Dedication/About the Author/Foreword to first edition by Thomas Myers/Foreword to second edition by Jill Miller/Foreword to second edition by Jules Mitchell/Acknowledgements
PART A From Anatomy to Animated Architecture
- Chapter 1 The Art of Contemporary Yoga
- Chapter 2 Ancient Wisdom and New Knowledge
- Chapter 3 From Anatomy to Architecture
- Chapter 4 The Remarkable Human Blueprint
- Chapter 5 Sensory Architecture
- Chapter 6 Living Tensegrity Structures
- Chapter 7 The Fascial Architexture
PART B From Biomechanics to Biomotional Beings
- Chapter 8 From Biomechanics to Biomotional Beings
- Chapter 9 Curved is the New Straight
- Chapter 10 The Elastic Body
- Chapter 11 The Elastic Breath
- Chapter 12 Archetypal Geometries
PART C Classical to Connected
- Introduction to Part C: The Compound Essence of Time
- Chapter 13 Classroom Connections 1: The Basics: Sitting Up Curved
- Chapter 14 Classroom Connections 2: A Simple Practice
- Chapter 15 Classroom Connections 3: A Subtle Practice
- Chapter 16 Classroom Connections 4: Class Mandalas
- Chapter 17 Classroom Connections 5: Assessment and Adjustment Skills
- Chapter 18 Classroom Connections 6: Maps: Anatomy Trains™
Appendix A Discovering The Interstitium – Neil Theise, Physician and Scientist
Appendix B Stretching; The Faux Amis of Yoga – John Sharkey, Clinical Anatomist, Exercise Physiologist
‘From Anatomy to Animated Architecture, from Biomechanical to Biomotional Beings, and from Classical to Connected’ – Avison’s work speaks to all bodies, in all modalities; in a world seeking unity and connection more than ever.
Yoga, Fascia, Anatomy and Movement was written partly as an appeal for yoga teachers to appreciate the depth and breadth of yoga as a science, a movement practice and a philosophy that fundamentally espouses “wholeness” as the basis of living anatomy and form. Yoga calls for unifying who and how we are; and as teachers – how we can help our clients (who are all different) move better.Classical anatomy (in the West)
divides the body into into its component parts and traditionally reduces its functionality to those parts, usually described in 2 dimensional iconic forms, founded in lever-based mechanics. In the East, such reductionism in anatomy was never espoused. Yoga, Fascia, Anatomy and Movement covers two huge bases to bridge the difference between these two approaches and to upgrade our understanding of yoga to 21st Century anatomy.
The first part of this extraordinary work recognises that the leading edge of fascia science changes all those reductionist views (anatomically and biomechanically). This is carefully explained in the first part of the book and shows how the new science of body architecture makes sense of yogic philosophy of union and wholeness. The second part of the work takes this paradigm shift and applies it in practice to the subtle understanding of the fascial architecture and how that architecture helps us move better.
Yoga, Fascia, Anatomy and Movement attempts to ask questions, find suitable research and make all this knowledge and understanding practical and applicable to teachers and practitioners of a variety of movement and bodywork specialisms, including yoga. It teaches ‘posture profiling’ and the creation of ‘Class Mandalas’ to support this.
It is an essential resource for the contemporary yoga teacher.
Joanne is an international teacher of applied structural anatomy for movement and manual practitioners in a variety of fields. She is a professional Structural Integration practitioner, member of IASI (International Association of Structural Integrators) and certified teacher (KMI, Anatomy Trains 1998–2005: Tom Myers’ school) and Director of the Art of Contemporary Yoga Teacher Training, London, UK. The school registration (2006 onwards) qualified as an RYS-500, with Yoga Alliance (US), European Yoga Alliance and Indian Federation of Yoga. As an advanced Yoga Practitioner and Certified Yoga Therapist, C-IAYT (Certified by International Association of Yoga Therapists), Joanne appreciates the art, craft and science of yoga and body architecture. Her Master’s degree in Spiritual Sciences has deepened her understanding of yoga and the philosophy behind it, that relates closely to how the physical body integrates and animates form. For Joanne the study of philosophy and anatomy are not necessarily separate, which is a unique approach to integrated practice.
Joanne is also trained in Craniosacral Therapy, continuously working in ART (Autoimmune Response Testing) and FSM (Frequency Specific Microcurrent) to further her studies in complementary health and complementary medicine. She is also a graduate of the CMED Institute, USA. After over 20 years of manual and movement practice, she appreciates deeply the resonance field(s) the body animates as a living form.
As a member of the Biotensegrity Interest Group (BIG), Joanne is fascinated by the application of biotensegrity principles to the understanding of the human blueprint and natural structural organisation in motion. Her writing and workshops are devoted to making this emerging context for human movement applicable and clearly understood. “It makes sense of how we make sense of our world, literally and symbolically.”
“BioTensegrity is an emerging context for what I refer to as ‘biomotional integrity’. That is – how we move the way we do. Understanding the fascia and the fabric of our form is relatively meaningless, without the architectural organisation of that fabric, explaining how it permits movement and indeed manages the movement forces we move (that move us). We are formed under tension; pre-stressed or pre-stiffened – but what does that mean to us as movement teachers or manual therapists? What are the implications of tensional forces through the matrix of our living, animated form? The fascia is a force transmission system. Biotensegrity offers a very compelling paradigm that makes sense of its many structures and functions and multifaceted assets. It also transforms our understanding of connection and resonance; with ourselves and others.”