The Evolving Definition of Pilates

Principles Over Pedigree

I approach the concept of Pilates as a comprehensive system built upon the original work of Joseph Pilates (Contrology) and its subsequent evolution. The term "Pilates" today encompasses a broad spectrum of movement practices, all stemming from Joseph Pilates’ original method, Contrology. While all variations are inspired by his apparatus and exercises, the diversity often leads to debates about authenticity. I believe that the focus should shift from rigid definitions to the foundational principles, updated kinesiology, and effective application for the individual client.

Acknowledging the Lineage: The Four Genres

All Pilates methods are developments of the original Contrology method. Understanding this lineage is crucial for any teacher or instructor regardless of what they teach:

1. Traditional Pilates (Contrology Foundation)

This represents the earliest known iteration of the method, focused on full-body movement and the principles Joe Pilates established.

• Core Concept: Pilates is exercise, not physical rehabilitation, though its application can significantly benefit individuals with various physical conditions.

• Key Approach: The teacher adapts the exercise to the person, prioritizing the client's needs over strict adherence to an exercise sequence but does follow the order for Mat and Reformer. This forms the foundations for both Classical and original Contemporary Pilates work.

2. Classical Pilates (Romana's Interpretation)

This is what many people associate with "authentic" Pilates, and is often mistakenly viewed as Joe's exact original work, Classical Pilates incorporates the variations and sequences developed by Romana Kryzanowska.

• Distinguishing Features: It strictly follows a specified order and integrates terminology and positions from Ballet (e.g., penché, arabesque, plié). It is important to note that these dance terms are Romana’s additions and are not archival elements of Contrology, as Joe Pilates did not have a dance background, even though many dancers did work with him.

3. Contemporary Pilates (The Elders' Expansion)

This genre is the method expanded by the "Pilates Elders"—those who studied directly with Joe Pilates and subsequently added their specializations and characteristics (e.g., Kathy Grant, Ron Fletcher, Eve Gentry).

• Modern Context: This work often integrates updated kinesiology and is frequently used in rehabilitative settings. It was the dominant style in many group studios prior to 2010.

4. Modern Pilates (Fitness and Trending Variations)

This genre reflects current trends in fitness studios and social media, often prioritizing intensity and aesthetics.

• Characteristics: It features more acrobatic movements, extensive use of props, high repetitions, and goals centered on "feeling the burn." This includes classes utilizing apparatus like the Megaformer or X-former, which drastically increase resistance and speed beyond the traditional scope.

5. Clinical Approaches:

The application of Pilates principles and movements to work alongside physical therapy or address specific client conditions. This includes Pilates as used for functional training, therapeutic rehabilitation, or corrective exercise.

• Characteristics: This emphasizes adaptation and client-specific movement without any strict adherence to an order, focusing on specific precautions and extensive knowledge on orthopedic injury, neural conditions, and various pathologies. This often combines Contemporary Pilates and physical therapy exercises.

The Critical Role of Kinesiology and Adaptation

My professional perspective, informed by a Master’s of Science degree in Kinesiology for Orthopedic Rehabilitation/Corrective Exercise and extensive work alongside physical therapists, advocates for combining the traditional method with an evidence-based practice.

While knowledge of the history is vital, strict adherence to every movement in the classical or traditional repertoire is not always beneficial. From a kinesiological standpoint:

• Some classical movements involve unnecessary loading that may be contraindicated for certain clients.

• The movements taught must be continually evaluated based on expanding scientific knowledge of the body, including avoiding overloading as well as underloading.

The objective is not to abolish traditional exercises but to apply critical thinking. If a client cannot safely or effectively perform a complex movement from the traditional or classical order, it is entirely acceptable to adapt or omit it.

Crucial Principle: The argument should not be about which "style" is superior, but rather how Pilates teachers can become continuous students of the body to apply the method safely and effectively, and deeply understanding the purpose of each exercise.

Redefining "Correct" Execution

The goal of teaching is not to entertain clients with endless new exercises, but to shift the perspective on how we teach the foundational movements.

The ultimate measure of correctness lies not in the archive, but in the individual's experience: the proper way of doing a Pilates exercise is the one that works for the client.

Consider the variation in the exercise Pulling Straps:

• Contemporary: Lifting the head simultaneously with the arms.

• Traditional: Pulling the arms back first, then finding spinal extension by lifting the head.

• Corrective Exercise: Only pulling the arms while maintaining a long, neutral cervical spine.

The "correct" variation is the one that achieves the desired physiological goal for the person in front of you. A competent instructor must possess an educated understanding of the movement's:

• Purpose: What is the exercise designed to achieve?

• Building Blocks: What variations and adaptaions are needed?

• Contraindications: What might make this movement unsafe for the client?

This educated approach allows teachers to move beyond dogmatic instruction and truly practice the art of teaching the person in front of them.

"The proper way of doing a Pilates exercise is the one that works for the client" is central to how I process information about the method. I prioritize the foundational concepts and critical thinking for teachers.

My goal is to provide information on Pilates that is:

• Historically Informed: Recognizing Joe's Contrology as the origin.

• Kinesiologically Sound: Understanding why an exercise works and how to modify it safely.

• Client-Centered: Emphasizing the need to adapt the exercise to the person rather than the other way around.