Eva-Marie Batschko

Introduction to Rhythmical Einreibung

as developed by Wegman / Hauschka

Drawings by Nadja Holland

Translation by Jeff Martin and Prof. Dr. med. David Martin

Edited by Christian von Arnim

To my teacher Dr. Margarethe Hauschka 1896-1980

ISBN 978-3-924391-94-2

Publisher: Info3 Verlag, Frankfurt am Main, Germany

All rights reserved, © 2019 by Carus-Akademie, Hamburg

Original title in German: Eva-Marie Batschko: Einführung in die Rhythmischen Einreibungen, Stuttgart 2003 (Verlag Joh. M. Mayer), ISBN 978-3-932386-73-2

Table of contents

Introduction to Rhythmical Einreibung

Introduction

History of Rhythmical Einreibung

About the teaching method

Exercises for training observation‘Finger exercises’ as preparation

The water exercise

The warmth exercise

The group warmth exercise (circle)

The follow-up exercise

Performing the treatment

1. The space

2. The massage table, bed or chair (without armrests)

3. The patient

4. Positioning of the patient

5. Covering the patient:

6. Direct preparation of the practitioner

7. Outer posture of the practitioner

8. Inner attitude of the practitioner

9. Archetypal image of Rhythmical Einreibung

Einreibung of the back while sitting

1. Downstroke on the back

2. One-handed circles on the back

3. The Good Night lemniscate

Einreibung of the back in prone position

4. Downstroke on the back

5. Two-handed circles on the back

Variations of two-handed circles on the back

6. The Good Morning lemniscate

7. The Good Night lemniscate

Einreibung of the shoulder girdle

8. Neck release (‘Christmas tree’)

9. The shoulder-neck Einreibung

10. Einreibung of the shoulder joint

Einreibung of the upper limbs

11. Two-handed circles on the upper arm

12. One-handed circles on the forearm

13. Two-handed circles on the hand

14. The finger lemniscate

Einreibung of the trunk

15. The combined upper body downstroke

16. The side lemniscate

17. Two-handed circles on the abdomen

18. The combined abdominal Einreibung

Einreibung of the lower limbs

19. Lemniscate on the hips

20. Two-handed circles on the thigh

21. Two-handed circles on the knee

22. One-handed circles on the calf

Einreibung of the feet

23. Two-handed foot downstroke

24. Two-handed circles on the foot

25. The heel

26. Two-handed circles around the ankles

27. One-handed foot downstroke

Whole-body Einreibung

28. In a supine position

29. In a lateral position

The archetype of the life body 30. The pentagram Einreibung

I. Einreibung of the forehead

II. Two-handed circles on the right foot

III. Two-handed circles on the left hand

IV. Two-handed circles on the right hand

V. Two-handed circles on the left foot

VI. Einreibung of the forehead:

Organ Einreibung

31. Einreibung of the spleen

32. Einreibung of the liver

Variation of the liver Einreibung:

33. Einreibung of the heart

The calming heart Einreibung

The stimulating heart Einreibung

34. Einreibung of the kidneys

Variation of kidney Einreibung:

35. Einreibung of the lungs

36. Einreibung of the forehead

37. Einreibung of the bladder and reproductive organs

Substances for organ Einreibung

Einreibung for pregnancy

38. Whole-body Einreibung (in lateral position):

Einreibung for new mothers

39. Touching the head

Einreibung for infants and toddlers

Einreibung for infants

40. Touching the head

41. Two-handed warmth circles on the lower limbs

42. Two-handed warmth circles on the upper limbs

43. One-handed circles on the stomach

Variation of the abdominal Einreibung:

Einreibung for infants and toddlers

44. Two-handed circles on the back

45. Two-handed warmth breathing on the lower limbs

46. ​​Two-handed warmth breathing on the upper limbs

APPENDIX Preparatory exercises

47. Two-handed circles on the back

48. One-handed circles on the calf

49. two-handed circles on the thigh

Questions and answers about Rhythmical Einreibung

Oils and indications

The Autors

Bibliographic Information of the German Library

Translators’ Note:

Bibliography

Introduction

This book was written at the suggestion of seminar participants from the Rhythmical Einreibung training at the Carus Academy in Hamburg. It is the result of more than 30 years of practical experience and intensive engagement with this treatment method.

It is based on Rudolf Steiner's anthroposophical understanding of the human being. The book aims to give the reader a deeper insight into the living essence of this new technique by providing a detailed description of the individual treatment steps with numerous illustrations.

Clearly the content of this introductory volume cannot replace actual training. I therefore mention only a small section of the entire range of indications alongside the effects of Rhythmical Einreibung we can experience ourselves.

I would like to thank Alexander Holtappels and Prof. Dr. Volker Fintelmann for their encouragement and support in making this textbook a reality.

The book is the result of the joint work of the Trainers' Group. I would especially like to thank Helmut Hilberer for his tireless work on the composition of the texts and Nadja Holland for her professional illustrations.

I would also like to thank Susanne Dengler who worked with me on this second edition.

Eva-Marie Batschko, Hamburg, Spring 2010

A supplementary volume of this book with essays and lectures is available through the Carus Academy Hamburg.

Carl Gustav Carus Akademie, Theodorstraße 42-90, Westend Village, House 3, 22761 Hamburg. Phone +49 40 81 99 80-0 Fax +49 40 81 99 80-20 www.carus-akademie.de info@carus-akademie.de

History of Rhythmical Einreibung

Dr. Ita Wegman (1876-1943) founded the Clinical and Therapeutic Institute in Arlesheim near Basel on 8 June 1921.

This was the beginning of her intensive collaboration with Dr. Rudolf Steiner (1861-1925) in the course of which ‘rhythmical massage therapy’ was developed out of ‘Swedish massage’ (as developed by Per Henrik Ling, Stockholm, 1813).

Ita Wegman liked to practise this form of manual therapy herself – whereby the nurses watched and learned by imitation.

Rhythmical massage therapy was one of the subjects taught in the nursing courses at the Clinical and Therapeutic Institute alongside the theoretical and practical understanding of the human being. These courses were initiated by Rudolf Steiner but could not be carried out until after his death.

In twelve years of collaboration with Dr. Wegman, Dr. Margarethe Hauschka deepened the basics of rhythmical massage therapy, rendering it more teachable. In 1962 she founded the ‘School for Artistic Therapy and Massage’ in Boll, at the foot of the Swabian Alb.

In addition to physiotherapists and massage therapists, she also trained nurses here. The question began to arise in the latter about a method by which the effect of the applied substances (ointments and oils) could be enhanced and supported. Margarethe Hauschka responded in 1967 with the first course for Rhythmical Einreibung.

When the community hospital was opened in Herdecke in 1969, it was the nurses who welcomed this method and integrated it into their nursing practice. Rhythmical Einreibung became an integral part of further and advanced training not only in Boll, but also at the Further Training Institute for the Nursing Professions founded in Unterlengenhardt in 1980 (since 1982 ‘Haus Sonnenblick’).

Meanwhile it is taught and practised worldwide in anthroposophical institutions specialising in the fields of therapy, nursing and special needs education.

The designation ‘Rhythmical Einreibung, as developed by Wegman / Hauschka’, which has been officially used since 1999, reaffirms both its origin and its connection with the anthroposophical view of the human being. There are meanwhile training centers for this treatment method worldwide. In Germany it is available at the Margarethe Hauschka School in Boll near Göppingen, the Carl Gustav Carus Academy in Hamburg, the Herdecke Community Hospital, the Filderklinik near Stuttgart and the Havelhöhe Community Hospital in Berlin, among others. Information and further contact addresses can be obtained through the Association of Anthroposophically Oriented Nursing Professions (Verband anthroposophisch orientierter Pflegeberufe) in Filderstadt.

Even though different areas of focus have developed in these training centres, they have all sprung from the same source. The training centre for Rhythmical Einreibung in Hamburg at the Carus Academy has been awarding recognised certificates since 1999. Since 1998, the Working Group for Training in Rhythmical Einreibungh has also been located there. In 1998, Edelgard Große-Brauckmann started a pilot project to train teachers in Rhythmical Einreibung. In 1998, Eva-Marie Batschko founded the Working Group for Rhythmical Einreibung Instructors at the Carus Akademy in Hamburg.

About the teaching method

Our training seminars for Rhythmical Einreibung at the Carus Academy in Hamburg each start with an introductory evening lecture on the nature of the human being.

The participants then review this lecture using a learning method for adults developed by Coenraad van Houten (1) in collaboration with Bernard Lievegoed. Rudolf Steiner's research on the life processes forms the basis for this approach.

Life processes | Learning processes |
1) Breathing | Observing | Attention – exhalation and inhalation with all senses (What was said – what did we hear?)
2) Warming | Connecting | Warming to the topic (What are the essential emotional experiences and thoughts?)
3) Nutrition | Processing | Process of digesting the topic – Working on and analysing different thoughts
4) Separation | Individualisation | Incorporating and making the content our own. Allowing new thoughts, feelings and intentions to rise up in ourselves (Distinguishing the essential from the nonessential – developing a question)
5) Conservation | Practise | Cultivating the seeds of the new thoughts (Repetition)
6) Growth | Growing skills | Transforming concrete exercises into higher abilities – synthesis. Drawing benefit from resistance!
7) Reproduction | New creation | Developing and realising something new – creativity

These seven learning steps take place both consecutively and simultaneously – as is also the case with the life processes of the body (unconsciously).

The second part of the seminar is devoted entirely to practical work which takes place in groups of three. Every participant assumes each of the three different roles of patient, practitioner and observer:

The patient with the question: how does it feel? (Too firm – too light – too fast – too slow, etc.).

The practitioner with the question: what effects come about? (Warmth – deepening of the breathing – vitality, etc.).

The observer with the question: is the technique correct? (Direction of circles – start of the movement – course of treatment, etc.).

The process is carried out in seven different stages (cf. Rolf Heine (2) who describes the process in three stages).

Stage 1:

The treatment is demonstrated – without comment – with the participants at first only observing.

Stage 2:

The participants imitate what they have observed in groups of three: posture, gestures and technique are absorbed. What they have experienced, including for themselves, is then communicated in the plenum.

Stage 3:

The same treatment is now explained by way of preparation and then demonstrated again. With increased attentiveness, what has been demonstrated is repeated in groups of three. In doing so, the basics of the technique are learned. The experiences are then discussed in a more differentiated way. The new experiences are examined in the plenum.

Stage 4:

The same treatment is performed again in groups of three and the acquired insights and experiences are applied. There is again an exchange of views about what has been experienced, including by the participants themselves. In the plenum we seek to understand the inherent laws and thus also obtain an understanding of the indications.

Stage 5 as a mirror of Stage 3:

The knowledge obtained by each person for themselves is repeatedly practised with new aspects.

Stage 6 as a mirror of Stage 2:

Higher abilities can develop through our own cognitive process.

Stage 7 as a mirror of Stage 1:

We can now become creative for ourselves in what we do.

Consideration of various substances completes this practical part of the seminars.

Exercises for training observation ‘Finger exercises’ as preparation

The water exercise

A basin filled with water is put on the table. Standing at one end of the basin, I touch the water surface with my hands held in parallel.

First I can feel the temperature of the water, then its surface tension. Slowly I submerge my hands deeper and deeper into the water and can perceive that this is possible only by exerting pressure.

If I release the tension from my hands under water, the water carries them back to the surface. The water has tangible buoyancy.

When I lift my hands from the surface, the water is sucked upwards slightly before contact is completely broken.

In a next exercise, I slowly let my hands glide in a straight line over the surface of the water.

Here I can observe the flow and the formation of the vortex within the water. A more subtle feeling for this process of immersion is developed through regular practice.

The warmth exercise

I lift a hand to shoulder height, the palm of the hand facing forwards. I bend my fingers towards the heel of the hand without completely closing them in a fist.

I gradually perceive the warmth developing in the palm of my hand. It forms with ever greater clarity into a 'ball of warmth' with a 'boundary'. Now I open my hand again and slightly spread my fingers; as a result the ‘ball of warmth’ can expand and be ‘held’.

This exercise supports the warming of the hands before the Einreibung. Slightly spreading the fingers during treatment can preserve the warmth developed in this way. (If, on the other hand, the fingers were spread completely apart, the warmth would dissipate and coolness would surround my palm!)

The group warmth exercise (circle)

The participants stand in a circle and hold their left hand in the supination position (the ulna and the radius are in parallel), the right hand is in the pronation position.

Then they move their hands towards one another so that the circle is closed. The participants do not touch their neighbours’ hands directly but instead perceive only the warmth that arises between their hands.

This exercise requires attentiveness to the quality of the warmth: do the left and right hands show any differences in generating warmth?

What is the quality of the warmth arising in the space between the hands (e.g. radiating, rapidly developing or slowly building up)?

This exercise trains a sense of the warmth envelope created during the treatment.

The follow-up exercise

All the participants are moving about at the same time; therefore a lot of space must be available (possibly outdoors). The participants separate into pairs.

One participant in each pair goes ahead, thereby revealing their ’movement melody’. The other participant follows, trying to immerse themselves in the bearing of the leading participant’s movement (posture, movement approach, step length, etc.) and imitate it. As soon as the leading participant perceives that the following participant’s movements correspond to their own, they give the signal to change. Then the follower becomes the leader – and the exercise is repeated.

Subsequently, still in pairs, they discuss the types of movement of the leading participant (e.g., purposeful, soothing, tiring, refreshing, invigorating, energetic, powerful, etc.).

In the plenum, this is then put in the context of the three-fold human constitution and the question is considered as to whether the gait was respectively dominated by the head, metabolic and limb or rhythmical system; ’head-types’ are dominated by the nervous and sensory system and thus their gait reveals excessive control by the head; the movement flow is halting. If the metabolic and limb system dominates, the movement brimming with life starts in the hip area, sending impulses to the limbs – and sometimes the head also begins to ’dance’. When the movements are in harmony with the rhythmical system, a harmonious, light and graceful gait comes about, the source of which is initiated between the shoulder blades. This exercise trains the perception of the threefold nature of the human organism revealed in walking.

Independently of such exercises, we can also in our day-to-day lives try to sense the manifestation of the four constitutional elements of the human being in their handshake as we greet another person:

Physical body:

Findings – Form or deformation of the hand (large – small – narrow – wide – long – short, etc.)

Etheric body:

State – Condition of the hand (moist and warm – moist and cold – dry and hot – dry and cold –sticky with sweat – drops of sweat, etc.)

Astral body:

Mood – Psychological state revealed through the handshake (shy – cordial – limp – squeezing – powerful – gripping – listening – shaking – calm – assertive, etc.)

The I:

Presence – Revelation of the spirit through the handshake (presence of the distinctive personality – spiritual presence – authenticity – interest, etc.) Here eye contact is important as well!

Performing the treatment

1. The space

A quiet space (patient’s room or practice) without interference from radio, television, telephone, visits, visitors, etc. Ventilate well before treatment, but keep windows and doors closed during treatment (absolutely avoid draughts!).

Provide a pleasantly warm room temperature. Place the massage table or bed so that the patient is not exposed directly to the sun or to electric light sources (this also applies to the chair when seated).

The massage table should be accessible from at least three sides; all-round access is necessary in the case of whole-body and pentagram Einreibung.

The substances must be kept within easy reach.

2. The massage table, bed or chair (without armrests)

Soft underlay

Pillows of different sizes

Knee rolls

Sheets (brushed cotton)

Woollen blankets for covering the patient

Towels for covering the patient

Hot water bottles if preheating is needed

Possibly footstool or stool for seated treatments.

3. The patient

Meet with the patient to inform them about the place (e.g. patient’s room) and course of the Einreibung, the substances used and the necessary rest period after treatment.

The patient should keep a small booklet in which they describe their state (e.g. ‘pain’ – ‘pleasantly warm’ – ‘cool’ – ‘more mobile’ – ‘shivering’, etc.) before and during treatment, after the rest period and before going to sleep at night.

The practitioner should also documents their experiences and perceptions in a work report.

The indication must be checked with a doctor.

4. Positioning of the patient

The patient should be able to lie comfortably and relaxed.

Lying on the back:

A pillow so that the cervical spine relaxes.

A knee roll so that the stomach remains relaxed.

Possibly hip cushions on the sides in order to avoid outward rotation of the legs.

Lying on the abdomen:

A cushion under the abdomen so that the chest can lie without pressure.

Possibly two small cushions under the armpits to relax the shoulders and the neck.

A knee roll under the feet to avoid too much stress on the ankles.

Sitting position:

A cushion on the thighs, so that the neck and upper arms are relaxed.

A pillow under the soles (or a footrest) if the feet do not touch the floor.

5. Covering the patient:

The whole body of the patient is wrapped in a brushed cotton sheet and covered with a woollen blanket (of sufficient size!).

The part of the body to receive treatment is wrapped in a towel and only uncovered during the treatment.

A pre-heated brushed cotton sheet is required for the whole-body Einreibung (use oven or hot water bottles).

6. Direct preparation of the practitioner

Before starting, picture the course of the treatment (sequence of Einreibungen) inwardly such that flowing transitions can arise (parts leading to a whole) – consciously shape the beginning and the end (e.g. ‘end legs downwards with foot Einreibung’ – or; ‘begin legs upwards with foot Einreibung’).

Calm covering up and uncovering are essential parts of the treatment!

Take off any jewelry or watches before treatment!

Wash your hands before each treatment!

The oil is poured into the cupped left hand immediately before the Einreibung.

The bottle is closed again with the right hand (essential oils evaporate easily!).

Then the right hand covers the left hand and spreads the oil on the palms with a single stroke.

Only touch the patient with warm hands! The hands should be soft, supple and empathetic!

7. Outer posture of the practitioner

Stand freely (without leaning against or supporting yourself with anything). Flexible stance, slightly open towards the massage table, with loose, slightly bent knees.

Spread your weight evenly on both feet, with a slight, elastic flexion of the back to allow for inner resonance and free movement of the shoulders and arms (but do not bow!).

Distance to the patient neither too close (‘nose on the stomach’) nor too distant (‘head and back stretched backwards’) – this applies both physically and mentally.

Keep returning to an upright posture to connect with the cosmos that is radiating in from behind.

Movements are initiated between the should blades from the space at the back – the shoulder girdle and arms harmonise with the movement.

8. Inner attitude of the practitioner

‘There is only one temple in the world, and that is the human body. Nothing is more holy than this high form. Bowing before human beings is homage to this revelation in the flesh... We touch heaven when we feel a human body. ‘ (3)

Warm interest in and concern for the individual person (attentiveness). Being able to put oneself in second place (disregard of how we ourselves feel). ‘Control’ of thoughts and feelings. Inner calm and concentration during treatment (keeping ourselves centred).

Outward silence during treatment – conversation between hands and body (e.g. in the back Einreibung: ‘Speaking hands and listening back’ as well as ‘Listening hands and speaking back’).

Perception of the patient with all the senses (cultivate eye contact with the patient's countenance).

Connecting in awareness of a common sphere (awareness of surroundings).

Healer’s courage.

Do not forget humour – it helps you to ease difficult situations.

9. Archetypal image of Rhythmical Einreibung

‘The predisposition for the heart is created at the point where the blood can no longer continue to flow, is halted and dammed up; that is, the blood arrives and is brought to rest in being dammed up at, or rather on the head pole to form the heart. Since it cannot continue and has stopped, it reverses and travels back the way it has come along other capillaries. It disappears into the periphery where it originated, renews itself and starts on its way again from the beginning. All this means that, as described by morphodynamics, the conditions in the embryo are reversed.’(4)

This representation of heart development in the embryo describes the archetype of Rhythmical Einreibung.

Coming from the periphery, I dip into and gather the tissue, engaging it.

At the peak of this engagement I pause a little and let the movement continue to flow inwardly until it transforms itself into a release.

Through this greatest outward engagement, a supporting ‘gesture of levity’ is created inwardly.

This pause resembles the gesture of damming up in heart development where stillness and reversal simultaneously culminate.

Newly revived through the current reversed at the periphery, I release my hand from the engagement.

I let the return current quietly fade away into the periphery.

Thus in engagement there is an inhalation as far as an inner moment of reversal, followed in release by an exhalation as far as an outer moment of reversal.

These moments of reversal separate the two opposing currents from one another and simultaneously connect them.

In damming up and pausing, an organ is formed in the etheric that can have a healing effect on the living organism.

Further information on treatment can be found in the chapter ‘Questions and answers about Rhythmical Einreibung’.

The treatment positions are always described from the position of the patient.

In the drawings, ‘engagement’ is expressed by continuous lines while ‘release’ is represented by broken lines.

Einreibung of the back while sitting

The patient sits upright on the massage table or a chair; the feet rest on a solid support (e.g. a stool or the floor).

A pillow (possibly two) lies on the thighs covered with a towel; the underarms rest on it, slightly angled, so that the shoulders are relaxed and an upright posture is supported.

The entire upper body (including arms and hands) is wrapped in a blanket, the ends of which overlap behind the back.

For uncovering the back, the two ends are opened up to the left and/or right so that they hang loosely to one side, with the shoulder joints remaining covered.

1. Downstroke on the back

Standing behind the patient, I initiate the downstroke simultaneously with the heels of both hands directly to the left and right of the seventh vertebra (Vertebra prominens).

Ill. 1

Then I dip both hands – fingers pointing towards the head – lightly into the tissue and then stroke downwards along the back, parallel to the spine.

At the lower end of the back I release first the heel of the hands, then the middle of the hands and finally the finger pads from contact with the skin (without bowing forwards!).

I now hold the collected warmth lightly enclosed on the inside of my hands.

With this gesture, I return my hands to the starting point below the scapulae with a slight arc in the air, in order there to open both hands again after dipping in with the heels of the hands.

In this way the flow of warmth is not interrupted.

In the downstroke on the back, my left hand always flows to the left of the spine, the right hand to the right.

Ill. 2

Ill. 3

This is done in three different, parallel movement flows, moving progressively further away from the spine laterally to the outside:

Stroke 1 moves inside close to the spine (but not touching it!).

Stroke 2 begins a hand’s width further outwards.

Stroke 3 moves so far out at the height of the armpits that the patient's sides are also touched. My hands always remain in flow and glide lightly following the shape of the body. In this dynamic they gradually turn a crescendo into a decrescendo.

EFFECT

The parallel nature of the back downstroke acts in a clarifying and ordering way, bringing about the perception of our own back.

The downward-flowing current of the hands creates a feeling of wanting to adopt an upright posture.

INDICATIONS

Acute life crises; psychophysical exhaustion; postural disorders; scoliosis; lordosis; kyphosis; apoplexy; paraplegia; obesity.

NOTE

The back downstroke is repeated, at most, three times, and only at the beginning of a back Einreibung.

2. One-handed circles on the back

Standing to the left of the patient, I first treat the right half of the back, then the left. The half of the back not in treatment is covered with a towel.

Ill. 4

While my right hand lightly describes counterclockwise circles, my left hand rests on the patient’s left shoulder. With the heel of the right hand I initiate the movement to the right of the seventh cervical vertebra (Vertebra prominens) and then slide, with the hand relaxed and with full skin contact, into the first circular form: my fingers follow the costal arch, such that the hand does not point horizontally to the side but rather slopes slightly downwards. In the first circular form, my hand creates an envelope as it swings warmly and softly around the shoulder joint, including it in the treatment. On the spine, down the erector spinae muscle, I dip with renewed emphasis into the downward movement and release again with the next circle.

Ill. 5

The dynamic thus breathes between engagement (inside) and release (outside). Each new emphasis leads my hand further down – so that the previous circle partially overlaps, i.e. is still involved.

Ill. 6

In conclusion, I stroke the lumbar spine downward with the heel of my hand.

Ill. 7

On the left side of the back, the direction of the circle is clockwise. In the engagement stage, my fingers take over the function of the heel of the hand; thereafter the whole hand closely follows the course of the costal arch.

In order to achieve the right body contact, a good but relaxed (lateral!) stance is required. The whole process is repeated several times.

EFFECT

Calming; deepening of the breathing; a sense of space and rhythm and right-left perception can arise. The patient finds their balance.

INDICATIONS

Pneumonia prophylaxis; acute life crises; psychophysical exhaustion; apoplexy; paraplegia.

Particularly suitable for children and the elderly.

NOTE

The spine must not be touched or crossed!

3. The Good Night lemniscate

Remaining on the left side of the patient, the upper part of the back is covered again and the buttocks are uncovered roughly up to the coccyx.

My left hand rests lightly on the patient’s left shoulder during the entire treatment. Positioning my right hand underneath the sacroiliac joint (Articulatio sacroiliaca), I perform a small lemniscate that runs transversely across the back.

Ill. 8

My fingers always point to the right side of the patient. I start at the lemniscate’s center-point and follow the loop first to the right, then to the left.

Each loop begins with an emphasis of the lower arc. When immersed in the tissue, my hand – beginning with the tips of the fingers, then through the middle of the hand to the heel of the hand– nestles itself completely to the body’s shape.

My hand disengages from its emphasis at the outside right and glides quietly in the reverse order (heel of the hand– middle of the hand – fingertips) through the upper loop back to the intersection point. There it dips back into the tissue at the beginning of the left loop.

The emphasis is again released on the outside left. With the fingertips again leading – as in the beginning – the lemniscate is finally completed with the upper loop.

Ill. 9

My hand always remains in loose and warm contact with the skin. In its dynamic, the movement breathes between emphasis (below) and release (above).

After performing this several times, I finish the Einreibung after a right loop with a downstroke from the mid-point.

During this downstroke, too, my fingers point to the right side of the patient.

EFFECT

Relaxing; soothing; stimulating sleep. The warming of the gluteal muscles stimulates the flow of warmth into the feet.

INDICATIONS

Sleep disturbance due to cold feet; decubitus prophylaxis.

NOTE

The wrong emphasis (upwards) would stimulate kidney activity, i.e. excretion, too strongly!

Einreibung of the back in prone position

The patient lies covered on their stomach; a roll is placed under the arch of the feet so that they are not overstretched and the lumbar spine musculature is thus relieved. Immediately before the Einreibung, the back is uncovered; after the treatment it is covered again.

4. Downstroke on the back

I now stand on the left side of the patient. In all other respects, the execution of the back downstroke with the patient in a prone position is identical to the back downstroke while sitting, as already described.

The effects and indications are also similar.

5. Two-handed circles on the back

Standing to the left of the patient, I place both hands between the shoulder blades and then circle them down the spine in continuous loops.

Both loops are phase-shifted, clockwise. My fingers always point towards the head.

In initiating the movement, my right hand moves to the upper right, the left hand moves to the bottom left.

During the circles, the previous loop is partially overlapped, that is, included. (However, the spine must not be touched or crossed!)

Ill. 10

In their dynamics, the circling movements reach their climax at the farthest point from the spine at the far outside on the sides of the back.

Thus my hand contact while enclosing the ribcage comprises the greatest engagement on the outside, while a supporting ‘gesture of levity’ arises on the inside:

For a moment, therefore, the flow of the motion comes to halt so that something ‘musical’ flows into the movement and the patient can feel a sense of inner expansiveness.

Then I release and finish the two circles by swinging my hands back to the spine. In conclusion, after several loops, I stroke the outer sides of the hip area downwards with both hands simultaneously. The whole execution is repeated several times.

EFFECT

Animation and stimulation of the breathing; harmonisation; a sense of expansiveness arises.

INDICATIONS

Asthma; respiratory disorders; neurasthenia; fears; fatigue; convalescence.

NOTE

The emphasis is created at the periphery of the back, not near the spine!

Variations of two-handed circles on the back

In a variation, the two-handed circles on the back can also be counterclockwise. Here my right hand starts towards the lower right, the left hand towards the upper left.

The emphasis does not change as a result; it still stays at the periphery of the back.

EFFECT

Enlivens and stimulates the circulation; a feeling of finding oneself again arises.

INDICATIONS

Circulatory disorders, listlessness, hyperactivity, hysteria.

6. The Good Morning lemniscate

In this Einreibung, the upper back is covered; the lower back and buttocks remain uncovered approximately to the coccyx.

I remain in my position on the patient’s left side. Throughout the treatment, my left hand rests lightly on the left side of the patient’s waist.

During the Einreibung, the fingertips of my right hand are placed to the right of the lower lumbar vertebrae, creating there a permanent centre of rest.

The actual movement comes from theheel of my hand which describes a ‘harmonious eight’ form below thefingertips. It starts in the middle with the loop to the bottom right, at the same time dipping in to engage.

Ill. 11

This emphasis is released towards the outside halfway up the right loop. With warm skin contact, the heel of the hand now glides over the top inwards in the direction of the spine.

Ill. 12

On the arc downwards – away from the spine – I engage again and then slide theheel of my hand softly over the sacrum.

This engagement continues up half the height of the second loop. At the outer arc, I release it again until the left loop descends inwards towards the spine.

Ill. 13

There is renewed engagement on the inner arc before the ‘harmonious eight’ is finally completed at the point of intersection, and the patient becomes aware of the latter through an intense build-up of warmth (‘small fire’). In its dynamics, therefore, the movement breathes between emphasis (below) and release (above).

During emphasis, a warm, soft contact by the heel of the hand increases the intensity of the movement in this area. Having performed this several times, I finish the Einreibung after a right loop with a downstroke in the centre. During this downstroke, too, my fingers point towards the head.

EFFECT

Warming; waking; raising; activating; stimulating initiative.

INDICATIONS

Morning ‘grouchiness’; listlessness; depression; tired legs; sciatica.

NOTE

Use only in the morning! Do not perform energetically!

7. The Good Night lemniscate

Remaining on the patient’s left side, only the lower part of the back and the buttocks are uncovered, approximately to the coccyx.

Throughout the treatment, my left hand rests lightly on the patient’s left waist. Starting below the sacroiliac joint (Articulatio sacroiliaca), I use my right hand to make a small lemniscate that runs transversely to the back.

Ill. 14

My fingers always point to the right side of the patient.

I start at centre of the lemniscate, first following the loop to the right, then to the left. Each loop begins with an emphasis on the lower arc.

Ill. 15

When dipping into the tissue, my hand – starting with the fingertips through the middle of the hand to the heel of the hand – nestles completely into the shape of the body. On the outside right, my hand releases from its emphasis and glides smoothly in reverse order (heel of the hand – middle of the hand – fingertips) back to the crossing point via the upper arc.

There I dip back into the tissue at the beginning of the left loop.

Ill. 16

With emphasis in the lower arc, my hand now glides to the patient’s left side. Led again by the fingertips – as in the beginning – the lemniscate is finally completed with an upper arc.

Ill. 17

My hand always stays in relaxed and warm contact with the skin. In its dynamics, the movement breathes between emphasis (below) and release (above).

Having performed it several times, I finish the Einreibung after a right loop with a downstroke in the centre.

During this downstroke, too, my fingers point to the right side of the patient.

EFFECT

Relaxing; soothing; promoting sleep. The warmth of the gluteal muscles stimulates the flow of warmth to feet.

INDICATIONS

Sleeplessness; mental states of excitement.

NOTE

Wrong emphasis (upwards) would result in overstimulation of kidney activity, i.e. excretion.

Einreibung of the shoulder girdle

8. Neck release (‘Christmas tree’)

The patient sits in an upright and relaxed position on a chair or on a massage table; the patient's feet rest on a firm surface (such as a stool or the floor).

A pillow on the lap allows the forearms to be supported; the neck and upper arms of the patient remain relaxed.

The patient is covered to the neck in a blanket; its upper ends overlap behind the back. When uncovering the back, the two ends are opened rearwards to the right and left, so that they hang down loosely on each side; the shoulder joints remain covered.

Ill. 18

Standing behind the patient, the fingertips of both my hands dip simultaneously into the tissue of the neck (trapezius muscle) to the left and right of the seventh cervical vertebra (Vertebra prominens).

My fingertips point diagonally upwards towards the spine, while the thumbs form a horizontal line without touching each other. The shape of a triangle is thus created between my hands.

Ill. 19

Successively from the index finger to the little finger, I begin to engage the tissue until at last all fingers have full skin contact. As a result, the tissue bulges convexly outwards and ‘swells’ slightly.

At that moment my splayed thumbs dip in supportively between the shoulder blades and initially remain in that position. Without moving the wrists, my fingertips – carrying the tissue along – now flow in parallel to the spine towards the thumbs which, through their position, hold back the current coming from above, allowing it to peak through the engagement.

Perceiving this, both thumbs, together with the other fingers, slide in a slight downward arc at first to the inner edge of the shoulder blades.

In doing so, the fingers and thumbs release the emphasis so that the current can pour down from above in a liberating way.

Then my fingers, with light skin contact, glide upwards on the shoulder blades, completing the first circular motion.

The second immersion begins just below the first starting point at the level of the first thoracic vertebra. The third immersion is at the level of the second thoracic vertebra, etc. The last immersion is done such that the thumbs can still touch the bottom edge of the shoulder blades when stroking.

Thus there is a continuous circling process which is first emphasised in the area of ​​the spine and then released again outwards.

In this way the area between the shoulder blades breathes deeply. Repeat the entire Einreibung several times!

EFFECT

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