art

The best art often communicates on many levels. The Walking Men 99™ exhibit is a great example. It consisted of a frieze of pedestrian crossing icons, photographed and assembled from around the world. At human scale, they mingled with passersby on the sidewalk. 

Walking Men Worldwide™ is a series of public art installations by artist Maya Barkai, which was launched in Lower Manhattan in 2010-2013 (Walking Men 99™), and was followed by a series of installations around the globe. www.walking-men.com

From a posture perspective, signage featuring pedestrians offers us an overview of how modern urban people perceive, represent, and execute walking. Some lean back in line with the front leg, others lean forward in line with the back leg; some land with a bent front knee, others land with a straight knee; some have a straight back leg as the front leg lands, others do not. No other mammal on earth shows such variation in its locomotion!

Does variation in gait matter?

In traditional rural villages across Africa, India, and South America, when I study walking, I see a more uniform walking pattern. This holds true across different cultures, ages, and occupations. Intriguingly, this gait is also shared by our young children, and can be seen in antique photographs, paintings, and sculptures of our ancestors. It results in a uniquely smooth, elegant, powerful walk that is rare enough, it merits a special name, glidewalking. 

Glidewalking describes the healthy and efficient human gait pattern shared across different generations and cultures.

Glidewalking is very different from the various stomps, shuffles, totters, bounces, and other strategies that people in modern urban societies bring to their walking. Any type of walk can get us from A to B, but anything short of what our bodies are designed for is likely to be inefficient and, over time, destructive. Twisting, swaying, slumping, or jerking the spine with every step causes compression, inflammation, damage, and degenerative processes. Suboptimal gait biomechanics are also largely responsible for our epidemic of knee, hip, and foot problems, which include cartilage wear and tear, joint arthritis, and plantar fasciitis.

Take a closer look at walking

In the Glidewalking chapter of my book, 8 Steps to a Pain-Free Back, I included a variety of pedestrian traffic signs to show how they can reflect and promote different gait patterns:

Taking a fresh look at pedestrian crossing signs—from a posture perspective. (Page 170, 8 Steps to a Pain-Free Back)

Most public signage reflects our confusion about walking. Signs often depict walking with either both legs bent, or both legs straight at the same time, or some other compromised configuration.

These airport signs show weight aligned on the front leg and little effective propulsion from behind.

Straighten out your walking

A good first step (literally!) is to learn to straighten your back leg fully. This has numerous benefits: 

• pushes the ground back strongly to propel you forward
• encourages you to lean a little forward rather than backward 
• encourages glute contraction 
• encourages healthy pelvic anteversion
• encourages your back heel to stay down and your foot to be active for longer
• stretches your calves
• is nature’s stretch for the psoas

We recommend you start practicing by walking uphill, or pushing a rolling chair or shopping cart, which makes all of the above benefits easier to find in your body. 

This sign in the Philippines shows healthy walking form, with the torso angled slightly forward and the leg behind straight. Image from Bonifacio Global City

Unfortunately, this guy is not doing such a good job… Image from Angela Bayona(Toggear.com

Notice how these animated walking figures differ…but both have a straight back leg.

Take a step in the right direction 

Over the decades we have worked out how best to guide students through the process of improving their gait. Deeply ingrained poor walking habits can be replaced using tried and tested techniques in a step-by-step process.  This is covered in all of our beginning courses: our in-person Foundations course, one-day Pop-up course, and our online Elements course. 

Alumni can sign up here for our next Advanced Glidewalking Course, starting Monday, June 03, 12:00 p.m. PST and give your walk the green light!

Best next action steps 

If you would like to improve your walking, get started by booking a consultation, online or in person, with one of our teachers. 

You can sign up below to join any one of our upcoming FREE Online Workshops…

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. 

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.

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.

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. 

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.  

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.

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.

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.

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!

Tucking my pelvis and rounding my back as I am doing here was a self-protective postural habit—almost like a turtle’s shell. 

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. 

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.  

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.

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…

Feeling that Thanksgiving exercise motivation? Learn how to work out smarter, not just harder, today and every day! Image courtesy Andrea Piacquadio on Unsplash.

Ah, Thanksgiving. For many of us, it’s a time for gratitude and connection. It’s also a time when many people’s minds turn to exercise to offset the rich and abundant food on the menu. How can we make that extra push, enjoy it, and not injure ourselves in the process? Due to the pandemic, more and more of us are working out at home, without our usual exercise partners or in-person access to recreational facilities. Now’s the perfect time to learn to work out smarter, rather than harder.

Exercising harder and longer on top of poor structural alignment is like continuing to drive a car with a mechanical problem. Better to address the root of the problem so nothing slows you down long-term. Image courtesy Pixabay on Pexels.

#1: Fix your posture
Fixing your posture helps you work relevant muscles more efficiently. It also prevents unnecessary wear and tear. When people want to get more exercise, they often simply increase the time spent or the intensity of their exercise. Sometimes they drive themselves to exercise more because of an injury. But if they don’t address systematic posture problems while exercising, they may in fact exacerbate their injury. The analogy that comes to mind is driving a car with a crooked axle. If the car begins to have problems, the solution is not to drive extra or drive faster; you need to fix the axle. Fixing your posture can do wonders for getting more out of your exercise time.

If our daily activities are done with good posture, they can dovetail with exercise. Image courtesy Mark Timberlake on Unsplash.

#2: Use your daily-life activities as the main dish in your regimen
We’re all busier than ever, so it makes sense that it’s challenging to shoehorn separate exercise time into our schedules. A way around this is to use the activities you do every day, around the home and/or office, as the central piece of your exercise regime. Much like this recent Medium piece in which a Japanese writer shares the central role walking plays in keeping Japanese people fit without dedicated gym time, using our bodies wisely as we go about our day means that exercise is built into everything we do. Think of it as clever, efficient multitasking for the body.

To really encourage healthy habits to stick, it helps to do them in community — whether that’s friends, family, or fellow participants, or a combination. Image courtesy Andrea Piacquadio on Unsplash.

#3: Include friends and family if you're going to dedicate time for a workout
Working out smarter can also happen by incorporating the community aspect of exercise. It’s simply smarter to double up your exercise time with social time by exercising with friends, family, or online classmates. Working out with others is wonderful for both habit retention and our mental well-being. On this very strange Thanksgiving, where we can’t be together in the usual ways, having a ready-made vehicle for time spent together safely is another purpose that exercise can serve. Everyone within a family has their individual exercise needs that are valid and more important than ever to satisfy, so be sure to pick something with variety that is accessible to everyone.

We aren’t machines, but humans born of rich traditions, who need things like art, music, dance, and culture to thrive. Exercise that incorporates such enrichments satisfies multiple needs simultaneously. Image courtesy Omotayo Tajudeen on Unsplash.

#4: Include art, music, dance, and culture
You only have but so many hours in the day, and art, music, dance, and culture are universal human needs that must be met somehow. Especially in COVID times, when we cannot attend live, in-person performances, go out dancing in groups, or easily visit museums, incorporating art, music, dance, and culture into our exercise helps fill our primal human need for creative input and enlivens our spirits. And our spirits can use every boost they can get these days!

Every journey begins with a single step. Why not start yours today? Image courtesy Bruno Nascimiento on Unsplash.

Get going on the good foot, starting today
With the live, daily Gokhale Exercise program, we have arrived at just this combination of ingredients. Starting out with figuring out how to meet my own needs, I realized the audience has roughly the same needs for a textured, multi-layered, upbeat offering. In the spirit of Thanksgiving, we’re offering 3 free days of access to our vibrant and ever-growing Gokhale Exercise program, beginning today. Feel free to invite your friends and family to join you in a safe way this Thanksgiving weekend.

The single focus of many back pain interventions can be described as a “one-trick pony.” Image courtesy Nikki Jeffrey on Unsplash.

Many back pain interventions could be described as having a single, dominant approach: cortisone injections into inflamed tissue, insertion of acupuncture needles to open flow in meridians, “adjustments,” medications for reducing pain, etc. Of course, each of these interventions has complexity and nuance in theory and practice, but the vast majority of existing interventions have a single focus. To put it somewhat crassly, they could be described as one-trick ponies. And I’ve wondered if this is perhaps related to why most approaches to back pain are so ineffectual (see data on HealthOutcome.org).

A three-trick pony
In our method, we’ve never been less than a 3-trick pony, the three “tricks” being intellectual, visual, and kinesthetic ways of guiding the body’s architecture and movement patterns to a more primal configuration. Does this partially account for why we are outliers in effectiveness and efficiency in helping back pain sufferers? That’s not to diminish the core insight of our program, that there is a healthier, better way to be in our bodies and that the modern day conception of the body is skewed and contributes to decline. But additionally, our multi-faceted, coordinated approach helps this diamond in the rough be accessible, persist, and bring delight.

Unlike many other back pain interventions, our “pony” has more than one “trick” in its repertoire. Image courtesy Tobias Nii Kwatei Quartey on Unsplash.

One approach to back pain that I’ve always admired is the Alexander Technique. The Alexander Technique is similar to our approach in that it works on posture and movement patterns. But it uses kinesthetic input almost exclusively. The Alexander Technique’s “one-trick” approach lacks robust use of the images we employ in our teaching, book, website, and communications. Many students and readers also experience the intellectual framework of Alexander Technique to be abstruse and inaccessible. People tell me they feel good while they’re in an Alexander Technique lesson, but they go home and have no idea how to replicate what happened in the session.

Passively viewing images or hearing theories alone doesn’t reduce pain, of course, but alongside the kinesthetic learning, they form part of a rich and textured weave Gokhale Method students take home with them. This allows students to approach the goal of reduced pain from multiple angles simultaneously. I regularly get emails from students containing posture-related images. These students have absorbed the Gokhale Method filter and carry it with them. The method takes on a life of its own. What’s more, the good feelings are replicable outside of active instruction as they go about their life exercises.

Indigenous cultures — along with non-industrialized populations and young children — are amongthe groups we look to for inspiration and the body-knowledge which informs our method. Image courtesy Jason Rojas on Unsplash.

More “tricks”
Over the past five years, we’ve added a technological trick and a research trick to our quite talented pony’s repertoire; this has expanded the range of people who have access to our work and increased students’ trust that what they are experiencing is real.

One of our difficult-to crack nuts has been how to attract alumni to Continuing Education offerings so they can integrate techniques that require repetition and practice to remain rooted in their bodies long after their initial course has concluded. In the past year, we’ve intuited our way to several additional tricks that are addressing this challenge. The new pieces include music, dance, and art in a central role. These cultural pieces have always existed in our ecosystem, but now they are part of our core Continuing Education offering. Dance, music, and art make the weave of learning and integrating so much richer and more enjoyable. Additionally, we’re discovering a sense of community and joy building in our 1-2-3 Move program. People are naturally interested in each other, and including Q&A after each session allows that community spirit to build.

Central Asia is home to rich equestrian traditions, among them horseback falconry with golden eagles, horseback archery, and horseback gymnastics. As in our method, multiple elements combine to form a complex, impressive whole. Image courtesy Lightscape on Unsplash.

We’re also recently included exercise in our programming. It’s been wonderful to be led by a knowledgeable guide in the company of dozens of people online. This makes it fun to return.

We are delighted by the response to our new directions. And as we are always adding new enrichments, there is always more to come.

Thought to have been made around 30,000 BCE, one of the oldest and most famous prehistoric figurines is known as the Venus of Willendorf. Found in modern-day Austria, this late stone-age artifact is just over 4” high and has traces of ocher coloring. Underneath her ample flesh her pelvis is anteverted, placing her behind behind her. Original image courtesy Wikipedia user MatthiasKabel under CC-BY 2.5.

When the weather is cold and wet, or, for our students in the Southern Hemisphere, hot and dry, museums can be very agreeable places to visit. Humidity and temperature controlled as they are, museums allow you to study posture history in comfort!

A central principle of the Gokhale Method is an understanding of posture based not on theory, but on anthropological evidence. Clues about healthy posture are drawn both from contemporary populations in which back pain is rare, and also from ancestral populations. You can, of course, find historical examples of good posture as recently as in family photographs from the early twentieth century. But if you want to travel further back in time, you can look at statues from early classical Greece, or even from the Upper Paleolithic Age.

Archeologists have discovered female figurines that go back 5000 and even 30,000 years. Although these figurines come from very different times and cultures, they still speak to us across the centuries about what it is to be human, including in a postural sense.

Marble Female Figure, Cycladic culture, Aegean Sea, 4500-4000 BCE, from the collection of The Metropolitan Museum of Art, New York City. Note the vertical line-up of her weight-bearing joints, as well as her substantial behind which naturally stays behind her.

Often, these ancient figurines survived for millenia because they were highly revered, and secreted deep inside caves or burial chambers. Scholars cannot be sure of the exact purpose of these figurines, but they are usually thought to be fertility figures.  Perhaps they were used as talismans to bring good luck with conception or childbirth. They may have been representations of a fertility goddess, possibly within a matriarchal culture and belief system.

The figurines are notable for their curvaceous form. There is typically an emphasis on the width of the child-bearing pelvis, ample thighs and breasts, and a fecund, fulsome belly. Like much art, they are not entirely naturalistic, but capture essential characteristics. What is striking is that early sculpture the world over portrays people with a straight spine, the behind behind, and the shoulders well back. You can see this clearly in the figurine from ancient Egypt below.

This ancient Egyptian sculpture of a seated woman at the Metropolitan Museum of Art, New York City is from the Naqada II period (3650-3300 BC). She may have served as a fertility object. Notice her well-positioned, anteverted pelvis and well-aligned, lengthened back and neck. 

Another view of the Naqada II figure. Observe the absence of curvature in the upper back area. She sits on her Sitz bones, not her tail (sacrum).

Another pre-dynastic figurine from Upper Egypt, again thought to be a fertility figure due to her pregnant-looking belly. This angle also shows her relatively straight lumbar spine and her behind behind her.  

These fascinating small terracotta and stone works of art pay homage to fertility and its power in a bygone age. For us, they can serve as records of human posture in a more primal era — material evidence of our true Primal Posture. We can learn these posture lessons from our ancient ancestors by employing the Gokhale Method, so that this healthy architecture can again serve us into the future. 

How do these figurines strike you? Are you able to glean inspiration from these human forms from as long ago as 30,000 years?

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.

4. 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?

This famous bust of Nefertiti (c. 1370 – c. 1330 BC) exhibits a forward-protruded head. Original image courtesy Wikipedia user Philip Pikart under CC-BY-SA 3.0.

In my travels, I enjoy visiting museums. In a concentrated space and in a short few hours, I am able to travel back in time and over large distances, and compare people from different cultures. What a remarkable gift from the craftspeople of the past!  

Many museums have a well-developed Egyptian collection. The Egyptians’ expertise in preserving their dead as well as the dry Egyptian climate has yielded a bounty of specimens from the distant past. Egyptian artifacts are often spectacular and modern audiences are drawn to Egyptian mummies, pyramids, thrones, and temples. So we get to enjoy glimpses into ancient Egypt remarkably easily.

Most people from the past, as evidenced by ancient art and sculpture, had excellent posture and musculoskeletal health. The pharaohs and upper crust of ancient Egypt, however, stand out as exceptions. Sitting on their thrones or standing in special ceremonies, they almost always have tucked pelvises and forward-protruding heads. Nefertiti (as seen above) is an example of an Egyptian royal who has her head “parked” extremely forward. Correspondingly, examinations of the mummified remains of pharaohs report advanced arthritis in the joints — much like what we find in modern populations.
 

Renenutet (shown here) and her husband Runy were part of Egyptian nobility in the reign of Seti I (1294 - 1279 BC). They served in local temples. Notice her tucked pelvis and protruded head and shoulders that are similar to problematic modern posture.

This relief from the 18th dynasty (c. 1335 BC) shows a royal couple (possibly Akhenaten and Nefertiti) in a garden. Notice their posture shows similar distortions to those we see in modern times: tucked pelvis, locked knees, lack of abdominal tone, and forward-protruded head. Original image courtesy Andreas Praefcke on Wikipedia.

By contrast, carvings and sculptures of Egyptian laborers — carrying palanquins, rowing ceremonial boats, and doing other manual work — have beautiful and healthy posture. They model an anteverted pelvis, erect spine, and vertical neck similar to those seen in non-industrial cultures the world over.

This funerary offering bearer (c. 1980 BC) shows excellent posture: a J-spine with anteverted pelvis and elongated spine, and posterior shoulders.

This close-up of the funerary offering bearer above shows her feet pointed slightly outwards and the placement of her behind behind her.

The workers on this funeral boat show excellent posture as they transport coffins in Ancient Egypt (c. 1980 BC).

This ancient Egyptian worker exhibits a perfect hip-hinge with shoulders remaining back.

What are we observing here? What made the pharaohs suffer the same poor musculoskeletal health we do? Was it affluence? Was it a departure from a working-class lifestyle? Was it a sedentary lifestyle? Was it fashion? 

If you live in a large city, you almost certainly have access to a collection of Egyptian art. The next time you visit the collection, please tell us about your observations. Or take a few photos and post or send them to us so we can comment on them.