Doc Barefoot

8/8/2019 Doc Barefoot

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Barefoot Shiatsu(Oriental Foot Massage)1997 Alexander Georgeakopoulos

Thanks to:Serena Silva, from whom I first studied Barefoot Shiatsu at IPSB in San

Diego in 1980;Minakshi, for the initial collaboration in Watsu trainings in the early 90s;Shizuko Yamamoto, for helping me to understand what I like and dont like in the work;Theri Thomas, for her playful creativity and contributions in putting this

sequence into its present form.

Contents _________________________________________

Barefoot Shiatsu 2

General Information and Guidelines 7

The Sequence 8


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Barefoot Shiatsu

Sea of Chi, flow through me!

Mother Earth, I return to Thee!

Sky of Light,set me free!

Father,Thou art my Destiny!

GravityIn the science of physics, gravity is understood as the attractive force generated by acelestial body upon objects at or near its surface. If, however, we dare to believe thatthe Earth is a conscious entity, gravity could also be seen as an elemental expressionof love, in the same way that a mother likes to be close to her offspring, pulling themto her and embracing them. Indeed, the Earth is as a mother to every creature uponher surface. Our bodies take birth from her substance, receive their nourishment fromher during life, and return to dust after physical death. We are her children.

Barefoot Shiatsu is a celebration of our relation to Mother Earth, a way of honoring source and of returning to source. The giver becomes an agent of her gravity, her love force. He gives flesh to the friendly downward pull of gravity,falling with his own body weight to create a constant, vertical pressure that thereceiver instinctively accepts. He offers the receiver to the Earth, returning him to her and restoring their oneness.

Relation to the EarthThe Earth heals her children with her presence. In Barefoot Shiatsu the receiver is inintimate contact with the earth element, just as in Watsu the receiver is enveloped bythe element of water. This close involvement with the elements is curative. Our

bodies communicate well with the elements, for they are themselves composed of them.

The Earth participates actively as a third partner in the interaction of BarefootShiatsu. Much of the energy the receiver releases during the session grounds anddisperses into the earth. This phenomenon reduces the practitioners concerns for energy management--he is less at risk of picking up and retaining unwanted chi thanduring a table massage. According to Barbara Brennan, a relaxed healing state is


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characterized by a brain alpha rhythm of 8 Hz. (cycles per second). Thisapproximates the Schumann Resonance Frequency (SRF) of the Earth at 7.8 Hz.

The Earth participates in another way, as well. Her currents of energy flowthrough the receiver, subtly strengthening him. This effect can be enhanced byaligning the receivers head and feet to the North and South, the direction in whichthis streaming subterranean chi flows. According to traditional Chi Kung teaching,lying on the Earth in this polar alignment extends the life span.

BreathThere exists a common thread between Chi Kung, Barefoot Shiatsu and meditation.Each is characterized by a connection to Earth and Heaven, by channeling of energy,

by relaxation and by conscious breathing. Of all these elements, breath is the key.There is a power in the breath that may never be trivialized. Morihei Ueshiba, thefounder of Aikido, taught that the Breath of Life, once discovered by the aspirant,would connect him with all living things. Conscious breath is an indispensable partof the technique and philosophy of Barefoot Shiatsu. Practicing conscious breath,the giver remains a relaxed and open channel, he absorbs energy from the cosmos inorder to pass it on and feel an empathy with the receiver. In effect, he breathes for two. His goal is to synchronize breath, pressure, movement and energy into a singleintuitive phenomenon beyond rationality.

Barefoot ShiatsuThe extensive use of the feet is the prime factor that distinguishes Barefoot Shiatsufrom its sister disciplines. The feet afford a deep and powerful pressure capable of opening up frozen, atrophied areas of the body. They address meridians more so than

points (tsubos), as their pressure is broad rather than specific. As explained above,Barefoot Shiatsu takes advantage of a head to foot contact with the Earth, which bothclears energy and channels earth currents through the receiver and giver alike.

In flowing through the sequence, we pay special attention to posture and howmovements are generated, mostly through sinking, leaning and rocking with our

body weight, in contrast to using muscular force. Performing the sequence is likedoing a yoga routine, full of stretches and poses that are beneficial to the giver.Dance is incorporated into the body mechanics to keep the energy light and to refreshthe giver during the course of the treatment. Fatigue may be experienced at certain

points in the classroom learning process, but this is natural as the movements are newto the body, and fatigue passes away as strength is gained through practice.

This particular sequence and approach is not diagnostic; it does not treat specificconditions. It is a general sequence addressing all meridians with a preventative morethan curative effect. Receiving Barefoot Shiatsu confers numerous benefits. It will


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promote relaxation, satisfy the need for touch, release tension and holding patterns,increase flexibility, and strengthen energy flows. However, all these gains will be

only temporary and superficial unless a persons lifestyle is healthy. This wouldinclude balancing work and rest, time alone and time with others, caring for body andcaring for soul. Fortunately, the work is educative, showing the way through anexperience of greater well being that creates a motivation to live more in harmonywith self and nature.

This approach to Barefoot Shiatsu is hot, or warm-hearted, as opposed to coldor technical. It emphasizes an empathy with the receiver rather than the mereapplication of techniques. In this sense Barefoot Shiatsu is more closely allied to ZenShiatsu than to the more mechanical schools of mainstream Shiatsu. The relation tothe receiver remains uppermost in importance, and our role is one of service,manifesting universal love.

PressureGravity is so natural, so familiar to the body, something it understands and is adaptedto from birth. In the technique of Barefoot Shiatsu, we endeavor to exert a pressurelike the Earth, mirroring her gravity. Body weight is channeled through the giversskeleton, that is, the bones and joints. This and not muscular force provides theimpetus. Our pressure is perpendicular and constant, blending into the solidity of theground. Our pressure is firm and deep, but gentle, increasing and diminishing

gradually. The hands and feet remain soft and mold to the bodys contours. Werespect the bodys comfort limit for pressure and stretch.

Parts of body usedThe heel, sole and ball of the foot are the chief instruments employed in thistechnique. The knees also take part, so that the body is often massaged at multiplesites simultaneously. The tools of Barefoot Shiatsu are not limited to the legs andfeet, however. As in traditional Shiatsu, the palms, thumbs and fingers also come into

play, as well as the entire back and head. Sustained contact with the back and knees

constitutes an equivalent of the mother hand characteristic of Zen Shiatsu,radiating a deep warming energy to counteract kyo conditions.

The FeetPressure from the feet is broad and powerful; the legs are far stronger than the arms,enabling them to channel the full weight of the body. The hands can exert a pressureof 30 kilos. The added force that the feet can bring to bear easily more than doublesthe pressure possible with the hands, allowing them to introduce movement intolocked tissues. According to Shiatsu tradition, vertical pressure applied down into the


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body is said to promote health. This perpendicular pressure is both easier and morenatural for the legs to administer than for the arms. In addition, the feet, in contrast to

the hands, are more heavily padded in proportion to the extra weight they must bear.The massaging contact of the feet on the body is uniquely pleasurable. With practice,the sensitivity of the feet can approach that of the hands. Their soft pressure isreminiscent of the security of the final days in the womb and the passage through the

birth canal. It also reminds us of the tremendous strength our parents seemed to possess in our childhood.

The TechniquesAmong the Shiatsu techniques forming this sequence are vertical pressure, rocking,traction, vibration and stretching. Add to these joint mobilization, brushing andPolarity Balancing. Like Zen Shiatsu, the approach is clearly eclectic. Let us touchupon the effects of each of these techniques:1. Joint mobilization techniques of shaking, bouncing, and rocking confuse patterns

of muscular holding originating in the central nervous system by returning anoverwhelming sensory feedback. In the face of this overload, holding patterns areabandoned and the area releases.

2. Range of motion techniques demonstrate to the nervous system the capacity for movement in a joint, as well as an effortlessness.

3. Deep pressure brings movement and circulation into parts of the body that have

become atrophied and shut out from awareness. The influx of circulation and theresumption of afferent feedback re-admits the area to body consciousness.

4. Polarity Balancing, through placing both hands or both feet on the body, creates astrengthened circuit. It balances energy flows by providing two points, one thatfeeds in energy and another that attracts it. Both blockages and depletions areresolved. A variation of Polarity Balancing unique to Barefoot Shiatsu involvesthe earth in the energy loop: one foot only is on the body. The earth current passesthrough the givers body from his grounded leg to a single contact on the receiver,then through her body into the earth to complete the circuit.

5. Vertical palm and foot pressure approximates the receiver to the Earth, exposinghim to her energy currents. With the influx of energy that occurs through theconnection of haras, kyo conditions are tonified and jitsu blockages are dissolved.

6. Brushing meridians encourages their flow, acting in a similar manner to PolarityBalancing to promote energy circulation.

The Sequence in OverviewThe practice sequence learned in the course has these characteristics: The feet are used whenever possible.


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The hands begin and conclude each segment in order to humanize the touch. The hara, face and scalp receive touch from the hands alone. An emphasis is placed on freeing the sacrum. Symmetrical, bilateral work precedes and follows unilateral work. It is as easy as possible for the giver; lifting and transitioning between sitting and

standing are minimized. All meridians are addressed.

Holographic paradigmThe holographic model of the universe recognizes that the whole is present in thesmallest constituent part. The relation between the Earth and the human body bears

out this truth. The electromagnetic field of the Earth is mirrored by the human aura.Her atmosphere and its gaseous exchanges correspond to the human respiratorysystem. The currents of the oceans and the molten flows of the core parallel thecirculatory system. Her network of lei lines is the equivalent of our meridians andnervous system. In truth, the body of the Earth is reproduced in miniature in our

bodies. It could be said that we are an integral part of the system of the Earth, the part that has the capacity to feel and think, and ultimately to attain to spirit.

This shared identity of the Earth and the body is part of the miraculous beauty of the creation. Every cell carries the DNA blueprint of the entire-body. The electronsand nucleus of every atom reveal the structure of the solar system with its planetscircling a central sun. In the divine energy animating the tiniest of subatomic

particles we may feel the presence of the Creator of All, Who dwells in glory at thevery center of all universes.


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General Information and GuidelinesBarefoot Shiatsu is practiced on the floor, with the body aligned north to south if

possible. The receiver lies prone on a mat to start, then supine to finish. The hands,feet and head all initially lie completely on the mat. A thin but wide futon is ideal.Additionally, the receiver may need a rolled up towel across the top of the chest(above the breasts) to reduce the sideways range of motion required of the neck. A

pillow across the abdomen will take pressure off the lumbar region of large breastedwomen or where lower back problems are present. Pillows beneath the ankles andinsteps take stress off the lower back and provide extra cushioning beneath the feetfor when they are walked upon. We may take the initiative to offer and even suggest

these aids if we perceive the need.When you, as the giver, are much heavier or bigger than the receiver, or the

receiver is sensitive of structure, adapt as follows:

Use a thicker mat. Give partner permission to express feedback at any time. Establish a pressure signal system (5 is just right, 4 is too little, 6 is too much). Press sensitively, at times brushing the meridians when pressure cannot be

tolerated.

Check in frequently, languaging as follows so as not to elicit a particular response: How is the pressure? Do not roll or lie on the body. Anticipate that your feet may be too big to fit easily into the placements described

in the sequence and you will need to adapt how you sculpt your footprint to partners contours. Pressure from the ball of the foot only may be substituted for that of the entire foot.

Givers who are small and light will want to learn how to stand on the receiver with both feet at the same time, using a chair for balance. A thinner mat and a greater use of the knees will also maximize the amount of pressure they can bring to bear.

As in any form of massage, not all techniques will be appropriate for every physique. This holds especially true when the receiver is sensitive to pressure,limited in joint range of motion, or injured. Techniques may be size-graded,flexibility-graded, intimacy-graded or age-graded. Foot pressure is never administered to the face, throat, hara, lumbar spine or backs of knees.

A thorough pre-session interview screens for counter-indications, especiallyspinal injuries. These include contagious illness, pleurisy, peritonitis, appendicitis,

pyelitis, pancreatitis, peptic ulcers, duodenal ulcers, liver cirrhosis, twisting of the


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bowels, intestinal obstruction, cancer, high fever following surgery, extreme physicaldebility, and infectious skin ailments.

No oil is used; the client remains fully clothed. He only removes shoes, belts andmetal jewelry, as these constrict and interfere with circulation of blood and energy. Anearly empty stomach is recommended.

The environment needs to be clean; dust from the floor can be more easily inhaledthan if the receiver were elevated on a massage table. A warm space is alsoimportant--cool air sinks, making the floor the coolest part of the room. So vacuumfirst, air out the room, then heat it well.

Candles, incense, fountains, and music when used to enhance the atmosphereshould all be acceptable to the client. Non-rhythmic Zen flute music or recordings of natural sounds support relaxation.

At the end of the session, a blanket may be placed over the client and the lightsdimmed. Ten minutes of rest gives the client time to integrate the touch, pressure andmovement she has received.

If partner is lying on a sheet, The Mummy becomes an option. Fold the bottomof the sheet over the feet, then the sides over the rest of the body except for the face.Place a towel over the eyes, leaving space for the nostrils to breathe freely. TheMummy provides not only warmth, but also a sense of security and separation fromthe external environment. Receivers tend to go deeper into their internal processwithin the cocoon of The Mummy.


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The Sequence in DetailFACE DOWN

When the receiver indicates readiness to begin, invite her to lie face down on the mat.Let it be thick enough to soften your standing pressure. Further ensure her comfort

by offering a rolled towel under the chest or a pillow under the abdomen. Place a pillow under the feet so that you may stand on them with your full weight. Tointroduce your touch and align receiver correctly on the mat, use your hands to brushup one side of the back and down the arm. Use the Big Hand and Waterfalltechniques, sometimes brushing down the top of the arm, sometimes encompassing

the arm in both hands by slipping under the arm with your outside hand. Turn the palm up at a slight distance from the hip to leave space for the coming hip rocks.Then brush from the lower back down the back of the leg to the foot. Traction the legoff the ground, rotating the leg medially at the hip so that the sole of the foot presentsupward on the pillow. As with the arm, you may give encompassing touch, in thiscase by slipping under the lower leg with your inside hand. Let your touch flow,sculpt to the body's contours and catch and integrate the body's energy.

1. Rocking the lower backHip rocking loosens energy blocked in the pelvis and thereby strengthens the bodyslongitudinal flows. Stand in Horse Stance with your foot closest to the head (let's call it the 'head

foot' in contrast to the 'foot foot') opposite the bottom of the ribcage. Judge howclose you need to stand to your partner in order to comfortably rock her.

Be still. Open your feet to the Earth. Open your crown to Heaven. Breathe into your heart. Dedicate the session. Establish resonance with the receiver.

Like a dancer imitating a crane, (Crane Takes Flight) transfer your weight ontothe head foot ,breathe in and raise both arms to the side like wings to ensure your balance. Exhale and carefully lower your foot onto the lumbar spine.

Without downward pressure, allow the warmth and energy from your foot to soothe and radiate into partner for the length of a breath cycle.

Beginning slowly and gently, rock the lower back with your sole so the hips rock freely. Your foot traverses an arc, rocking down and away, not just straight across.

Rock with your whole body to generate an organic, rhythmic movement. Your standing leg will fully participate, as well as the leg contacting partner.


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Watch the hips for a big, slow, soft rock. They will assume a watery or Jello-likeappearance in movement. A pillow under the hips tends to restrict the rocking

motion, so in this case feel free to rock from the sacrum for a better leverage. Let the rocking subside to stillness with the foot still on the back; wait another

breath cycle and then remove it imperceptibly, like a bird flying away, as youbreathe in and lift your arms to the side.

2. Walking on the solesWalking on the feet leaves them more amenable to channel energy in and out of the

body. It starts to attract the chi down into the legs. Prepare the receivers legs beforehand, if necessary, so the soles present upward

and the feet are not too far apart. This is done by lifting and tractioning the foot to swing the thigh into medial rotation at the hip.

Facing the head, step up onto the soles with the balls of your feet, one by one.Your knees are relaxed and bent. Let your weight sink down.

Go for a Gorilla walk, transferring your weight slowly from side to side,breathing in partners rhythm: Transfer your weight as you breathe in with

partner; sink your weight onto either foot as you breathe out with partner.Commit your weight completely on each transfer. Bring on the pressure graduallyand withdraw it gradually, like walking in molasses. Keep varying slightly the siteof each pressure. This adds interest for the receiver and is more thorough asbodywork.

As an option, try raising yourself up onto the balls of both feet at the same time tointensify the pressure.

You may also do these walks facing away from the head should the receiversankles be too tight to allow the soles to present horizontally.

3. Standing still on the solesThis position grounds and satisfies, creating an energy circuit through your two

bodies that organizes and strengthens the receivers chi. Stop walking on the soles and divide your weight evenly between them. Let your full weight descend down into the feet. Find the most relaxed posture for your

body. Open your soles and offer your energy to the receiver through the reciprocal

Kidney 1 connection. Breathe deeply into the hara to keep replenishing your own supply of chi.

Sense the Polarity pulse in each of your soles, giving them time to synchronize. Toexit, rock back onto your heels and pivot the ball of one of your feet off the sole,then the other.


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4. Rocking from waist to thigh with pressure

This section looks to address deeper muscular tensions that might block meridianflow. It begins to free the sacrum and spine, as well, which will continue later in thesequence.a) Stand in Horse Stance with your head foot once again opposite the lower ribcage.

Using The Crane, transfer your weight and lift the foot foot. Using its heel and ball, rock rhythmically into the boneless gap between the twelfth rib and the iliaccrest. Rock in a transverse direction at about a 45 downward angle. Bend theknee of your standing leg to lower your hips and get a more horizontal forcevector for the rock. The heel will be nearly on the mat. Direct your pressure first into the most superficial obliques and transversus abdominis, then shift mediallyinto the underlying quadratus lumborum muscle; next slide up to isolate theiliocostalis. In reverse order work back to the waist. Then, by way of transition,brush your foot down onto the hand and stand on it before stepping with your head foot up opposite the shoulder.

b) Standing facing the head, use the sole of your foot foot to sculpt to the curve of thenear iliac crest, rocking it obliquely across at a 45 angle toward the feet. Your leg will be off to the side in the doggy at the fire hydrant position. Without

putting weight onto the ball of the foot, pivot the heel in an arc from there witheach rock. This rocking will stretch the waist musculature and the iliolumbar

ligament. Again, on completion, brush down onto the palm and stand on it, toenable you to smoothly step with your head foot to opposite the waist.c) Stand on your foot foot opposite the upper thigh and use your head foot heel to

rock deeply into various sites on the near gluteals. As you rock, locate the border of the sacrum and the greater trochanter of the femur for the coming point work into the muscles. Now, work the origins of gluteus maximus along the border of the sacrum. Then, referencing the greater trochanter of the femur with the ball of

your foot, rock into the belly of piriformis along its length with your heel. Thisrequires a deeper pressure, through the belly of the overlying gluteus maximus.These are the two muscles that originate on the posterior and anterior surfacesrespectively of the sacrum. With a light pressure, position your sole over the

sacrum and thereby rock the hips sideways. As in the previous two moves, brushthe foot off the hip to stand on the hand.

d) Facing the head, kneel on both knees against the thigh. Locate the near ischial tuberosity with your inside elbow. Lean your body weight down at a 45 degreeangle with a steady pressure medially in the direction of the apex of the sacruminto the sacrotuberus ligament. (This ligament anchors the sacrum to the ischial tuberosity.) Your other hand soothes at the lower back, a 'mother hand', and your thigh presses against the receiver's thigh. Remain for three breaths. Easy out of


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the pressure and brush your forearm and hand down off the back of the thigh to finish.

5. Working the Bladder MeridianThis section treats both the thigh and lower leg, but now addresses the back of theleg.a) Stand in Horse Stance with your foot foot opposite the knee. Rock down and up

the near thigh transversely with the sole of your head foot. The entire body will rock as a result. Next vibrate the thigh vigorously down and up its length twice.Only the leg itself will move in the vibrations. Press onto the back of the thigh,beginning just below the ischial tuberosity and advancing distally by overlapping half foot-widths. Do three times, reducing the weight you bring to bear signifi-cantly on the third pressure closest to the knee, so as not to pinch nerves, tendonsor blood vessels against the popliteal fossa.

b) Stand in Horse Stance, now with your head foot opposite the knee. Using your foot foot, roll the lower leg down and up the calf twice and then vibrate in the same pattern, tractioning the heel away while vibrating it. With the sole of your foot, press into the center of the calf, advancing distally by overlapping half foot-widths down to the Achilles tendon. Press sensitively. Shift your stance to oppositethe heel. Placing the middle of the sole of your foot foot over the heel, press it down and toward you. Advance down the sole with your sole, pressing at right

angles across it. Lift your supporting foot off the ground with each pressure to give it a rest and to fully commit your weight.c) Stand below the foot. Facing the head and using your inside foot, press so that the

ball of the foot covers the inside of the ankle. The sole is around the ankle and your heel contacts the sole. In this position, the medial arch of your inside foot wraps around the medial border of the heel. Receivers find this pressure both

satisfying as touch and intriguing, not being able to figure out how the touch isadministered. (This move was Theri Thomas idea.)

d) Kneel on both knees next to the sole, one hand between the legs, the other outside. Place the inside knee squarely over Kidney 1. Exhale and rock your weight forward with your hands on the calf; carefully modulate the pressure of the patella onto the sole. Rock back and inhale. Repeat twice more, shifting thehands onto positions on the thigh, as well.

e) Standing well below the foot, lunge strongly into the sole with the ball of either foot, push off and give a light brush off the toes as your weight returns. Contrast the firmness of the lunge with the lightness of the brush. Alternate your lunging

foot. Repeat at least twice more.

Repeat 4. - 5. on the other side.


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6. Kneeling on the buttocks

In this section you get to rest your legs, kneeling on the buttocks to provide asustained mother presence while preparing the back and arms for deeper pressure.a) Stand astraddle the thighs just above the knees. Sway your knees sideways so that

the insides of your ankles rock the body. Think of playing catch with the bodybetween your ankles, tossing it across from ankle to ankle. Take tiny sliding stepsheadwards just up to the pelvis, all the while rocking the body rhythmically. Thistelegraphs the next contact.

b) Request permission before kneeling carefully on the buttocks. Tuck your shinsinside of the thighs. Place your hands with empathy on the lower back and pauseto breathe with partner. Brush up both sides of the back and down the arms.

Repeat another brush up the back and bounce down beneath the shoulders and arms to the hands. Repeat both brushes.

c) Ask your partner to inhale and inhale with her. As she exhales, exhale with her,rocking forward onto your hands placed on both sides of the spine at the level of T12. Continue to rock back and inhale with partner, rock forward and exhale,

shifting your hand placements up the back by overlapping half hand-widths tobetween the shoulder blades. Do not advance higher than T6 with your hand

pressures as this will compress the neck.d) Grasp the superior border of both trapezius muscles, and rocking side to side,

knead these muscles. The rocking alternately intensifies the pressure on the gluteals. Because you lean with your weight, your grip on the trapezii keeps you from falling off the buttocks. This is a size-graded move, difficult to do if your arms are short and receivers back is long. Let this movement morph intoalternately lifting and dropping the shoulders onto the mat, then flopping them upand down.

e) Bracing your hands on the upper arms, lift your feet up and rock forward to makea sharper pressure on the buttocks with your knees. Check in to see that the knee

pressure is acceptable. Be creative with circles and rocks as you massage deepinto the gluteals with some fancy knee work. Finally, rest and breathe in

synchronicity with your partner, your head resting on the lower back and your forearms across hers; her palms cradle your elbows, your palms cradle her elbows. To transition into the next move, brush down to the hands and spread open the thumbs away from the index fingers.

7. Standing on the handsa) One by one place your heels in the thumb index finger interspace, your soles

obliquely across the palms. Stand on both hands. Transfer your weight from sideto side in a wide ballet 2nd position (legs externally rotated and bent). Your


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hands direct your upper body weight down into your thighs while you incline slightly forward to maintain your balance. Breathe in as your weight transfers;

breathe out as you sink onto either hand.b) Stand still with your weight evenly divided and administer Polarity to the handsas you did earlier to the feet. Breathe deeply into your hara, tanking up withenergy to become a reservoir of chi that your partner may tap into.

8. Compressing the backThis is the most structural work in the sequence up until now, having the effect of expanding the ribcage as the roaming pressure introduces movement into thecostovertebral, costotransverse, and intervertebral joints. Not uncommonly,spontaneous adjustments of the vertebrae and ribs occur. Transfer your weight off the hands, stepping into the space between the hands and

the hips. Using your crane wings for balance, brush either unweighted foot over the back

to the erectors on the side of the spine nearest you. Your heel will be no lower than the 12 th rib, your toes at the level of the inferior angle of the scapula, but not on the scapula.

Request that your partner inhale, then lean your weight into the erectors,avoiding pressure on the spine and lumbar region. Do not press higher than themiddle of the scapula, as this can compress the neck. Vary slightly the location of

each pressure. After 4 or 5 pressures, slide your foot back to the mat and repeat on the other

side. After doing the second side, feel free to press directly on the thoracic spineitself if there are no spinal sensitivities.

Like one of Lao Tzus verses springing to life, heaviness becomes the root of lightness, as more and freer breathing space emerges from compression.

9. Standing between the legsThis section has been prepared by sections 4. and 7. It looks to free the sacrum,

imparting a sense of security and re-instating a healthy craniosacral rhythm whereabsent.a) Stand between the calves facing 90 to the receivers longitudinal axis. To get

into the next position, bend your knees and transfer your weight to the foot foot. Incline toward the feet while extending your head foot toward the thorax. Place your head foot on the lower back, the sole spanning the spine at the level of T12,and transfer your weight halfway toward that foot. Using your weight, traction inthe direction of the head while rocking transversely. Rock the traction from the

floor, bending both knees. Avoid punching in the direction of the head or


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circling the foot. To exit, transfer your weight back over your standing leg and withdraw your foot.

b) Still between the legs, face in the direction of the head. Brush the ball of your foot three times down along the spine and off the sacrum. Sculpt to the shape of partners body even in these strokes, your forefoot becoming soft like a paintbrush.

c) Fit the sole of your foot over the sacrum. Ask your receiver to breathe in and onthe exhale press perpendicularly down toward the mat. Give an extra downward traction toward yourself with your heel at the end of each pressure. Repeat threetimes. You may place your hands on your thigh to direct your upper body weight into the pressure on the sacrum. Finish with a final vertical pressure down on the

sacrum. As a variation do the Coffeegrinder here: both your hands guide your knee in circles so that the foot pressure rotates around a circle on the sacrumwithout actually sliding your foot. Then without pressure, remain for somebreaths in stillness to allow the warmth and energy from your foot to suffuse deepinto the pelvis. This is a Polarity including the earth in the energy loop.

10. Standing behind the headThis section is very effective in releasing blocked energy, shifting relationships in theupper back, and creating more space for an expanded breath and improved posture.The vigorous pumping of the ribcage has been prepared by rocking, brushing,

massage, hand pressure and slow foot pressure.a) Stand behind the head, facing the feet, close to the occiput. Ask your partner totake a full breath high into the ribcage. Then, with your inside foot, in the samemanner as in 8., work the gap between the spine and the scapula, pressing diagonally downward with the whole foot. Progress caudally in an arc around the

scapula with four or five rapid pressures, then allow partner to inhale. This is avigorous pumping of the ribcage to introduce movement. Repeat twice more.

b) After the last run, pivot 90 sideways to the outside and slide your foot down tothe iliac crest. Traction the crest toward the feet with small transverse rocks.

c) Insert your foot foot under the shoulder and bounce it up and down rhythmically,leaving your heel on the ground for a smaller bounce and lifting your entire foot off the ground for a more vigorous bounce.

d) Breathe in, raise your crane wings to the sides for balance, and stretch the shoulder up off the ground with your forefoot. Hold the stretch a moment toconsolidate the benefits of the shoulder bouncing, then let the shoulder fall.

e) Avoiding downward pressure, vibrate the upper arm with your sole whiletraveling up and down its length twice.


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13. Standing above the headTurned 90 to the bodys longitudinal axis, reach with your foot closest to the head

down to the sacrum.Getting into it in the same way you did the rocking traction at T12, transfer half of your weight onto the foot on partner's body and traction the sacrum in the directionof the feet, adding small transverse rocks without losing the traction. Rock thetraction.

14. Lying on the back of the bodyThe following moves are both size- and intimacy-graded.a) After asking permission to perform this and the next move, (also requesting the

receiver to relate any discomfort), sit on the sacrum facing the feet. Your legs are positioned inside partners legs. Grasp around the metatarsal bones (the forefoot) and bend the heels slowly toward the buttocks. Also traction the forefoot slightly away from the knee in this stretch. As you do so,"scooch" forward and traction the sacrum toward the feet with your sacrum to safeguard the lumbar region from compression. Stretch one leg at a time for a gentler version of thistechnique. Release the legs one by one back to the mat. (This move was TheriThomas idea.)

b) Slide down so that you sit on the tops of the thighs, just below the ischial tuberosities. Palms to palms, gradually lower your back onto partners back. Lay

your legs on partners legs outside of the heels. Now take a deep breath and let your weight sink down. Relax. Breathe in sync with her.c) Interlace fingers, place your soles on partners calves and capture the heels

between your big toe and second toe. Now unleash The Snake, creatively writhing and pressuring all over partners back! If you are not too big and partner too

small, try lifting your legs over your head to focus more weight where your back rolls on partner's back.

d) Traction the arms and legs inferiorly without changing your grips. Slowly sit upand release the hands. Stay for a meditative moment, remembering perchance thecolor of last Springs cherry blossoms, or something very important you may have

forgotten.

15. Rolling over the backAs in 14. b) and c), this is a size- and intimacy-graded move.

a) Just when partner thinks its safe, lower your chest across the upper back. Arrange to have your head on the side to which her face is turned so you canmonitor her reactions. Take a deep breath and let your weight drop down.

Breathe in sync with partner.


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b) Slowly, luxuriously and heavily roll down to the hips and return up to the chest.This move has the apt nickname of The Steamroller. Repeat.

c) Finally, roll all the way down to the feet and beyond, avoiding pressure into thebacks of the knees and the ankles.d) Administer Polarity to the feet, kneeling with your arms crossed to bring your

right palm to the left sole (Pericardium 8 to Kidney 1). Or sit facing away fromthe feet (Billiard Polarity) with right to left, left to right. As a variation, lean back on your elbows and place your soles on partners soles.

e) Rest.

End of face down work.

FACE UPPartner rolls over on her own. Or, if space on the mat allows, kneel on the sideopposite to which partners head is turned. Place the near arm overhead, grasp the far wrist and ankle firmly and pull them to roll partner over toward you. The mainleverage is from the ankle rather than the wrist. Finish the roll by bending the knee tothe chest, then lay it out on the mat. Do housekeeping to ensure partners comfort,such as offering a pillow under the knees.

1. Kneeling between the feetLike the Face Down opening of the sequence, you begin the Face Up half withsymmetrical, bilateral work that treats both legs at the same time.a) Slip your hands under the ankles, lift both legs and palm the heels. (In the case of

clicking, indicating joint instability from a sprain, hold the ankles instead of theheels.) Lean backward to traction the legs in the hip joints as you roll themrapidly inward to create a Jello-like movement in the thighs.

b) Lean forward (inhaling), stretching the calves, by placing the soles on your haraor chest. Lean backward (exhaling), opening the legs to the side and lowering them with traction. Repeat twice more and finish placing the soles on your hara.

Lean in toward them and rest your palms on the knees for Polarity.c) Drop the legs one by one on the ground and waggle the legs sideways in the hip

sockets by holding the little toe of both feet between the thumb and index finger at the metatarsophalangeal joint. Let the legs roll on the ground in a big, sloppyrotation at the hip socket without traction. Next, sliding your grip distally,traction them so as to bounce the legs, popping the toe joints. Do these twomovements with each of the toes.

d) Press down on the forefeet to plantar flex the ankles. With your palms at right angles across the balls of the feet and your elbows braced into your abdomen,


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lean forward to flex the ankles. In both these stretches use your body weight rather than muscular force.

e) Hold the insteps, applying Polarity.

2. Sitting between the feetThis move is borrowed from Thai massage, too delicious not to include! Ask your

partner permission to bend the leg to the side if you sense there could be an intimacyissue in this position. Offer to place a pillow under the knee if the range of externalrotation at the hip is limited.With the leg bent to the side, place your soles on the inner thigh, and reaching under

your own legs, grasp the heel and instep in both hands to traction the ankle joint.You may find it easier to reach under one leg than under both. Go for a walk on the

posterior thigh, alternating pressure and position, tractioning the foot to you while pressing the thigh away. Sliding the foot pressure is also an option. Ask permissionto abduct the thigh higher to the side and continue with alternating pressures. Youmay adjust where you sit to be closer to the leg if it abducts far up to the side. In this

position you may release the heel and take the other heel to create a counter-tractionbetween pulling that leg and pushing the thigh away.

3. Sitting opposite the side of the bodyThese foot kneadings address the upper half of the Gall Bladder meridian.

All the while tractioning the near arm toward you, go for a walk first on the hipabductors and iliac crest (crease and crest). The arm is abducted to an angle of about 120

. Your grip is around the wrist with one hand and just proximal to theepicondyles of the humerus with the other hand. Alternate between these grips withevery three steps, creating a counter-traction.

4. Sitting opposite the handa) Hold the hand in both of yours as if shaking hands and waggle the arm sideways

so the triceps flops sideways off the mat. To gracefully arrive in the handshake grip, stroke down the arm until your hand opens the hand and your thumb cancome around the receiver's thumb. Occasionally let the arm fall while waggling it.

b) Hold the metacarpals, palm facing downwards with both of your hands, and bounce the upper arm gently on the mat and release it a few times. With the same

grip, lean back to traction the arm at the shoulder, circle the wrist up and toward you, (inhaling); lean forward and circle the wrist down and away (exhaling). Repeat two more wrist circles.

c) Flick the wrist up and down with your little fingers, then grasp the metacarpalsand articulate them with firm syncopated circles. This will open and close the


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palm. Also emphasize pulling the thumb and the 4 th and 5 th metacarpals in thecircling pattern.

d) Secure the hand in the solidarity handshake between your palms, as if you were praying fervently, (fingers interlaced), and press it firmly with syncopated circlesin a grinding action. Hold the hand close to your chest for a greater pressure.

e) Kneel on one knee to lift the arm from the mat and rock your body in order to swing the arm sideways and up. Focus on the weight of the elbow.

f) Swing the arm sideways from each finger, squeezing them between your forefinger and thumb, working distally to focus the movement and traction on theMPs, PIPs and DIPs in that order. Sustain the swinging rhythm whiletransitioning from one finger to the next.

Repeat 2. 4. on the other side.

5. Standing over hipsa) Holding the heels, stand up, walk in, and brace your hands against your own

hips. With most receivers, the legs should not exceed a 50-60 angle in relation tothe floor. Lean back to traction and unweight the hips and swing them side to sideusing weight shifts. Grasp both heels in one hand in order to bend the knees with

your other hand. Switch to holding the shins and standing over the hips. Flex theknees to the chest, (out toward the shoulders) requesting partner to inhale, then

pressing on the exhale, repeating three times.b) With the knees together, kneel on your right knee and circle them clockwise, still holding the shins just below the knees. Visualize the sacrum rolling in a cicle onthe mat.

c) Out of the circle, carefully lower the legs to the floor to your right and adjust your foot on the ground forward. Leaning with your weight over the receiver, give atractioning stretch, pressing the shoulder and the thigh diagonally away fromeach other with your hands. Finesse the stretch to the shoulder with the C Curve from Spiral Dynamic.

d) Lean over the lateral thigh with your forearms and massage with syncopated circles, using the medial border of the ulna. Use the same action on either side of the greater trochanter, feeling free to bring the elbows to bear. Repeat b) d) onthe other side.

e) With the knees centered over the chest once more, press the shoulders alternatelyinto the floor with your palms. Feel free to extend your pressure onto the chest,and to slide laterally from chest to shoulder. Lean from side to side to bring your weight to bear.

f) Align the thighs vertical to the ground and press the knees straight down. Reachbetween your legs to take the ankles in your hands, back up, stand up, and lower


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the legs to the ground, one by one, supporting each ankle in your forefoot on thedescent. Anchor your heel into the ground and rock the leg as it rests in your

dorsum, then toss it lightly onto the mat.

6. Kneeling between the feet Brush up the yin meridians on the inner legs to the hara, inhaling, giving a wideberth around the crotch. Exhaling, brush from the hara down under the lower back and buttocks, (turning your wrists so that the finger tips point toward each other as

you continue from the tops of the thighs), and bounce down under the legs to the feet. Repeat two more cycles.

7. Standing above the heada) Take both wrists from the inside and stand up above the head, your feet on either

side of the head. Roll the head side to side by alternately shifting your weight sideways. Traction the arms enough so that only the back of the head remains onthe mat. Find a rhythm that does not stress the neck or make the receiver dizzy.

b) Traction and swing one arm at a time to roll the head on one side only. Finallyreplace the arms at the sides.

8. Kneeling above the heada) As you kneel, cross the receivers arms across his chest. Make sure the hair is

safely out of the way as you sit on your heels and rest the head on your thighs. Alternately pull the wrists diagonally downward to roll the upper body from sideto side and stretch the rhomboids.

b) Cradle under the top forearm with your forearm, palming the upper arm. With your other hand hold the scapula on the same side. Circle the elbow and scapulain a syncopated pattern. Pull the elbow across, maintaining the stretch while your other hand circles the scapula and massages the rhomboids with its fingertips.

Place the other arm on top and repeat.c) Finally, cross your own arms, grasps the wrists, lift the arms up and swing them,

then release them one by one to the mat.

9. Sitting above the heada) Lift up the shoulders, one by one, to insert your feet beneath the rhomboids. Lift

your feet alternately and then at the same time to massage the rhomboids and articulate the thoracic spine.

b) Position a rolled up towel under the neck. Gather it in one hand above the head, your other hand guiding from under the neck and your soles on the shoulders. Lean back and administer a counter-traction. Ask partner to breathe high into thechest and hold the breath. Maintain the traction as partner exhales. Repeat twice


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more, asking her to breathe higher up into the neck even, to engage the SCM and scalenes as secondary muscles of respiration. Gradually release the stretch.

Using the towel under the neck, roll the head from side to side, then remove thetowel.c) Leaning back on your forearms, go for a walk on the shoulders, alternately

pressing them down in the direction of the feet. Start at the sides of the neck like acollar, working out to the shoulders and back. You may direct some pressure ontothe chest, as well. Finish by brushing your lateral arches down the upper arms.

10. Leaning backwardsTake both of the wrists firmly from the inside and stretch the arms over the head.

Lean back until you lie on the ground. Hold for 3 breaths. Sitting up again, lay thearms on your lap.

11. Sitting above the heada) Beginning from the hara, slide your hands under the waist and passing up along

the sides and under the arms out to the hands. Repeat, brushing from the hara upthe center of the chest, along the arms and out to the hands.

b) Repeat, brushing from the hara, up the center of the chest and stroke along the jaws and cheeks.

c) Take the hands and swing the elbows. Lean forward onto your knees and place

the arms by the sides, tractioning the wrists down toward the feet.

12. Facial Shiatsu Rock forward and backward slightly to involve your body weight in each of the pressures that follow.

Chin ---With the four fingers on the mandible, press into the chin with the thumbs,then work laterally along the mandible to the angle of the mandible.

Mouth --Slide the thumbs from the corners of the mouth sideways. Nose ---With the palms resting on the side of the head, place the four fingers on

the sides of the nose. Cheekbone --- Press four fingers into the lower border of the zygomatic bone;

reposition laterally along the inferior border of the zygomatic arch. Circle Eyes ---With four fingers resting on sides of cheeks, press thumbs below

the eyes, then above the eyes. Temples ---With four fingers resting on sides of cheeks, press thumbs into temples

and slide laterally. Forehead ---Slide the thumbs from the center of the forehead out to the temples

three times.


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Governing Vessel and Bladder ---With the thumbs give Shiatsu along the sagittal suture and one body inch lateral to it on both sides.

Gall Bladder ---Circle with palm pressure on the sides of the head.

13. Kneeling above the headCover the eyes with your palms, with or without contact, and the ears with your inner thighs.

14. Sitting opposite the haraa) Fluff the hara like a cat, pressing and pulling with both hands.b) Circle a big hand clockwise on the hara.c) Place one hand on the hara, one on the forehead, and your head on the heart.

After several breaths, lift your head and leave the hands. Do a soft take-off,i.e., remove first the weight of the hands, then their touch, then their warmth, thentheir energy from the auric field. Finish with the Mummy as described at the end of the General Information and Guidelines.

FINISH In the delicacy of feeling at the end of a session, finish wishing health and happiness for your receiver. Honor the space in your own way, silently feeling gratitude to thereceiver for empowering you with her surrender and receptivity, for giving you the

opportunity to serve. Thank also the living elements that participated in theequation: the earth and spiritual energies. Step outside the auric field of your

partner and cut the energy between yourself and her by any of the following techniques: waving your hands in front of your hara, spinning on your axis, shaking

your joints, affirming I am I, you are you." and breathing more deeply. Finally,kneel seiza alongside partner to re-center psychologically. Calm your energies and

place your hands on the ground to pass any excess energies back into the earth.

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