues innovating by providing well-designed, thoroughly useful equipment. That, and they’re so plain nice!

Other gems during the conference were its evening events, including a sweet reception hosted by Balanced Body to recognize the graduates from its Passing the Torch Mentorship Program (full list here), and a rocking party hosted by Pilates Style and Pilates Anytime.

While digesting all that I took in, I’m already looking forward to next year. A little trend forecasting: as Pilates unshackles itself from a history of lawsuits, in-fighting, and egos, I think it’s safe to say that with a renewed focus on all things bio-mechanic, this year marked the birth of the Fascianista™!

For more information on the PMA click here

The final stretch is here. Two trainers share their marathon training techniques.

Personal trainer Jack McGowan and Pilates instructor Jeanette Alford give us the inside scoop on their mental and physical preparation for the ING New York City Marathon, taking place November 6th, 2011.

Have you done a marathon before?

Jack: This is my 3rd marathon. I ran the NYC last year and the Toronto marathon in May of this year (’11).

Jeanette: No, this is my first one.

What was your initial motivation? How do you stay motivated?

Jack: I’ve always wanted to run a marathon. I knew it would take a lot of physical demands but I wanted to see if I was up to the challenge. I stay motivated by knowing that afterwards there’s a HUGE sense of accomplishment and my body feels great, albeit a little tired.

Jeanette: I was watching the marathon last year and just felt that this was something I had to do. I had finished a couple of half marathons at that time and enjoyed meeting the goals. A full marathon would be a great challenge. How do I stay motivated? Whenever I feel like skipping a workout, I think of the charity I am running for and all my friends and family who support me. My older brother is a huge inspiration, as he is a cancer survivor. Also, my husband Peter is my number one fan encouraging me.

What is the greatest obstacle in your training?

Jack: My greatest obstacle is getting up to do a run early in the morning. These are the days that I usually am allowed to sleep till 9, but when I’m marathon training I have to get up at 6/6:30 to get the run in and come home to shower and then still have time to stretch afterwards. It kills your social life, and you have to surrender a lot of what goes along with it including alcohol, late nights with friends, etc.

Jeanette: The greatest obstacle is working training into my daily life. For the past four months my training has dictated my weekends, date nights, meals etc.

How did you formulate a training regime?

Jack: My training schedule is my own design with the input of several running coaches. I gradually add miles on each week approaching the final marathon, especially the three months leading up to the race. You alternate between short interval runs and long distance runs.

Jeanette: Most of my training program comes from “The Competitive Runner’s Handbook.” It also depends on my own schedule and what I have time for that day. My program also includes Pilates and massage.

What do you listen to while running?

Jack: I listen to Fall Out Boy, a little Beatles, some Lady Gaga. But by far the BEST thing to push me is Greenday’s American Idiot album, the entire album’s about 1hr+, so it can cover me for about 7 miles.

Jeanette: The voices in my head. I don’t run with an ipod. I prefer to use the time to think or not and enjoy the scenery.

Who will be at the race to support you?

Jack: Last year I had a huge support group out there during the race, and this year (fingers crossed) I hope to have just as many. The trick is to have your friends tell you EXACTLY where they’re going to be standing and let them know precisely what you’ll be wearing colours and all, that way you can look for them, b/c chances are you’ll see them before they see you.

Jeanette: My husband, Mom & Dad, friends, collegues, and clients.

Jack and Jeanette both train clients privately at Studio 26.