MAGICAL PASSES FOR NOT-DOING

Pomona Workshop, CA 1998

The Running Man

Note: these passes are performed lying down with the calves taut and
the toes are pointed toward the ceiling.  Always start with right side.
It was said that this series is considered to be sufficient.  However,
if you (or your body) want to do the other series--"then do them!"

1. The Independent Rotation Of Each Foot:  The feet rotate in outward
   circles, but not synchronized.  There should be at least a second
   between them.

2. Pointing Forward With The Tips Of The Toes:  The toes bend forward
   as though pushing a pedal; the other foot is flexed slightly back.
   Alternate the feet each time.

3. The Inward Circle:  The feet describe synchronized inward circles.

4. The Outward Circle: The feet describe synchronized outward circles.

5. Dropping The Tips Of The Toes Toward The Center Of The Space Between
   Them:  The feet are rotated inward, the heel never leaving the mat,
   so that the toes point at each other--the legs are spread wide enough
   to prevent the toes from  touching.  The toes should never go to the
   outside, beyond the vertical.

6. The Side To Side Movement Of Both Feet:  The feet turn from side
   to side in unison, like windshield wipers.

7. The Dog's Tail:  The knees are slightly raised, to allow the soles
   of the feet to face one another with the outer edges on the mat.
   Keeping the heel on the mat, the outer edges of the feet tap gently
   on the mat, raising the toes several inches each time.

8. Drawing The Feet Together:  The legs start in a V shape, and slide
   together on taut calves and out again from the hip.

9. Pulling The Ham Strings:  The toes are pulled back as far as possible,
   creating tension on the hamstrings, then relaxed.

10. The Pedal:  Onee foot is pulled back as the knee raises, then
    slides on the heel to straighten, as if pushing a pedal.  The feet
    alternate.

11. Splashing The Other Foot With The Soles Of The Feet:  One leg is
    held taut as the other foot, heel staying on the mat, scoops
    and splashes toe-level awareness on the other foot.  The feet
    alternate.

12. Rubber Feet:  The heels stay on the mat as the toes go from pointing
    to the ceiling to pointing straight out to the sides, the outer edges
    of the feet on the mat.  The ankle is the pivot; the knees tend to
    slightly raise and lower naturally as the feet spread to point to the
    outside.