The center line runs down the inside of the leg
The most consequential single sentence Ida ever issued about the legs is also one of her simplest: the center line of the body runs down the inside of the leg. It is a structural claim disguised as an anatomical aside, and once it is in the room the whole rest of her teaching about the second, third, and fourth hours falls into place. If the body's vertical organization tracks the medial line of the thigh and shin down to the inner arch, then weight migrating laterally — onto the outer arch, the outer shin, the outer thigh — is not merely a postural habit. It is destruction of the line. In her 1976 Boulder advanced class, Ida asked the students to stand in place and feel for themselves where the line wanted to go. She invoked the dancer Ruth St. Denis, who had written in her diary that she could not dance well on nights when she could not find her line — and used the image to insist that what dancers feel by intuition can be located anatomically.
"Your center line connects down the inside of the leg. Your center line is destroyed as weight goes on to the outer arch."
Ida, in the 1976 Boulder class, asks the students to stand and feel the line shift as their weight goes onto the outer arch:
What Ida is doing in this moment is overturning a piece of received wisdom — the schoolteacher's instruction to stand on the three center toes, on the ball of the foot — by asking the students to consult the experimental evidence in their own bodies. The vertical line is not democratic across the foot; it has a specific path, and that path goes through the inner arch and up the medial side of the leg. Everything later in the recipe — the medial midline of the fourth hour, the establishment of horizontality at the ankle, the search for a leg that 'sets back' under the pelvis — is downstream of this single anatomical commitment.
Why the second hour exists
The second hour is the hour Ida built to give the first hour somewhere to land. In the first hour the practitioner has lifted the thorax off the pelvis, loosened superficial fascia around the trunk, and begun to free the pelvis from above. But the legs below the knees have not been touched, and the pelvis sits on legs that are not under the body. The second hour goes down to the foot, the ankle, the shin, and the knee — and its operating principle is that the ankle must come to act as a horizontal hinge. Without that hinge the body has no fulcrum, no place where the column meets the floor cleanly, and everything above will continue to compensate. In the public-tape recording of the second-hour discussion, Ida and her colleague walk through the sequence: the retinaculum at the front of the ankle, the lateral malleolus and the fibula, the peroneal group around the back of the ankle, and the fascia along the tibia. Each is part of the same problem — a leg that has migrated laterally and a foot that no longer relates to the earth.
"Where are gonna start? You begin by in the ankle joint proper, by noting where it is it is restricted and matted. You give the retinaculum across the front of the ankle and free up the fascial layers so the tendons may move more freely. You pay attention to the lateral malleolus to the fibula, which is often too far distal, too far down towards the floor, and often too far posteriorly. And again, in freeing the tendons that the paraneus group which come around the back of the ankle into the foot, the fascisms around them, these tendons again can begin to function more freely and and slide over one another. Also, paying attention to where the musculature may be restricted along the leg. The fascia needs to be cleared from the tibia."
A colleague describes the second-hour opening sequence — ankle joint, retinaculum, lateral malleolus, peroneals — in one of the RolfA1 public-tape sessions:
What this entry sequence is really doing is preparing the ankle to act as a hinge. Ida pressed her students hard on this distinction. The ankle is not merely a joint to be freed; it has a job — to function as a horizontal hinge so that the foot can act under the leg as the leg comes forward in gait. In the 1975 Boulder class, Ida and her senior practitioners worked out the language explicitly. A horizontal at the ankle is the sign that the foot is under the leg; a horizontal implies a vertical above; and the practitioner who can name the hinge can teach the hour.
"Now I taught taught for god knows how many years without that word horizontal ever being mentioned. And you see, you people all have the same trick. Jane used to have it and by George did I get it. Jump to what should be the end of the line and you grab for that and you hold on to that for dear life but you don't know how you got there and you don't know what it signifies."
Teaching the 1975 Boulder advanced class, Ida confesses she taught the second hour for years without ever using the word horizontal — and explains why she now insists on it:
The hinge language matters because it specifies what the practitioner is building. A horizontal hinge at the ankle is the sign that the foot is under the leg, which is the sign that the leg is under the pelvis, which is the precondition for any further verticalizing work above. The hinge is a structural test, not an aesthetic one. In the same 1975 session, Steve Weatherwax extended the logic by pointing out that the visible shortness of the shin — the gluing of soft tissue against the tibia — is what makes the horizontal at the knee impossible to achieve directly. The shin has to be unstuck before the knee can horizontalize.
"That in all too many cases, what is going on is a gluing of the shin and the lack of available resilient tissue at the shin. In every flat foot you'll ever see this goes on, but it goes on in a lot of feet that aren't flat. And you see you except and until you bring that soft tissue around and wrap that shoe. This horizontalizing of the knee is just out of bounds."
Ida, in the 1975 Boulder class, locates the obstacle to a horizontal knee in the gluing of the shin:
Flat feet are in the shins
One of Ida's most cited inversions of medical common sense was her doctrine that flat feet are not in the feet. The collapse of the inner arch, she insisted, is a consequence of disorganization in the muscles of the shin — the very muscles whose tendons control how the foot meets the ground. Going into the foot to lift the arch is treating the symptom; going into the shin to organize the muscles that attach to the arch is treating the structure. The lesson is delivered in the public tapes with characteristic bluntness.
"And with too many children, not enough other things happen. And flat feet are not in the feet. Flat feet are in the shins. They are where and how the muscles of the shins relate. And the place to go for your flat feet is not into the feet, but into the shins. And there, you organize the muscles that control the feet. Now what are you trying to do there, and what is your goal? And your goal is to establish an angle which acts as though it were horizontal."
On the RolfB2 public tape, Ida states the doctrine in its compressed form:
The childhood developmental story behind this is one Ida returned to often: the toddler, whose undeveloped legs spread him laterally, walks on the outside of his foot from the moment he stands up, and the lateral muscles of the leg thicken and shorten while the inside stays undeveloped. By the time the adult arrives for a second hour, the soft tissue of the leg has been laterally migrated for decades, and the foot has followed it. The retinacula — bands of fascia that hold the tendons in position — have themselves become matted. The practitioner has to go in and organize them so that the muscles can move freely under them, so that the foot has any chance of operating differently.
"Well, near an amazing lot of joints in the body, and certainly the joints in the arms and the joints in the legs. You have muscles held into positions by retinaculate. And retinaculae is our good old fascia again under a different name. And you've gotta go in and get those retinaculate sufficiently stretched and organized and elastic that you can get some movement under them. Those retinaculae are there to hold the strings of the muscles in place. It's as simple as that. And if the string is pulled so tightly and can't be moved and can't be loosened, nothing can happen. The muscles can't move."
Ida explains the function of the retinacula and why they must be freed before any leg muscle can do its job:
Reading the leg: tibia, fibula, and the direction of the tissue
Once the practitioner is into the leg below the knee, the question becomes which way to move the tissue. The second hour is not a recipe of strokes; it is a reading. The tibia and fibula relate to each other and to the femur in patterns that vary from body to body, and the direction the practitioner takes the tissue depends on what the leg is actually doing. In the 1975 Boulder discussion, the senior practitioners walked through the typical reading. The tibia is often too far posterior relative to the femur. The fibula is often too low and too far back. The tissue in front of the leg has migrated down and lateral and wants to come up and in. The tissue medially may want to go down. There is no single correct stroke; there is the work of looking and choosing.
"Often you'll have a situation where the tibia is, for example, too far posterior with relation to the femur. Situations like that will determine which way you take the tissue on the leg. For example, if the tibia is too far posterior, you might want to get in from both sides right behind the tibia and even behind the fibula and kind of lift the tissue along that whole leg."
A senior practitioner in the 1975 Boulder class describes how the relationship of tibia to femur determines the direction of work on the leg:
The directional logic is not arbitrary. Tissue that has migrated laterally and distally over a lifetime has moved away from the line; the practitioner brings it back toward the line. In front of the leg, where the lateral migration is most pronounced, the tissue is taken up and in. This is the same principle that governs the fourth hour above — restoring the medial line — applied below the knee.
"You want The tissue in front of the leg, tibia, anterior and so forth fascia, you generally want to take up and in as we mentioned because it's migrated too far down and too lateral."
Continuing the same discussion, the practitioner specifies the directional vocabulary for the front of the leg:
The leg, in this reading, is not three discrete compartments but a continuous fascial conversation. In the 1975 Boulder dissection-anatomy session, the practitioners walked through the fascial planes of the lower leg in detail — the interosseous membrane between tibia and fibula, the peroneal compartment, the extensors in front, the flexors behind, and the further plane separating the soleus from the deep flexors. What emerges is a vocabulary in which every leg is somewhat different and the planes are themselves variable.
"There is another plane in here separating the tibialis posterior from the other two flexors. And, you know, there's another thing there. All these legs aren't made to the same blueprint. And how do you how do you know what happens when you get these kind of constantly painful casts? How do you know whether it's a plane or whether it's one muscle or the other that is stuck and so forth? The answer is you don't. The answer is that even if you cut in them, you don't. And the answer is that you shouldn't if you cut in them because if you cut in them, you're, again, just checking out. It's it's it's not an organic thing."
In the 1975 Boulder anatomy session, a practitioner describes the soleus-gastroc plane and warns that the planes themselves vary from leg to leg:
The knee as a working hinge
Once the leg below the knee has been organized, the knee itself becomes the next test. Ida taught the knee as a hinge whose horizontality is determined by what has been done below it. A clean knee is not produced by working at the knee; it is produced by giving the knee a tibia and fibula that can support a hinge. In the 1975 Boulder class, the senior students worked out the doctrine in dialogue, agreeing that the knee is approached only after the ankle has begun to act as a horizontal hinge and the shin has been freed.
"hinge, the only way a hinge can work is if there if, you know, you have a pin and a cylinder and the hinge turns on that. So your horizontal is also the sign that you have a functional hinge. Okay. Do the one. You also want to work around the attachments to the knee and to begin freeing that. And then you want to lengthen the back. I'd like to hear a comment from the advanced students about jumping from the ankle to the knee. Norman. I go from the ankle to the knee in the second hour only after I've established that hinge action to the belayer line. Okay, I think he did that too. I'm trying to go over my steps. Alright, okay, go ahead. Usually the next step after that is the shin to me. There's a tie up to the shin. That's right. That's what I'm trying to bring out."
In the 1975 Boulder discussion, Norman names the order — ankle first, then shin, then knee — and Ida confirms it:
The knee, in this reading, is not the seat of its own pathology. Its disorder is borrowed from above and below. The fibula's position is dictated by what the knee allows; the knee's horizontal is dictated by what the shin permits. In the 1973 Big Sur class, Ida pushed this point harder. The bony displacements are markers, not causes. What matters is the soft-tissue imbalance the bones are measuring, and the body's response to soft tissue being asked to do the work of hard tissue.
"Whatever happens, you see, you get a displacement of bony structure and this isn't important, the thing that's important is the displacement of soft tissue which is marked and measured by the bony distortion. It is the displacement of the soft tissue that is the important matter. It is the unbalanced stretch of the spatial envelopes which is the important matter. So now we've literally knocked those bones askew by that fall from the pricy bone when the pricy bone comes over on the other leg."
In the 1973 Big Sur advanced class, Ida insists the displaced bones are markers, not the substance of the problem:
When soft tissue is asked to perform the structural job of hard tissue — to hold position against gravity in the absence of bony support — it hardens. The hardened leg, the wooden leg the practitioner meets in the second hour, is the physiological response to long-standing imbalance. Ida wanted her students to understand that they were not softening pathological tissue; they were reversing an adaptive hardening that the body had produced to compensate for displacement. Once the displacement is corrected, the hardening has nothing left to do.
Hinges in the foot itself
Below the ankle, the foot has its own architecture of hinges. Ida insisted that the foot has two operational joints — one at the ankle and one across the dorsum of the foot — and that most adults walk without ever using the second one. They walk around it. They do not know they should be walking otherwise. The second hour goes after both hinges; until both are operational, the work at the knee and hip above cannot land. In the public-tape discussion of the second hour, Ida walks the doctrine out in detail.
"Because as far as they're concerned, this is a foot, this is foot, this is a foot, and it's my foot, and therefore, it's a normal foot. This isn't so. Your first joint is across the dorsum of the foot, your second joint is at the ankle and both of them have to be operational before you can start getting operational joints properly operational joints at the knee and at the hip and then start up the spine. You see, it's a it's an absurdly simple concept. Days later."
On the RolfB2 public tape, Ida names the two hinges of the foot and insists both must be operational before work above can mean anything:
The dorsum-of-the-foot hinge is what allows the outer arch to lift. Without it, the outer arch cannot rise, and without the outer arch rising, the inner arch cannot be supported from beneath. Ida was contemptuous of the cause-and-effect logic that says to lift the inner arch you lift the inner arch. The inner arch is lifted, in her teaching, by the rising of the outer arch — which is lifted in turn by reorganization of the muscles of the shin. The whole chain runs from the shin down to the outer side of the foot to the dorsum hinge to the inner arch.
"When that hinge is in then you can get the lift on the outside of the foot. Until that hinge is in you can cannot really get the lift on the outside of the foot. And as long as the outside of the foot is down, as you see, it is as we look at the normal accidental business of growing up and walking on the side of your feet the other day, as long as that outside is down, that door that hinge on the foot cannot operate. But that foot is just like any other part of the body. In fact, in certain respects, it's more complicated than any other part of the body. How many bones in a foot? 50 odd pounds. Two for the two of them. I don't know."
On the RolfB2 public tape, Ida explains why the dorsum hinge has to be present before the outer arch can lift:
The third hour drops down through the leg
The third hour is the lateral line. Its work is in the side body — the gluteus medius, the lateral wall of the thorax, the quadratus lumborum — and the leg participates as the lower terminus of the lateral line. What the practitioner sees in the pre-fourth-hour body is the trace of what the third hour did and did not do: a leg that has been organized along its outer aspect, that has length on the outside, but whose inner aspect remains undeveloped, shortened, and corkscrewed around its own axis. The third hour has prepared the leg by lengthening it laterally; the fourth hour will create the corresponding medial line. In the 1975 Boulder discussion, the senior practitioner names the picture exactly.
"The what we usually see when a person comes in after a third hour is that there's a shortness in the midline of their legs. There's a cockeyed crookedness in the leg. There's a corkscrew effect on the leg itself and there's also a shortness and there's a bunching up up around the ramus sometimes."
A senior practitioner in the 1975 Boulder class describes what the body looks like after a third hour — and what therefore has to be undone in the fourth:
The corkscrew is significant. It is the visible sign that the leg has rotated around its own axis over a lifetime of asymmetrical loading, and that what remains short on the inside is not just a length problem but a rotation problem. The fourth hour does not just lengthen the medial side; it untwists the leg. The cue Ida used to know whether the hour had landed was movement-based, not visual at rest. She watched for the leg to set back relative to the pelvis as the person walked.
The medial midline of the fourth hour
The fourth hour creates the medial midline. The work is on the adductor group of the inner thigh — muscles whose fascial sheaths have stuck together over a lifetime of laterally migrated weight, and whose separation is the principal mechanical agenda of the hour. In the 1975 Boulder discussion the senior practitioners worked out the language with Ida present, naming both the goal (creating the medial line, as the third hour had created the lateral line) and the cue (the leg setting back under the pelvis in gait).
"And so what we're doing then in the fourth hour is we're creating the midline as we did in the third hour. On the inside. On the medial aspect of the lid. And we're attempting So someone here sh"
In the 1975 Boulder class, the senior practitioner names the mirror logic: the third hour created a midline laterally, the fourth creates one medially:
The mechanism is the un-gluing of the adductor fascial sheaths. Ida did not believe the adductors were short in the usual sense; she believed they were stuck to one another, unable to move independently, and that the work of the fourth hour was to separate them so that each could act as the muscle it was.
"well, the adductor muscles are oftentimes, I guess we're stuck together, the fascial sheaths are stuck together. What we're trying to do is we're trying to separate these so that they're able to move independently and then as a group in a sense."
The 1975 Boulder discussion names what the adductors are actually doing wrong:
The cue that the hour has landed, in Ida's teaching, is not visual at rest but mechanical in walking. When the adductors have been separated and the medial midline has been re-established, the leg begins to swing back under the pelvis with each step instead of staying parked in front of it. The pelvis begins to come forward over the leg. The practitioner watches the gait and sees the change.
"To the extent that my vision of the fourth hour, sort of my cue that I've done it, is when I see the whole leg begin to set back with relation to the pelvis. Alright. That's fine. That's, you know, as I'm doing this separating and organizing, when I see the person bring the knee forward and as the knee comes back, I see the whole back. That's leg start moving back with relation to the body Now wait a minute."
In the 1975 Boulder class, Ida names her own cue for whether the fourth hour has succeeded:
The leg setting back is, in Ida's reading, the visible sign that the medial line has been created. A leg that walks in front of the pelvis is a leg whose inner line is still short, still pulled forward. A leg that walks under the pelvis is a leg whose adductors have separated, whose medial line has length, and whose hip joint has become a true pivot rather than a strain point. By the 1976 advanced class, she was naming this signature as the universal feature of the pre-fourth body.
"You got more to go. Why can't you be proud of your answer, but I don't. Well, you know, I was gonna set Now you people who are in the advanced class, at this point, should realize that everybody that comes in for a fourth hour shows one picture. They show a picture of lack of length in that midline. Most of the time, this lack of length is advertised by the crookedness of the medial line of the legs."
Teaching the 1976 advanced class, Ida summarizes what every fourth-hour body looks like as it walks in:
The legs as the floor of the pelvis
What the leg work of the second through fifth hours is finally building is a floor for the pelvis. Ida's late teaching put more and more weight on the pelvic floor — not the muscular pelvic floor of the obstetricians, but the structural floor formed by the rami and the legs converging beneath the bowl. By the fifth hour, the floor of the pelvis is what the practitioner is trying to horizontalize, and the leg work of the fourth hour has been the preparation. In a 1976 advanced class, Ida walked the senior practitioners through the logic: the iliacus's freeing widens the bony pelvis; the adductor work brings the leg under the pelvis; and the floor of the pelvis can finally span horizontally.
"Pretty much agree that the next area of most shortness or the disproportionate area because of the previous work done with the inner aspect of the legs. This is true, but now let's look at it in the same from the same vantage point that we've been looking before. The next place you're going to try to go is to organize the floor of the pelvis. Now the other thing that determines the floor of the pelvis is what is how the ramus is looked up. What is the distortion on the ramus that is giving you aberrative spanning of the floor of the toes. But to get into that area Alright."
In a RolfA2 advanced session, Ida explains how the fourth-hour work on the inside of the legs is really pelvic-floor work approached from the periphery:
This is why the leg work cannot stop at the knee. The adductors run up into the rami; the rami define the floor of the pelvis; the floor of the pelvis is what the fifth hour is going to horizontalize from inside. The leg, in Ida's mature teaching, is the peripheral handle on the pelvic floor. To organize the pelvic floor you have to come up through the leg, because the leg is what the floor is sitting on.
The knee, the fibula, and the working ankle
The knee and the fibula are bound together. Every distortion at the knee shows up as a displacement of the fibula, and every displacement of the fibula is registered in the position of the ankle below. In the 1973 Big Sur advanced class, Ida walked the practitioners through the chain. A fibula that has dropped or rotated forces the foot to meet the ground on its outside. The hardening of the soft tissue around the displaced bones is the body's last-ditch attempt to maintain function. The chain runs unbroken from knee to ankle to outer arch.
"You can't support the fibula without the arch. Now when the fibula drops, the weight seemingly goes to the outside. Now whatever goes wrong with knees displaces the fibula. I mean every time it gets closer to knees displaces that fibula. And the fibula compensates by either going back to a pregnancy saying that one of us is too far back and one of them will go back and one of will go forward. Or the other thing happens, one of them falls and the other side goes back. Whatever happens, you see, you get a displacement of bony structure and this isn't important, the thing that's important is the displacement of soft tissue which is marked and measured by the bony distortion. It is the displacement of the soft tissue that is the important matter."
In the 1973 Big Sur class, Ida traces the consequences of a displaced fibula upward and downward:
In the 1976 advanced class, Ida pressed the same point in different language. The ankle, anatomically, cannot be a perfect horizontal — the fibula is bound to terminate lower than the tibia by virtue of the bone itself — and yet the working ankle behaves as though it were a horizontal hinge. The student who tries to enforce mathematical symmetry on a living system has misunderstood what living systems do. The job is not anatomical symmetry but physiological tolerance: a hinge that functions as horizontal within the working range of the leg.
"than the tibia. It has to be. Yet as those ankles work, when they work properly, they work like a horizontal pinch. Now you've got to get used to the idea that physiological is not the equal of anatomical. That you've got to be able to juggle these things in words because every once in a while you get a real bright, raw feet coming in and dishing you these same arguments. And the fact is they're entitled to it because it is so. But that the when you get legs working properly, they work as though there was a horizontal line across the ankles."
In the 1976 advanced class, Ida insists that physiological is not the equal of anatomical — that the working horizontal at the ankle is a tolerance, not a fact:
The ankle as fulcrum
All of this — the shins, the adductors, the medial line, the dorsum hinge — finally rests on the ankle as the fulcrum that connects the body to the ground. In the 1975 Boulder class, the senior practitioners articulated what work at the ankle is finally for: the ankle is the fulcrum for all the weight above it, and so organizing the ankle is what makes the work above it actually transmissible. Without a functional ankle, the changes made at the pelvis and trunk in the first hour have no foundation.
"The second hour, what you wanna do is to establish some support underneath the work that you've done on the top. When you look at the body, you notice that that the back short Allow that one of the things that you're doing at the ankle which is essentially a fulcrum for all the weight above it relating it to the horizontal plane of the ground is to so organize the ankle that it can accept the changes that you're going to create above it and that you have created."
In the 1975 Boulder class, the senior practitioner names the ankle as the fulcrum that has to receive what has been built above:
The ankle is therefore where verticality and horizontality meet. A horizontal hinge at the ankle is a vertical line through the leg above it, because the only way the foot can be horizontal under the leg is if the leg is itself vertical over the foot. The two geometries imply each other. This is why Ida insisted in 1975 that you could teach the entire recipe using only the word vertical, or using only the word horizontal, and arrive at the same place — they describe the same structural relationship from different angles.
"And the ways that you see that is by watching the motion of the foot and seeing how that motion is aberrated and seeing how the muscles are moving in the leg, where there's clear definition, where there isn't clear definition. Look at the way the tibia and the fibula relate to each other in the way the tibia relates to the femur. Often you'll have a situation where the tibia is, for example, too far posterior with relation to the femur. Situations like that will determine which way you take the tissue on the leg."
A senior practitioner in the 1975 Boulder class re-reads the tibia-fibula-femur relationship as the substance of the second-hour leg work:
Connective tissue and the energy of the leg
Behind all of Ida's mechanical instruction about the leg is a physiological model in which fascia, not muscle, is the operative tissue. The legs and knees become hard because the soft tissue around them is being asked to do the work of bony support. Reorganizing the leg, in her view, is reorganizing the fascial envelopes that hold the bones in their relationships — and through those envelopes, reorganizing the body's relationship to the gravitational field. In a 1974 Healing Arts lecture, Ida placed the leg work inside this broader picture.
"And I'm talking here about energy being added by pressure to the fascia, the organ of structure, to change the relation of the fascial sheaths of the body, to balance these around a vertical line which parallels the gravity line. Thus, we are able to balance body masses, to order them, to order them within a space. The contour of the body changes, the objective feeling of the body to searching hands changes. Movement behavior changes as the body incorporates more and more order. The first balance of the body is a static stacking, but as the body incorporates more changes, the balance ceases to be a static balance. It becomes a dynamic balance. These are the physical manifestations of the increasing balance, but there is an outgoing psychological change as well toward balance, toward serenity, toward a more whole person. The whole man, the whole person evidences a more apparent, a more potent psychic development."
In a 1974 Healing Arts lecture, Ida frames the manipulation of fascia — including the fascia of the leg — as the addition of energy to the organ of structure:
This is why Ida resisted the language of 'tight muscles' and 'loose muscles' when she discussed the leg. The adductors are not tight; they are glued. The shin is not knotted; its retinacula have lost their resilience. The fibula is not crooked; the soft tissue around it has hardened to maintain its position. The vocabulary matters because it dictates what the practitioner thinks they are doing. The practitioner who imagines they are stretching short muscles will fail at the leg work; the practitioner who understands they are un-gluing fascial sheaths and restoring resilience to retinacula will succeed.
Coda: the leg as the body's verdict on its own history
The leg, in Ida's teaching, is where the body keeps the record of how it has been used. The toddler's lateral stance, frozen into adult musculature; the dancer's intuition of a center line she could feel but not name; the wooden leg of the patient whose soft tissue has hardened around displaced bones — all of these are the leg telling its own history to the practitioner who knows how to read it. The second hour begins the work of editing that history. The third and fourth hours continue it. By the time the fifth hour reaches the pelvic floor, the leg has become something the pelvis can sit on rather than something the pelvis is fighting. The center line, finally, runs where it was always supposed to run: down the inside of the leg, through the inner arch, to the ground.
See also: See also: the discussion of the fibula's behavior at the ankle and the question of when to start with the peroneal group versus the retinaculum, on the RolfA1 public tape (RolfA1Side2); and the 1974 IPR lecture's treatment of the body's progression from sprawling instability to a single vertical column standing on a few square inches of foot (74_8-05A). RolfA1Side2 ▸74_8-05A ▸
See also: See also: the 1975 Boulder anatomy session's treatment of the upper-leg fascial planes and the lateral intermuscular septum (B3T9SB), which extends the lower-leg analysis upward into the thigh and the knee's attachments. B3T9SB ▸
See also: See also: the 1975 Boulder discussion of the quadratus lumborum and the twelfth rib (T9SB) — relevant to the legs because the quadratus's relation to the pelvis depends on whether the leg has been put under the pelvis in the second through fourth hours. T9SB ▸