Can Pilates teachers teach the same on every type of apparatus?
What is the difference in teaching Pilates on classical or contemporary apparatus?
Why does it matter what equipment manufacturer we're teaching on?
Can we teach the same way on every type of equipment?
In Season 6 episode 12, "Exploring Different Apparatus Styles in Pilates", we discuss the various types of Pilates equipment, what the differences are, and why this necessitates an understanding of adaptation in how we teach.
Pilates teachers often discuss the differences between classical and contemporary styles of the exercises, but what about the equipment itself? While a reformer is a reformer, the manufacturer can significantly change the feel of the work. Understanding these nuances is crucial for guiding clients effectively, regardless of which brand you’re teaching on.
Teaching Pilates on various apparatus manufacturers, such as Balanced Body or Gratz, requires understanding the unique feel and design of each type of equipment. While the core principles of Pilates remain the same, a teacher cannot teach in the same way on every apparatus because the equipment itself changes the experience. The biggest difference is the feel of the springs, but other factors, such as carriage glide, straps, and dimensions, also play a significant role. Teachers must have an "embodied understanding" of the equipment by physically experiencing it themselves to effectively adapt their cues and ensure client safety.
Classical/Traditional, Contemporary, and Modern
When we talk about different equipment manufacturers, we're really diving into the classical versus contemporary discussion. In today's Pilates market, the title "contemporary" tends to be used for most Pilates classes, which include those using Megaformers with Lagree-style classes, or those on recognizable Reformers along with props and weights, with step-aerobics-inspired movements, or even group mat classes with circuit-styled body weight exercises. With the newer addition of these group classes included within the realm of Pilates, we've decided that we now have four types of Pilates, which are: Classical, Traditional, Contemporary, and Modern.
Classical and Traditional Pilates is the work of Joseph Pilates or Romana Kryzanowska. Contemporary Pilates is the style that branches off the original work from the disciples of both Joe and Romana, including Eve Gentry, Kathy Grant, and Ron Fletcher, to name a few of the Pilates Elders or First Generation teachers. These teachers continued the work of Joseph Pilates, but added their own into it. However, even though they developed additions and modifications to the original work, they kept the principles and thread of the system that they learned directly from Joe. When looking at true contemporary Pilates, you can see the connections to the classical and traditional work.
In terms of the apparatus used for each of these types of Pilates, there are differences between them. While each style of apparatus can technically be used for any of the types of Pilates, the exercises must be cued differently, and the teacher must understand the variations of feel for the client, spring load, and trajectory of how it will affect the body, and dimensions of the mats, among other specs.
Classical/Traditional Apparatus: This category includes brands like Gratz, Pilates by Design, and Balanced Body's Contrology line. These apparatus are designed to closely replicate Joseph Pilates' original equipment. The springs are often uniform in tension and provide a heavier, more connected feel. The carriages have a noticeable, purposeful "drag," and the straps are typically fixed leather, which demands greater control and stability from the user. Even the dimensions of the apparatus, such as the width of the carriage and the height of the shoulder rests, are often narrower. The foot bars typically do not lock down, requiring the user to engage differently.
Contemporary Apparatus: Brands such as Balanced Body, Peak, BASI, and Stott fall into this group. Their design incorporates modern biomechanics and offers greater versatility. They feature a variety of color-coded springs with different tensions, a smooth carriage glide, and adjustable ropes with risers. This allows for a wider range of exercises and modifications. The foot bars are often larger and can lock into various positions, and handles may be soft loops instead of wooden ones.
Modern Apparatus: While not Pilates, this is often mixed up as Pilates by clients, and teachers need to understand the differences as well. This equipment is Lagree-based Megaformers.
It's important to remember that one style isn't inherently better; they're simply different. The key is knowing how to translate the work effectively, appropriately, and safely on each. Just because it's all called Pilates equipment does not mean it feels the same or works the same.
The Anatomy of Apparatus: What Changes?
Spring Tension and Feedback: The resistance, expansion, and feedback from the springs can vary dramatically between manufacturers. For example, a red spring on a Balanced Body apparatus will not feel the same as a red spring on a Peak reformer, and the pull of the contemporary springs will be significantly different than the classical springs. This difference in load-to-body feedback and the spring trajectory requires you to adjust your cues and expectations for your clients.
Carriage Glide: The smoothness or drag of the reformer carriage changes with the wheels' ball bearings. This affects the pace and control, and push/pull of each exercise.
Physical Dimensions and Features: The height and width of a Cadillac, the size and pedal options on a Wunda Chair, or whether a Reformer's foot bar locks down all influence the work. On a classical Reformer where the foot bar doesn't lock, a teacher must cue the client to maintain a different type of push-pull relationship to stabilize the bar. Similarly, the difference in leather straps versus adjustable ropes affects how the client's body receives resistance.
Safety Considerations: A teacher must be aware of the safety features of the specific equipment. If they are used to teaching on a Reformer with a locking foot bar, they need to know that a different machine might not have this feature and adjust their instruction to prevent a client from trying to use the bar to pull themselves up, which could lead to injury.
Why This Matters for Teachers
Over a teaching career, most teachers will land in a studio that has different apparatus from the types they originally learned on. Whether you've worked on that type of equipment before, haven't in a long time, or have never used it before, you have to be able to adapt the work for your clients. Some studios may even have a mix of equipment instead of a uniform type, so even within a single session, you must know what you're working on and be able to adapt. If you are a teacher who was taught Traditionally or Classically, and are teaching in a studio with Peak or Balanced Body, or vice versa, you have to understand the changes in how to teach the work, as it will be significantly different.
Learn how to think about the purpose and goal of the exercises to safely, effectively, and efficiently adapt your teaching to any style of apparatus.
How to Adapt Your Teaching to Different Equipment
The key to successfully teaching on any apparatus is embodied understanding. A teacher cannot simply assume the work will translate; they must get on the equipment and feel it for themselves.
Practice on the Apparatus: The first step is always to physically get on the equipment you are not familiar with. Feel the springs, the glide of the carriage, and how your body responds to the exercises on the equipment with the different carriage glide, spring tension, and dimensions. Practice fundamental exercises like "Elephant" or "Short Box" to understand how they feel on that specific apparatus.
Translate the Work: Once you have a physical understanding, you can translate the principles of the exercise to the new equipment. This means knowing the ultimate goal of an exercise and then adjusting the spring resistance, cues, and setup to achieve that goal on the apparatus you're using.
Adjust Your Cues: Since the apparatus provides different feedback, your verbal cues will need to change. A cue that works well on a smooth-gliding contemporary Reformer may not be effective on a classic one with more drag.
Embrace the Adaptability: Your ability to teach on different equipment is a testament to your expertise. Understanding these subtle differences is vital. Your ability to adapt the cues is a sign of a deeper understanding of the work and how the body is differently affected in the movement with the different pulls.
Ultimately, a skilled Pilates teacher can remain true to the core principles of the method while being versatile enough to work with any style of equipment safely and effectively, providing impactful sessions for clients no matter the type of equipment. Always keep the work in your body as a teacher, practicing on the equipment weekly, and translate the work for the apparatus you are teaching on if it is not your foundational training.
