Not sure when or how I suscribed to your channel but I've been binging all of your videos here and Im feeling wealthier with the healthier knowledge for sure :)
Thank you for that great video. I have a question in regards to the hip movement described after 3:50. For some context, I am an SLP, but I myself have physical impairments including an "ex"(?) funnel chest (it is not gone, but I had operations; my chest is now just quite different and asymmetric otherwise). This might inform my thinking as my reference point is also my own experience. I also come from a functional branch of vocal work, that is the other dimension: Dr. Vranich encourages tilting the hip to the front sitting and furthermore standing and rocking back for exhalation. While mobilizing the hip in general is something definetly needed, I wonder if that wouldn't just lead to an increase in lumbar spine lordosis, inhibitting the possibility to expand the ribs in the (lower) backand move therefore away from the idea of 3-dimensionality while encouraging postural and breathing patterns that are found consistently among people ("belly breathing", anterior pelvic tilt, narrowed ribcage, protruded stomach, shortened hig flexors and lumar spine extensors)? I understand that an extension of the spine (increase of lordosis, decrease of kyphosis) on the *skeletal* level equals an inhalation as it opens up the ribs in the front and upways. This also very much equals a horizontal breathing pattern that has not been viewed as beneficial here. From the more muscle oriented aspect, I would still think other patterns are more sufficient to guarantee a 3 dimensional breathing. From my vocal training and singing background, one aim is to have a better diaphragmatic tone and more rib cage expansion by the transmission of kinesthetic energy of erection trough the body (from the feet trough the legs trough the hips as focal point to the diaphragm - an instable lumbar spine, an anterior pelvic tilt should not allow that sufficiently). For example, we'd try to have a postural erection where the pelvis tilts a bit backwards, rounding the lumbar lordosis a little and erecting it and have that activity of elongation go trough the whole spine as *axial extension* (in the chest vertebrae, this then increases furthermore ribcage expansion as well). This axial extension or elongation encompasses a stronger possibility of the rib cage to expand as well of the diaphragm to contract - when certain other muscles, like the oblique abs f.e. can give up tone. I could use a standing position and sway in inhalation to the the back f.e., to create a slight hip drop on the back side with an elongated lumbar spine and more ribcage expansion. I don't think this is purely a matter of right and wrong, but breathing can often be viewed and framed from context and goal. Therefore I wanted to ask, exchange, reconfirm... I am very thankful for the name dropping when it comes to the diaphragm and our balance. This also links the first and my third response... when it comes to reflux. To the person who uttered it and maybe Dr. Vranich, too, the findings about the larynx as interconnected neurologically, and biomechanically, with the activity of our breath apparatus and movement, should be interesting here. Our vocal folds serve the stabilization of the thoraic wall by closing for intrathoraic underpressure (f.e. when we pull our selves up). The upper airways close with the leading role of the ventribular folds for increased intrathoraic (and intraabdominal) pressure on the other hand, when the body needs to be stiff, build up resistance against against its extremities for a force applied away from us (like pushing someone away) our out of us (defacation). That also encompasses a neurological co-activation of the vocal folds as underpressure valves and the pelvic floor (circling back to another moment in this great interview). But also, the upper oesophageal sphincter derives from the pharyngeal well. Since the pharyngeal wall reacts as part of the upper airways to breathing (and certain breathing, and breath support techniques!), to postural changes and vocal function, the interrelation between certain aesthetics and styles, certain support techniques and such phenomena can become more obvious to the eye. While commonly in vocal therapy (I am an SLP), people with reflux come to the sessions since the acid causes vocal fold damage and thereby hoarseness, that a vocal disorder itself (and furthermore, the vocal folds as valves of inhalation reflect on those respiratory and postural patterns) leads to the weakness of this sphincter. A German SLP I know brought up how working on the proper, sound receptive tone of the upper airways / vocal tract in a sufficient manner during phonation, can also help with reflux. And that tone is linked to a vital concept of respiration, since the muscles pulling up the larynx and closing it start to ease, the larynx descends, furthermore over the tracheal pull and the pharynx has a chance to softly get stretched and adjust in its tone to have a proper communication with the vocal folds (as it forms a resonance chamber from behind and around). To learn more about the interrelationship between laryngeal function, breathing, posture and movement, I suggest the influential text from Victor Negus about the sphincters of the larynx as he looks into its evolution; then into Pressman's text discussing the interrelation between pressure states in the thoraic cage, laryngeal closure patterns and movement, and into the works of Eugen Rabine (f.e. "keys to voice"). This understanding of the larynx as two valve system can be found as "laryngeal double valve function" and seems to be more known in the German field of vocal pedagogy (but even there, it is not well known).
So happy to see breathing science and tips shared so beautifully and concisely! Thank you!
I love doctor Belisa.
Not sure when or how I suscribed to your channel but I've been binging all of your videos here and Im feeling wealthier with the healthier knowledge for sure :)
Thank you for that great video. I have a question in regards to the hip movement described after 3:50. For some context, I am an SLP, but I myself have physical impairments including an "ex"(?) funnel chest (it is not gone, but I had operations; my chest is now just quite different and asymmetric otherwise). This might inform my thinking as my reference point is also my own experience. I also come from a functional branch of vocal work, that is the other dimension:
Dr. Vranich encourages tilting the hip to the front sitting and furthermore standing and rocking back for exhalation. While mobilizing the hip in general is something definetly needed, I wonder if that wouldn't just lead to an increase in lumbar spine lordosis, inhibitting the possibility to expand the ribs in the (lower) backand move therefore away from the idea of 3-dimensionality while encouraging postural and breathing patterns that are found consistently among people ("belly breathing", anterior pelvic tilt, narrowed ribcage, protruded stomach, shortened hig flexors and lumar spine extensors)? I understand that an extension of the spine (increase of lordosis, decrease of kyphosis) on the *skeletal* level equals an inhalation as it opens up the ribs in the front and upways. This also very much equals a horizontal breathing pattern that has not been viewed as beneficial here. From the more muscle oriented aspect, I would still think other patterns are more sufficient to guarantee a 3 dimensional breathing. From my vocal training and singing background, one aim is to have a better diaphragmatic tone and more rib cage expansion by the transmission of kinesthetic energy of erection trough the body (from the feet trough the legs trough the hips as focal point to the diaphragm - an instable lumbar spine, an anterior pelvic tilt should not allow that sufficiently). For example, we'd try to have a postural erection where the pelvis tilts a bit backwards, rounding the lumbar lordosis a little and erecting it and have that activity of elongation go trough the whole spine as *axial extension* (in the chest vertebrae, this then increases furthermore ribcage expansion as well). This axial extension or elongation encompasses a stronger possibility of the rib cage to expand as well of the diaphragm to contract - when certain other muscles, like the oblique abs f.e. can give up tone. I could use a standing position and sway in inhalation to the the back f.e., to create a slight hip drop on the back side with an elongated lumbar spine and more ribcage expansion.
I don't think this is purely a matter of right and wrong, but breathing can often be viewed and framed from context and goal. Therefore I wanted to ask, exchange, reconfirm...
I am very thankful for the name dropping when it comes to the diaphragm and our balance. This also links the first and my third response...
when it comes to reflux. To the person who uttered it and maybe Dr. Vranich, too, the findings about the larynx as interconnected neurologically, and biomechanically, with the activity of our breath apparatus and movement, should be interesting here. Our vocal folds serve the stabilization of the thoraic wall by closing for intrathoraic underpressure (f.e. when we pull our selves up). The upper airways close with the leading role of the ventribular folds for increased intrathoraic (and intraabdominal) pressure on the other hand, when the body needs to be stiff, build up resistance against against its extremities for a force applied away from us (like pushing someone away) our out of us (defacation). That also encompasses a neurological co-activation of the vocal folds as underpressure valves and the pelvic floor (circling back to another moment in this great interview). But also, the upper oesophageal sphincter derives from the pharyngeal well. Since the pharyngeal wall reacts as part of the upper airways to breathing (and certain breathing, and breath support techniques!), to postural changes and vocal function, the interrelation between certain aesthetics and styles, certain support techniques and such phenomena can become more obvious to the eye. While commonly in vocal therapy (I am an SLP), people with reflux come to the sessions since the acid causes vocal fold damage and thereby hoarseness, that a vocal disorder itself (and furthermore, the vocal folds as valves of inhalation reflect on those respiratory and postural patterns) leads to the weakness of this sphincter. A German SLP I know brought up how working on the proper, sound receptive tone of the upper airways / vocal tract in a sufficient manner during phonation, can also help with reflux. And that tone is linked to a vital concept of respiration, since the muscles pulling up the larynx and closing it start to ease, the larynx descends, furthermore over the tracheal pull and the pharynx has a chance to softly get stretched and adjust in its tone to have a proper communication with the vocal folds (as it forms a resonance chamber from behind and around).
To learn more about the interrelationship between laryngeal function, breathing, posture and movement, I suggest the influential text from Victor Negus about the sphincters of the larynx as he looks into its evolution; then into Pressman's text discussing the interrelation between pressure states in the thoraic cage, laryngeal closure patterns and movement, and into the works of Eugen Rabine (f.e. "keys to voice"). This understanding of the larynx as two valve system can be found as "laryngeal double valve function" and seems to be more known in the German field of vocal pedagogy (but even there, it is not well known).
Thanks👍👍