Introduction to Rhythmical Einreibung. Eva-Marie Batschko

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      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).

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