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Success Story: Julia Leete Rabin

Success Story: Julia Leete Rabin

Julia Leete Rabin
Date

ALL OF ME

In December 2020 I received an email from Gokhale Method® offering a five-day trial period of exercise classes and dance parties with posture lessons. Every day for five days! I was thrilled to receive this email and joined on January 1. From day one I knew I had found something very special.  

Before the COVID-19 pandemic, I swam to stave off the pain I felt in my back and hips. But when the virus struck, I wasn’t able to swim. Eventually my back pain returned to being constant. This showed me that being dependent on an external circumstance, swimming in this case, to feel good, could not give me everything that I needed to heal. 

Gokhale Method daily program 210101 photo showing Greek statue.
January 1, 2021, day one of my five-day free trial of the Gokhale Method daily program. It was about the inner corset and how it protects your back.

Those first five days were like a prayer being answered. I thought, “this is the place where I can learn how to care for myself day by day." Three weeks later I decided to take the online Elements course. With each lesson, I learned new ways to relieve pain in my body and gained confidence that I could help myself if pain returned. Fortunately, I could take the lessons at my own pace which allowed me to take my time and savor what I was learning. Some positive results came very quickly for me, and yet there is a lot more depth left for me to appreciate. For both these reasons, it was with deep gratitude that I came to write this article.  

As a very young girl I was confident in my body. Being athletic, I felt I could do anything. I was just me. . .whole. That all changed growing up in a troubled family. Mine was a childhood of great conflict and uncertainty. But I was resilient, so I forged ahead.

Julia Rabin aged 18, checked shirt and jeans.
Here I am, aged 18.

In my late twenties I fell through a porch, leaving one leg on the deck and the other dangling below. Alone, I pulled myself up. It was a terrifying experience and had a strong physical impact. Sitting became possible for only short periods at a time. I was profoundly uncomfortable with no ease or let up. Doctors couldn’t find anything “wrong” with me —no broken bones or serious injuries that X-rays could detect. A chiropractor told me my pelvis was twisted from the fall. This was a helpful diagnosis but he treated me for nine months with no change. So began my search for something that would permanently help me. Yoga, swimming, massage, physical therapy, chiropractic; you name it, I tried it—everything mainstream and more. All were helpful in some ways, but none resulted in lasting improvements.

Julia Rabin aged 40 standing by shallow sea.
Me in 1997, aged 40. I would tend to lock my knees and park my abdomen forward, creating sway and compression in my lower back. 

My search continued for 32 years. My back would give out, I would have to lie down for days, and then slowly over weeks I would loosen up and go on. My chosen profession in the Fine Arts is of a physical nature, allowing me to move around frequently throughout the day. This was my saving grace, because moving kept some of the muscular tightness at bay. 

Julia Rabin hunching painting a book cover.
Leaning in to paint book covers contributed to my hunching. I needed to learn how not to round my back and hunch my shoulders.

Sensing there was an emotional connection to my physical pain, I continued searching and exploring different avenues for a deeper understanding of why I was still “not right.” Talk therapy was enormously helpful. The fall had scared me. So had other experiences in my early life. Even with all this therapy work, the pain persisted. Over time I gained in self-confidence and felt reconciled to what I had to deal with—occasional debilitating bouts of back pain—and I moved on with my life. Things could be worse, I thought to myself. Years later the answers to my predicament became clearer as I took on the role of a caregiver. I imagine as I write this that many readers will understand from personal experience what it is like to care for someone who is ill and relies on you heavily.

Caregiving became a central focus in my daily life as I cared for my mother and later my sister. Caring for them made for conflicted feelings. As my mother’s condition worsened I took on more responsibilities for her care. One day she asked me, “why are you helping me?" It floored me, though I knew why she asked. Why would you care for someone who did not care for you? All I could say to her at the time was “because I love you, and you deserve it." She did not believe it—I was conflicted. But deep in my heart I knew she did deserve my help. This is what family does, right? I had to care for her, love her, show her that she was worthy. I do believe that we are all worthy of love and care. For myself, I wanted to learn what it is to have a positive experience of family.  

Julia Rabin’s artwork Dust Bowl, opened up.
The Dust Bowl book. (Buttons, tin type photos, hand-painted paper, birch bark.) A central focus of my work is to give attention to the unseen in plain sight. From the tiny bits on the forest floor to the unrecognized work that women do daily. Now after many years I understand hiding was my main way to feel safe, unrecognized, and unseen.

But it wore me down. It was almost more than I could bear, and my body caved in on itself. I stiffened with fear and worry. My shoulders slumped forward and my back rounded. It was a relief when my mother quietly passed away in her apartment.

Julia Rabin’s artwork Dust Bowl, closed.
The Dust Bowl, closed. Its insides are hidden.

Several years later I drove to Georgia with my husband and our pup, Ace, to bring my older sister home to Massachusetts so I could care for her. We had seen each other only a few times in 40 years. We were sisters but you wouldn’t know it. She needed help and care desperately. I knew I had to step in.

Julia Rabin’s artwork, black paper on sky photos on tissue frame.
I made this piece when my sister was diagnosed with cancer. Dark and light come together. My photographs are not enhanced—these are printed on tissue paper, then applied to the frame like gold leaf. The black handmade paper is arranged edge-on.

That was nine years ago. Through those years we got to know each other and grew as close as she would allow. Several times she asked me nearly the same question my mother had, “Why are you helping me?" And again I said, “because I love you, you deserve it.” But I was angry with her for the hurt and pain she caused in our childhood. Even though I had grown a deep emotional understanding of myself by that time, I still didn’t recognize what was happening in my body. Again my body stiffened and caved in.

Julia Rabin with her mother and siblings.
My mother and my siblings. I am the worried looking one on her lap.

Caregiving wore me down and filled me up, leaving room for little else. The burden from stress, worry, responsibility, and physical strain, is exhausting. Along with that, the sense of connection and privilege of being trusted and important to the people who needed my help filled me with wonder, love, and self-confidence. I held up and helped out. This is as it should have been in many ways, except one—I could not find effective or adequate ways to care for myself at the same time. 

I have learned for myself how interconnected everything is. I used to think that we were made up of separate parts—a mind, soul, spirit, body. I sought out solutions to my pain as though I was made up of these different parts. It was as if, like jigsaw puzzle pieces put together in the right place, I could become whole. This did not work for me.  


A limited edition of 39 copies, published by 21st Editions. As a bookbinder I co-designed and created many editions. This is one of my favorites. I painted linen papers for these covers. Each set is different. All stages of production are by hand.


Book cover opened. It took me a long time to find the integration within myself that I could create in my artwork.

Now I understand things differently. I believe there is an interrelated dance to the patterns we develop. These patterns play out over and over again. Our own individual ways of moving our bodies are part of the constellation of being who we are and how our life experiences inform our reality.  

While I was still taking the Elements course and attending the daily program, the puzzle pieces started coming together. Sometimes, while dancing in class, I’d be swept away in movement, crying and integrating the grief my body was holding. All while moving with better posture!

Julia Rabin kneeled, hunching, kissing turtle sculpture.
Tucking my pelvis and rounding my back as I am doing here was a self-protective postural habit—almost like a turtle’s shell. 

Julia Rabin hip-hinging.
Now I prefer to hip-hinge and my spine, back muscles, and neck are much happier!

It’s been 13 months since my first Zoom classes. I still show up for the daily classes and dance my heart out. Moving as freely as I can, feeling myself move through space, sensing the physicality inside of me. How does it feel to anchor my ribs? What’s it like to roll my shoulders back and feel their weight as they hang by my sides or float around? I feel alive and connected to me. I feel wonderful sensations of flow as I move around the room. 

Julia Rabin’s artwork, calligraphic black lines under colored tissue paper.
I loved painting these lines, which are covered in tissue paper. This is the flow I had been searching for and have now found for my body/self.

This work with the Gokhale Method teachers and the online community continues to be full of opportunities and I am still learning. My latest adventure with this wonderful work is using the PostureTracker™! This is an amazing tool that gives real-time feedback on my body’s movements and is rapidly deepening my understanding of my posture habits.  

 Julia Rabin’s PostureTracker, Level Head.
PostureTracker used to show how I habitually contracted the back of my neck and lifted my chin up (left). Now it is helping me to learn and maintain a much healthier, tall neck position (right). 

Aligning my body in healthy posture so that I can move with ease is my goal. I am simply engaged in the process of making the unfamiliar familiar. Over time I will be “at home” standing tall with ribs anchored, shoulders back, arms hanging comfortably by my sides, and strong feet beautifully supporting all of me.

Julia Rabin standing with PostureTracker™.
Here I am seeing that my back remains unswayed using the Upright and Relaxed PostureTracker™setting.

If you would like to find out more about how the Gokhale Method can help support you, sign up to join one of our upcoming FREE Online Workshops…

Opening Your Heart Space

Opening Your Heart Space

Esther Gokhale
Date


This bronze figure shows an open chest and “heart space;” his shoulders are well back and his ribcage is anchored. He is part of a fountain in Piccadilly Circus, London, sculpted by Sir Alfred Gilbert in 1893. Referred to (erroneously) as “Eros,” the figure is in fact Anteros, Eros’ brother, who represents a more mature, less capricious love. Original image courtesy Gareth Williams under CC BY 2.0.

“Heart space” is a term used in yoga to describe the upper part of the chest where the heart is located. Valentine’s Day is an ideal time to give some special attention to this region, and explore its relation to your posture and wellbeing. 

The Gokhale Method teaches four particular techniques which enable you to open your chest without doing damage to your back:

  1. Rib anchor video
    Learning to engage your rib anchor is an important first step. It will prevent your lower ribs from popping up and your back from swaying in the techniques that follow.
     
  2. Up and back with the neck video
    By drawing the base of the skull gently backwards and upwards, the chest is no longer crowded into the body, but rather allowed to expand outwards and upwards.
     
  3. Shoulder rolls video
    Shoulder rolls help position the arms further back along the torso, which immediately opens the chest to expansion with breathing. In the long run, this results in a larger, more open chest.


This Ecuadorian school teacher is much loved by his pupils. Note that the teacher and his pupils have open chests and posterior shoulder placement.

  1. Breathing into the upper chest
    The first three techniques may already leave you feeling more open-hearted. They enable you to breathe more deeply, but this may not yet be your habit. Take a few slow, deep breaths that further open your upper chest. Then rest a few breaths before repeating. It is common to feel resistance in the chest at first, but by using these techniques to open your structure and deepen your breathing, with practice it will become easy and pleasurable. 

The functioning of the heart is clearly essential to good health and life itself, but the organ and its position in the chest are also given special importance in many religious and cultural frameworks. Even our language is full of familiar, evocative idioms such as “from the bottom of my heart,” “faint-hearted,” “heart of the matter,” “heart and soul,” “heartening,” and so on.  Let’s explore the symbolism and associations a little further, especially where they intersect with posture.

Heart symbolism in Western European cultures
Let’s begin with St. Valentine. According to most popular accounts, Saint Valentine was either a priest or a bishop in the times of the Roman Empire, who, with great bravery and compassion, ministered to persecuted Christians. He was martyred and buried north of Rome on February 14, which has been observed as St. Valentine's Day since 496 AD. Another plausible legend suggests that when Roman Emperor Claudius II outlawed marriage for young men – reasoning that single men made better soldiers than those with wives and families – Valentine defied Claudius and continued to perform marriages for young lovers in secret. 

Whichever legend has truth, love, bravery, and compassion are all qualities said to reside in the heart in many Western European cultures. In Catholic Christianity, the Sacred Heart of Jesus symbolises his unconditional love, and the church and its patrons commissioned many paintings on this theme. These paintings show the heart radiating divinity; they often also show the very visceral detail of an attached aorta!  


Allegorical painting of the Sacred Heart of Jesus. The central heart radiates hearts gathered up by putti (cherubs). Painting by Robert la Longe, ca. 1705. Public domain, via Wikimedia Commons.

The heart-shaped symbol ♡ evolved around the 14th century, loosely based on the organ’s shape. Today we have numerous emojis preprogrammed in our smartphones, ready to use as shorthand for love, broken-heartedness, and associated feelings and events.

Heart symbolism in South Asian and East Asian cultures
Many Asian cultures also identify the heart space as essential to our wellbeing. Traditional Indian medicine describes energy centers, or chakras, that lie along the central axis of the body. The heart chakra (Anahata) is considered the center of love and compassion that can become blocked by grief or selfishness. An unblocked anahata is associated with loving-kindness and peacefulness. Tibetan Buddhist understandings of chakras also typically include a chakra located in the center of the chest.


This illustration from an 1899 Tibetan manuscript shows the body’s energy centers (chakras), including the twelve-petalled heart chakra. Public domain. Original image courtesy Wikimedia Commons.

In Japanese language and culture, the word kokoro (distinct from the physical organ) encapsulates heart, spirit, mind, and soul, among other concepts. And in Chinese medicine, the Mu, or front correspondence point, of the heart is located at the midpoint of the nipples, and is used to heal emotional hurt.


This Buddha figure in Sri Lanka displays a beautifully relaxed, open chest and heart space. Original image courtesy Sadaham Yathra on Pexels.

Posture and the heart space
Of course, with its emphasis on our structure, it is natural to think of healthy posture and the Gokhale Method as primarily benefiting our bodies. It is certainly true that having a well-developed ribcage and open chest are important ingredients for a straight spine and well-positioned shoulders. Such good structure also benefits physiological functions such as blood circulation, breathing, digestion, and allows space for the brachial nerve plexus. However, our structure is also intimately connected to our body language, revealing and communicating how we feel.


An open heart space can often look like balanced, approachable confidence. Original image courtesy nappy on Pexels.

A mounting body of research connects open upper body posture with confidence and vitality; and crumpled upper body posture with depression, exhaustion, shame, and poor health. According to a 2017 New Zealand study, it is more challenging to be depressed with open upper body posture than with slumped upper body posture. According to another, even our performance in subjects like math improves when we adopt an open posture.


These subway commuters, with their varied seated and standing postures, demonstrate a wide range of heart space openness. Original image courtesy Laura Dewilde on Unsplash.

It strikes me that there is much cross-cultural convergence on associating this area of the body with “matters of the heart.” How does your experience and knowledge of other cultures stack up with this?

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