BASIC TECHNIQUES (1) PDF

122/‫جنا عرفات فواخرية‬ BASIC TECHNIQUES The core set of techniques that make up Swedish massage (see p.110) form the foundation of massage practice in the West. These techniques make up the practitioner’s toolkit and are combined to create the ebb and flow of a massage, allowing the practitioner o...

122/‫جنا عرفات فواخرية‬ BASIC TECHNIQUES The core set of techniques that make up Swedish massage (see p.110) form the foundation of massage practice in the West. These techniques make up the practitioner’s toolkit and are combined to create the ebb and flow of a massage, allowing the practitioner or giver to build pressure gradually. The techniques are also integrated into many massage specialties so that tissues can be softened and relaxed before applying more targeted pressure. Throughout a treatment, effleurage and petrissage soften the tissues and promote deep relaxation; lively percussions stimulate and wake the body up; and vibrations, static pressures, and passive movements loosen areas of resistance. KEY Light pressure Deep pressure Moderate pressure Hand placement 40 FAN STROKE WHEN TO USE GOOD FOR PRESSURE Start of Applying oil and Mostly moderate massage warming tissues to deep The T-shaped fan stroke is an oil-spreading stroke done on the back either from the base of the spine, as shown, or from the top of the BA SIC TEC H NI QUES back, with the T shape opening out across the EFFLEURAGE sacrum. The stroke can be done in stages, making mini-fans or fountains, as shown here, or, if oil has already been applied, you STROKES can make one large fan over the back. As you repeat the stroke, tissues gradually warm up and relax, allowing you to deepen the pressure. These flowing, rhythmic, smooth strokes form the basis of massage. As introductory strokes, they connect giver and receiver, beginning a dialogue through touch; practically, they spread oil so you can work without dragging the skin and they warm the tissues, boosting circulation. Effleurage is akin to a melody that you return to between other strokes, connecting different strokes together, as well as the receiver to their body. Each stroke should be done at least three times in a continuous action. The speed can vary, but the deeper you go, the more slowly you should work to sense if you are going too deeply and causing contraction rather than release. Generally, strokes are deeper toward the heart and lighter gliding back. Keep your whole palm in contact with the body Lean in, using the weight of your body to 2 help apply pressure, and fan your hands out in small fountainlike actions. Repeat this pattern up the back, reapplying oil at any point if needed (see p.32).  FA N ST RO K E 41 1 Oil your palms and keep your Keep your hands relaxed as you position thumbs lifted them at the base of the back. off the spine Place your hands on either side of the spine, making sure you aren’t touching the vertebrae. Crossing your thumbs helps you get close to the spine and avoids putting strain on them ALTERNATIVE METHOD If crossing your thumbs is awkward, keep them apart, avoiding the spine. Pressure can deepen over the shoulders Lighten pressure a little as you sweep your hands down the back As you reach the shoulders, fan out Slide your hands around to the sides of the 3 your hands simultaneously in a large T shape, keeping your fingers relaxed 4 ribcage and sweep back down the entire length of the back, making sure that your and increasing the pressure as you hands don’t lose contact with the back at any lean into the stroke. point as you prepare to repeat the stroke. 42 B A S I C T EC H N I Q U ES : E F F L E U RAG E ST RO K E S THOUSAND HANDS This smooth, flowing action is an oil-spreading technique done over large surface areas such as the back or limbs. As well as oiling the skin, it also warms your hands and introduces touch. As your WHEN TO USE GOOD FOR PRESSURE Start of massage Spreading oil; Light to hands alternate in small, gliding strokes, one or if skin dries warming hands moderate hand always in contact, the receiver has the sensation of lots of hands working on the body. OVER THE SKIN Place the whole palm of one hand on the body. Glide your hand up the body, then lift your hand and begin a new stroke with your other hand, alternating hands constantly to ensure that one hand is always in contact with the body. Keep your hands relaxed and avoid flexing at the wrists SMOOTH ACTION This stroke can be slow when you wish to soothe, or faster when you want to energize—but it should always be smooth and rhythmic. Pressure can deepen over fleshier areas  T H O U S A N D HA N D S 43 “ Constantly al!rnating the hands in this stroking action gives the ” impression that numerous hands are w"king on the body. Stroke over the spine lightly, ensuring you apply no pressure ALTERNATIVE METHOD Doing a thousand hands over a towel at the start of a session introduces touch gradually and helps reassure. 44 B A S I C T EC H N I Q U ES : E F F L E U RAG E ST RO K E S SLIDE AND GLIDE These fluid, oil-applying strokes, used at the start STROKES of massage to an area or if the skin dries out, also gently stretch and warm the underlying tissues to oxygenate the area and help you sense points of tension. Lightly oil your hands, then WHEN TO USE GOOD FOR PRESSURE repeat a stroke at least three times on each At the start of Applying oil; Build to moderate work to an area warming tissues with repetitions area, working progressively deeper each time. Keep your whole palm in contact with the skin OVER THE SHIN BONE This technique, called “dragon’s mouth,” cups your hand over the shin bone. It is unique to the shin, as it allows you to work on the lower limb without pressing on the bone, while the leg shape here prevents your The fleshy area Make a “V” shape over thumb joint overextending. between thumb the shin and gently press Glide up to the knee, then and index finger the muscle on either side sweep back down the calf rests on the bone side as your other hand starts a new stroke.  S L I D E A N D G L I D E ST RO K ES 45 OVER THE CHEST AND SHOULDERS Raise your 1 thumbs to avoid pressing Standing behind the on the throat head, knees slightly bent, place your palms on either side of the ALONG THE ARM chest, being careful with this delicate area. Fan your hands out to Gently hold the wrist cup the shoulders. to stabilize and slightly stretch the arm while you sweep up the length of the arm with your other hand. Circle the shoulder and glide back down in an 2 elongated “O” shape. Swap hands and Keeping the whole of repeat several times your palms in contact in a fluid, rhythmic with the body, sweep movement. Turn the down the shoulders arm to repeat on the and tops of the arms, inner arm. using your body weight to lean in as you deepen pressure over this fleshier area. SENSE OF TOUCH These introductory strokes 3 engage communication between the nerves and Curve your palms muscles and help the under the arms and receiver get a sense sweep back up, taking of your touch. your hands right under the shoulders. Repeat the steps several times in a continuous action, increasing the pressure in step 2 each time. 46 B A S I C T EC H N I Q U ES : E F F L E U RAG E ST RO K E S CIRCLE STROKES Working the tissues in a circular motion helps to warm them, boosting circulation to an area, and also releases stickiness in the superficial fascia that can cause tension and pain. Circle strokes are helpful in areas where tension WHEN TO USE GOOD FOR PRESSURE After initial Circulation boost; Moderate is typically held, such as the shoulders and back, or for warm-up strokes tension release to deep releasing tightness in muscly areas such as the thighs. Pressure can vary from moderate to deep; ensure that you slow the stroke the deeper you go. WHOLE-BODY ACTION Position yourself in a relaxed lunge and move your body with the action of your hands as you work over an area. Place a rolled towel under the leg for comfort if needed WITH FINGERS Using just the ends of the fingers, lifting the palm a little, lets you work into smaller areas such as the thigh. Circle up and down, sensing the texture of the tissue so you can detect areas of tightness—for example, in the quadriceps.  C I R C L E ST RO K ES 47 Keep your whole palm in contact with the body to help release tension Keep your wrist relaxed as you circle your hand WITH WHOLE HAND 1 Circle over large areas such as the shoulders and back using your entire palm. Begin with your hands at opposite sides of the circle and move them clockwise, avoiding bony areas such as the spine. Lift your hand briefly to cross over the opposite wrist Sweep your hand around, keeping the movement constant 2 Lift one hand to cross over the opposite wrist when it reaches it, keeping your other hand in contact with the body as you do so to ensure constant movement and contact. Do several repetitions on one shoulder before repeating the action on the opposite side. 48 B A S I C T EC H N I Q U ES : E F F L E U RAG E ST RO K E S CRISS-CROSS This linear push-and-pull action is a light, soothing effleurage stroke, though it can also be applied more deeply, as a kneading petrissage action. As the tissues are squeezed and stretched, blood flow to the area is boosted, WHEN TO USE GOOD FOR PRESSURE After oiling, or Warming and Moderate to making this a very relaxing and warming stroke that can deep strokes soothing deep be used as preparation for deeper strokes. It can also be done after vigorous deep tissue work to soothe the tissues. Criss-cross is typically done on larger areas, such as the back; thighs; and, more lightly, on the abdomen. HAND CRISS-CROSS Place the palm and fingers on the back so the whole hand is in contact Squeeze and slightly twist the tissues as your hands Work over the pass each other spine, but don’t press down on it With relaxed hands on either side of the area you’re working with, use your body weight to lean into the stroke, then push with the hand closest to you and pull with the hand farthest from you, squeezing tissues at the center as your hands cross over. Repeat back and forth.  C R I S S - C RO SS 49 “ Squeezing and compressing the tissues is extremely relaxing and warming. ” FOREARM CRISS-CROSS Keep your hand soft and relaxed Keep your whole forearm but not your elbow in contact with the body Slide one hand down as your opposite forearm glides over the back BEST POSITION Use your body to direct the Using your forearm in a criss- stroke. Squat, then lower cross stroke allows you to lean yourself as your hands into the body more for a deeper go down at each side stroke. This forearm pressure is and come up as effective for releasing tension in your hands rise. the fleshier muscles of the lower back, but avoid this deeper pressure higher up the back. 50 B A S I C T EC H N I Q U ES : E F F L E U RAG E ST RO K E S FIGURE-EIGHT This technique moves and stretches the tissues in different directions. It is best done after initial warm-up strokes, and the stretching action is helpful preparation for deeper tissue work. It can be done with reinforced WHEN TO USE GOOD FOR PRESSURE After effleurage, Stretching and Moderate to deep hands over fleshy areas, or your hands can work predeep strokes warming tissues (light on spine) separately to incorporate a crosswise stretch of tissues over the whole length of the back, shoulder, and hip. REINFORCED HANDS Ease off pressure as you travel over the spine Keep your fingers relaxed and together Layered hands can be used to trace a figure-eight pattern over the shoulder girdle and also over the lower back, pelvis, and gluteals. This reinforced action helps you deepen pressure over these fleshier areas.  FIGURE-EIGHT 51 SINGLE HANDS This hand always travels inward— toward the spine This hand always travels outward—away from the spine FINDING A RHYTHM It can take a little time to find a rhythm here. You may want to establish what one hand does first before bringing in the second hand. Squatting side-on, place one hand on the far shoulder, 1 the other at the base of the back on the far side. Move your hands together, pulling up tissues with the one near the shoulder, pushing them with your hand near the hip. Glide both hands toward each other, swinging Cross your arms and glide each hand to 2 them around so that the fingers face, until they meet in the midback. Lighten the pressure as 3 the opposite end of the back in a flowing figure-eight pattern. Swap sides to repeat you travel over the middle of the back. on the opposite side of the back. 52 B A S I C T EC H N I Q U ES : E F F L E U RAG E ST RO K E S DEEP STROKES WHEN TO USE GOOD FOR PRESSURE After warm-up Releasing Deep techniques chronic tension Working deeply into the tissues and fascia allows you to target areas that often carry tension, such as the back, trapezius, and leg muscles. Using different parts of your body or reinforced hands to apply the pressure helps protect your wrists and hands and allows you to lean in and use your body weight to intensify pressure. Warm and prepare the tissues first with lighter strokes and return to lighter strokes afterward to soothe the body. Deep strokes should always be done very slowly and sensitively. Work down both sides of the back, taking care Keep your not to press down elbow off on the spine the body REINFORCED HANDS Place one hand on top of Keep your fingers the other to deepen pressure together as you and also stabilize and protect press down across your wrist and fingers. This is the tissues a good technique for working across tissues—for example, over the trapezius muscles of the shoulders.  D E E P ST RO K ES 53 SIDE OF THE HAND NOTICE RESPONSES Follow the line of Be attuned to the receiver’s the shoulder blade responses. Check that the around the contour receiver is happy with the of the shoulder pressure and ease up or go deeper as needed. Lunge in to stabilize your body and help align your wrist The side of your hand can be used to access the small, tight area between the spine and scapula. Place your other FOREARM PRESSURE hand on the shoulder for support and to comfort the receiver and connect them to their body and your touch. Pressing down with your forearm helps you to apply deep pressure over large areas such as the back. Squat down and use your body weight to deepen the pressure, easing off over the kidney area in the midback and Loosely interlock going deeper over the gluteals your fingers and and trapezius muscles. press the heels of your hands into the muscle CUPPED HANDS This technique warms the calf muscle tissues and is a useful sports’ warm-up, though avoid it with conditions such as DVT. Work up the calf, pressing in with the heel of the hands, releasing, then moving along and repeating. Stop before the knee and glide back down. 54 B A S I C T EC H N I Q U ES : E F F L E U RAG E ST RO K E S FEATHERING This very light touch gently stimulates the nerves rather than acting on muscles, and can feel very relaxing. But it can also tickle, so it is best done on less sensitive areas such as the back, leg, forearm, and scalp, once the receiver is already WHEN TO USE GOOD FOR PRESSURE To finish an area Relaxing and Extremely relaxed. It signals the end of a massage to a particular area or whole session de-energizing light or the end of a complete session and draws energy down. FINGERTIP FEATHERING Use fingertips only to stroke very gently over the skin Work over the whole of an area, including bony regions such as the spine Keeping your wrists loose and hands soft, stroke your fingertips over the skin using a featherlike touch. Stroke one hand toward you; as this finishes a stroke, start a new one with the other hand so there is continual contact.  F E AT H E R I N G 55 BACKS OF THE HANDS Stroke the skin with the backs of your fingers Stroke away from your body, alternating your hands Feathering with the backs of your hands creates a slightly tingly sensation that can be used for a more sensual effect—for example, if massaging a partner. READING REACTIONS Be sensitive to how the receiver is feeling. For some, feathering simply irritates and tickles rather than soothes and is best avoided. ALTERNATIVE METHOD Feather over a towel to keep the receiver warm at the end of a session. 56 WRINGING WHEN TO USE GOOD FOR PRESSURE After warming Boosting Moderate effleurage circulation This is a compression “push–pull” movement incorporating a twist that should be done on lightly oiled skin to avoid an unpleasant stretch. The smooth, rhythmic action is done BA SIC TEC H NI QUES on fleshy areas such as the torso and thighs. PETRISSAGE If you feel a knot of tension, home in with some finger and thumb kneading (see p.60). Wringing can also be done with the forearms, working side-on as shown here, turning your body rhythmically first toward the head and Petrissage techniques are compression strokes to then toward the lower limbs to twist the flesh. the fleshy, muscular areas of the body that are done after the tissues have been warmed up with lighter effleurage strokes. Petrissage works along and across muscle fibers, engaging the deeper layer of muscles. The action of squeezing and twisting and then releasing works deeply into an area to release stickiness in the fascia; boosts circulation; and encourages the natural elimination of waste products from the tissues via the lymphatic system. The techniques should be carried out in a steady, continuous rhythm. Some effleurage movements, where tissues are worked into more deeply or squeezed against each other, can cross over into petrissage techniques. DEEP RELEASE This energetic action can feel very releasing. Ask the receiver how they feel and go deeper if they are enjoying the pressure.  WRINGING 57 Pull tissues toward you with your fingers and push away with your thumb, avoiding pressing on the spine Pass the grasped tissues between your hands to WITH THUMBS alternate the action SPLAYED Wringing the tissues with fingers and splayed thumbs creates a vigorous twisting and squeezing action. Move up and down an area, working on the opposite (contralateral) side of the back. Overusing this technique can strain your thumbs, so use it with caution. Work straight down, or stand Avoid flexing your wrists, diagonally to twist squatting down so they the tissues align with your hands WITH THUMBS TUCKED IN Keeping your thumbs next to your fingers achieves a gentler twist but protects your thumbs from strain. Sway from side to side to control the movement from your body rather than from your wrists and hands. 58 B A S I C T EC H N I Q U ES : P ET R I SS AG E ST RO K E S KNUCKLING This technique involves holding your hands in soft, relaxed fists, your fingers curled at the second joint as if holding something loosely, then massaging with your knuckles (using just a small amount of oil) to stimulate blood flow to an area. WHEN TO USE GOOD FOR PRESSURE Usually near the Relaxing and Light The action can be slow, rhythmic, and relaxing—as is the case end of a session revitalizing to deep with circular knuckling done on sensitive regions—or more energizing, stretching tissues as you work over fleshy areas. CIRCULAR Rotate your Move your wrists, as well as knuckles in small your fingers rotations in a wavelike motion Keep your thumbs relaxed and lifted off the flesh VARY THE PRESSURE Apply lighter pressure to the pectorals when massaging a woman This light knuckling is used on sensitive areas (avoiding the breast tissue) such as the pectorals and in small, targeted areas. and stronger pressure Keep your hands close to the body, fists soft and on a man. wrists relaxed. On the chest, work from the center out to drain waste material into the lymph nodes.  K NU C K L I N G 59 LINEAR Work up and down, applying deeper pressure as you glide up and lighter pressure on the return strokes Avoid working over the back of the knee Knuckling can be applied more deeply in a gliding, linear action over fleshy areas—for example, along the back of the thighs. Squat or lunge as you glide your whole fist along the area, leaning in with Your knuckles your body weight to go deeper into the muscle. stretch and open tissues as they travel across the body ALTERNATIVE METHOD Tucking in your thumb can feel more natural when working across the body and also helps avoid the buttocks. 60 B A S I C T EC H N I Q U ES : P ET R I SS AG E ST RO K E S KNEADING This petrissage technique using fingers, thumbs, and sometimes the heel of the hand pulls, lifts, and pushes tissues in a kneading action, working into the muscles to release stickiness in the WHEN TO USE GOOD FOR PRESSURE After initial Tension release Moderate fascia and relieve tension and pain. Kneading can warm-up strokes in tissues to deep be a useful technique for working into smaller areas—for example, the fleshy area at the top of the trapezius or between the scapula and spine. TWO-HANDED KNEADING A MIX OF STROKES Alternate vigorous kneading with gliding effleurage strokes as you work over an area such as the back. Press down, then pull up to knead the flesh as you would knead bread Kneading with both hands is an effective way to work into fleshy areas such as the lower back and gluteal. Your hands stay relaxed and in one place while your fingers and thumbs knead the flesh, keeping the fingers together to focus the action.  KNEADING 61 Curl your fingers over the shoulder as you press with the heel of your thumb USING THE HEEL The heel of your thumb can be used to knead into the curve of the shoulder, allowing you to knead deeply into the shoulder area without putting pressure on your thumbs. Press into the flesh with the heel of your thumb, not the whole palm, avoiding pressing on the spine. ONE-HANDED KNEADING For smaller, fleshy parts of the body—such as the calf, arm, Knead in a rhythmic action or shoulder—knead with one up the calf, then hand only. Lift the flesh with glide back down your thumb and fingers, then use your thumb to roll it across toward your fingers. 62 B A S I C T EC H N I Q U ES : P ET R I SS AG E ST RO K E S SKIN ROLLING NO-OIL WHEN TO USE GOOD FOR PRESSURE TECHNIQUE After warming Releasing Light to strokes tension moderate It is best to do skin rolling on dry skin, without oil, so that the fingers can lift This technique lifts and rolls tissues to help and stretch the tissues release adhesions between the skin and without slipping. fascia. Skin rolling is useful for targeting areas of tightness that can cause pain—for example, between the spine and shoulder blades or in the erector spinae (the muscles along the back). Let the fingers sink in to work tissues slowly and release tension gradually. Gently squeeze, lift, and roll the tissues toward you, being careful not to pinch Keep your fingers together, without tension, as you grasp a small mound of tissue between fingers and thumbs OVER FLESHY AREAS With relaxed hands and wrists, move and stretch tissues gently in a push–pull rolling action with fingers and thumbs. Release and repeat on the next section of skin, moving slowly ALTERNATIVE VIEW across an area. If working up from the Sink your thumbs in as sacrum, travel up each side in turn, your fingers roll the standing on the side you are working on. flesh toward you.  SKIN ROLLING 63 “ Sense areas of !nsion and w"k into these parts of the body. ” OVER BONY AREAS Gently rest your other fingers on the body, keeping them soft and relaxed One finger may be sufficient over bony areas or where there is less flesh to grasp Take care not to press down on vertebrae Skin rolling can be done over bony areas such as the spine as you lift and pull rather than push down. To work down the back, lean over from the head as far as is comfortable, then move to the side as you work down to the base of the back. 64 RHYTHMIC STRIKES WHEN TO USE GOOD FOR PRESSURE Near the end of a Energizing Light to massage session moderate These percussive strokes boost blood flow to an area, helping to reawaken and energize the body. Percussion is not usually done over bony areas, though the cupping technique on page 66 can be helpful over the midback to loosen catarrh. Keep the wrists soft and springy as you tap, drum, or lightly strike. BA SIC TEC H NI QUES PERCUSSION Also known as tapotement, percussion techniques are “wake-up, break-up” strokes. These dynamic, vigorous strokes with a steady staccato rhythm are used either to wake up the body—for example, at the end of a massage to bring the receiver out of a deeply relaxed state, or in preparation for a sporting event—or to break up areas of congestion. Percussion is usually avoided over bony areas and the neck and should not be done over injuries, broken veins, damaged skin, or on the abdomen. Keep your thumbs off the skin or tucked in  R H Y T H M I C ST R I K ES 65 “ Rhythmic strikes boost HACKING ” blood flow to the tissues and energize the body. PUMMELING Keep the hands pretty close to the Hacking is done by striking body so that strokes the body with the little finger are not too punchy sides of your hands, like a light karate chop, and is usually done by alternating the hands in a rhythmic action. To hack over a large area such as the back, stand in a squat and lunge your body from side to side to ALTERNATIVE METHOD direct the action. You can also hack with your hands joined. Hold Work over an area them loosely rather than in any direction, ensuring tightly pressed to keep that you avoid bony parts them relaxed, fingertips such as the spine gently touching. This is one of the more vigorous types of percussion and works well on fleshy areas such as the gluteals and hamstrings. Hold the hands in a soft fist, wrists loose, and gently pummel around an area, alternating your fists in a rhythmic fashion. CONTINUED 66 B A S I C T EC H N I Q U ES : P E RC USS I O N RHYTHMIC STRIKES continued Hold your hands in a downward “bowl” shape, thumbs held loosely at the side Only your fingertips and sometimes the edge of your hand make contact CUPPING Loosely cupping your hands to pummel feels lighter than other types of percussion. This rhythmic stroke is often used over the ribcage area of the back to help loosen congestion. It can also be done with the receiver seated and clothed, leaning over a chair.  R H Y T H M I C ST R I K ES 67 TAPPING Keep your palms still as you Drumming your fingers tap your lightly, like raindrops, feels fingertips energizing and stimulating in a gentle pitter-patter but is also relaxing, so it is action slightly more calming than other percussions. This lighter stroke is often done on the scalp and over the shoulders (avoiding the neck) as part of a head massage, or, more gently still, around the eye sockets to clear sinus congestion. Alternate your hands in a rhythmic pattern FINAL STROKES Percussion signals the closing stages of a massage. It may be followed with feathering and the calm placing of hands in a ALTERNATIVE METHOD final hold. Tap all the fingers of your hand together for a slower, very relaxing sensation. 68 SHAKING WHEN TO USE GOOD FOR MOVEMENT Before Helping receiver Gentle to fairly massaging a limb to let go vigorous This assisted movement helps loosen a limb (usually an arm or hand) and release tension, making it easier to work with the relaxed tissues. Shaking is helpful before working on a limb, or between strokes if you sense tension. Avoid using oil, or use minimal oil, to stop you sliding and rubbing across the skin. BA SIC TEC H NI QUES VIBRATIONS Vibrations can involve a fairly vigorous shaking of a limb or a rocking movement of the body to loosen restrictions at joints, or they can be smaller “shaking” actions, usually done with the fingertips, to target specific areas of tension that may be discovered when working on a particular part of the body. With the more subtle fingertip shaking, the aim is to vibrate the layers beneath the skin, rather than the skin itself, to help break up sticky adhesions in the tissues. Interlock your fingers around the base of the arm to support the arm fully  SHAKING 69 UP AND DOWN Shaking a limb up and down should be done gently, as there is a smaller range of motion here. Hold the Ideally, keep your stabilizing hand gently but “mother” hand on the couch to securely so it can cushion the arm and stop it hitting completely let go down into the couch. ALTERNATIVE METHOD To shake a hand up and down, put your fingertips under the wrist, thumbs lightly on top, and shake. FINGERTIP SHAKING ALTERNATIVE Lift your thumbs METHOD so movement Hold a hand loosely isn’t impeded below the wrist and Gently move your fingertips shake it side to side over one spot Anchor the between your hands. movement with your other hand SIDE TO SIDE Shaking a limb or hand from side to side This small vibrating movement is carried can be done gently or pretty vigorously. Sense out by sinking your fingers into the flesh to the range of motion and go gently if there is vibrate the tissues under the skin. Work more stiffness. Shake for a few moments, across the muscle fibers, sensing in which until you feel the limb or hand relax. direction they are most responsive to moving. 70 B A S I C T EC H N I Q U ES : V I B RAT I O N S ROCKING Rocking, or pulsing, is a rhythmic movement done at the start of a session over towels to help you connect with the receiver and introduce touch. It can also relax areas of tension or loosen joints— WHEN TO USE GOOD FOR MOVEMENT Start of session Connecting with Light for example, in the shoulders or legs—without the receiver straining yourself. Done slowly, it is very relaxing; more quickly, it is energizing and invigorating. ROCKING WITH ONE HAND Keeping one hand in a stationary position on the sacrum to anchor the body, place your other hand next Start rocking to it and gently push the with your top hand body away with your top from the bottom of hand, allowing the body to the back to the top, roll back to you in a small, then back down gentle rocking action. Work Your hand can up, then down the torso with work over the spine here but your top hand in this way. without pressing Swap hands and use your down on it lower hand to rock down, then back up the legs.  RO C K I N G 71 Keep your hands completely soft and receptive as the body rocks back to them FRONT AND BACK ROCKING WITH TWO HANDS You can rock the torso with the receiver lying either Rock with both hands to release tension face down (prone) in the shoulder. Place your hands either on or turned onto their the far side of the torso or on the side back facing up (supine). closest to you (which can put less strain on you), avoiding the spine. Push the body away, allowing it to rock back. Do this several times, building a steady rhythm. 72 STATIC AND CIRCULAR PRESSURE WHEN TO USE GOOD FOR PRESSURE After effleurage or Identifying areas Moderate deep petrissage of tension to deep These small, slow movements are done mainly with your thumb but can also be applied with your forearm or, with great care, your elbow. When applying static pressure, BA SIC TEC H NI QUES slowly increase the depth so you can feel a gradual softening and release of the tissues, PRESSURE easing back on the pressure if you sense the tissues are beginning to tense. Circular pressures work over a slightly larger area, making small, circular movements to the These pressure moves can be useful for sensing tissues beneath the skin. and working on areas of tension and tenderness and trigger points (see pp.130–133). Before using the techniques, make sure you have softened the tissues first with slow, releasing strokes; otherwise, the pressure could be painful and cause the body STATIC THUMB PRESSURE to tense rather than release. You also need to take care of your thumbs and fingers when applying Work around, pressure in this way. Try using the side of your not over, the knee joint thumb or the relaxed pads of your fingers (not the tips), and where possible apply pressure by resting your other arm, hand, or finger over the working hand or finger as you lean in. Using your thumbs independently allows you to apply pressure more gently around sensitive areas such as the knees and elbow joints. Apply pressure in the fleshier area around the joint.  STAT I C A N D C I R C U L A R P R E SS U R E 73 STATIC ELBOW PRESSURE STATIC FOREARM PRESSURE Take great care to avoid bony areas when using your elbow Use your whole forearm to apply pressure, taking care not to dig in with your elbow Use sharper elbow pressure mainly on men and Applying pressure with your forearm lets you use over very developed muscles only, for example, to your body weight to work into the tissues without release the gluteals or trapezius. The elbow is less straining your body. You may need to lower the bed sensitive, so you are unlikely to sense tensing up. to facilitate this deeper tissue work. STATIC PRESSURE WITH CIRCULAR PRESSURE WITH REINFORCED THUMBS REINFORCED THUMBS Make sure you move the tissues under the skin, not just the skin Keep your top thumb soft to avoid straining it With your “sensing” thumb soft and relaxed on the Making small rotations with reinforced body (avoiding the spine), place your other thumb on top thumbs helps release tension over a to apply pressure. This reinforced action protects your targeted area. Do this after some bottom thumb as you press down. preliminary static pressure. 74 STRETCHES AND MOVES WHEN TO USE GOOD FOR PRESSURE At start or end of Release of Very gentle work to an area tension Gentle stretches and assisted moves help the receiver let go before deeper tissue work, or can be done at the end of treating an area to see how far the tissues have released. BA SIC TEC H NI QUES Your actions should be smooth, slow, and PASSIVE without force. Work sensitively on the neck, or not at all if there has been an injury; avoid stretching hypermobile joints; and take care in MOVEMENTS pregnancy, when hormones soften cartilage, increasing the risk of injury. These gentle, slow stretches, rotations, flexions, and extensions allow you to explore and assess the receiver’s natural range of motions before you work into an area. When you carry out these actions with the proper attention and respect, FIGURE-EIGHT NECK MOVE you will be able to feel where the receiver is holding tightness, signaling that you should ease off before gently repeating the move and feeling for a new point of resistance as tension is released. This gradual action helps the receiver to turn off their automatic protective responses and shows them what they can actually do. The receiver should not feel any pain—only release. Lift the neck up and off the bed slightly as you rotate it Supporting the head securely in 1 your hands, start to move the neck very gently over to one side, feeling for the point of resistance.  ST R ETC H E S A N D M OV ES 75 ARM STRETCH NECK STRETCH Pull the limb gently in a straight line with the body Support the limb with one hand while you pull with the other Ask the receiver to relax completely, Place your fingers under the bony occipital then use your body weight to pull the limb ridge to cradle the head, then lean back, back gently until you feel some resistance. applying a little traction until you feel the neck gently stretch. PASSING A LIMB Turn the neck smoothly, slowly Hold the wrist, building its range not the hand, to of motion allow the hand to relax completely Gently take the neck over to the opposite side Pass the stretched limb back and 2 in a subtle figure-eight movement. Repeat this action a few times, ensuring that movements forth from one hand to the other in a slow, fluid movement to help the are small, slow, and predictable. receiver completely let go. 76 B A S I C T EC H N I Q U ES : PA SS I V E M OV E M E N TS ROTATIONS Rotations are passive movements that are done extremely slowly to take, for example, a tight leg, arm, neck, or shoulder through its range of motion before you work more deeply into the area. The slow, supportive action WHEN TO USE GOOD FOR MOVEMENT Before working Encouraging Circular helps you assess the range of motion and also on a limb or area relaxation encourages the receiver to relax and release held-in tension. It’s important that you feel completely relaxed yourself and focused while carrying out rotations. HEAD ROTATION Sit or squat behind the receiver, then cup 1 your hands over the ears, your fingers slightly under the chin and thumbs on the temples. Cradle and support the head. The chin and forehead should be level; if the chin is higher, place a blanket under the head Keep your hands securely cupped around the head as you rotate it slowly 2 Keeping the head well supported, turn the whole head very gently, first to one side, then to the opposite side, being sensitive to the receiver’s range of motion throughout the rotation.  ROTAT I O N S 77 SHOULDER ROTATION This rotation is done specifically on the shoulder. With one hand supporting the shoulder from below and the top hand covering the top of Keep your hands, wrists, the shoulder, gently lift and and arms rotate, working rhythmically relaxed and slowly in both directions. HAND AND FINGER ROTATION Rotate both Lift each finger clockwise and slightly as you counterclockwise gently rotate it Keeping the arm low, support the After several wrist rotations, move to 1 forearm, holding it loosely to avoid 2 the fingers, rotating each one in turn. transferring tension, while holding the Hold the hand at the joints and rotate hand in your other hand. Rotate the wrist each finger at its tip, keeping your own joint gently in a small circular motion. wrist straight to avoid any strain.