Eric Franklin is director and founder of the Institute for Franklin Method in Wetzikon, Switzerland. He has more than 35 years of experience as a dancer and choreographer, and he has shared imagery techniques in his teaching since 1986.

After earning his bachelor of science degree at the University of Zurich and his bachelor of fine arts degree at New York University’s Tisch School of the Arts, Eric Franklin worked for many years as a dancer and choreographer. He developed his groundbreaking Franklin Method based on this training and his teaching experiences, and he has gone on to teach it at numerous universities and schools around the world, including the Juilliard School in New York, Rutgers University, the University of Vienna, the Royal Ballet School and the Laban Dance Center in London, the Zurich Neurological Institute, New York University, the Royal Danish Ballet, the Ballet School of the Zurich Opera, and the American Dance Festival.

Franklin has presented at numerous scientific conferences, including the Interdisciplinary World Congress on Low Back and Pelvic Pain; the International Fascia Research Congress; the British Fascia Symposium; and the conferences of the Pilates Method Alliance, International Association for Dance Medicine & Science, and the National Dance Education Organization. He is the author of numerous books, such as Conditioning for Dance; Dance Imagery for Technique and Performance; Inner Focus Outer Strength; Pelvic Power; Relax Your Neck, Liberate Your Shoulders; Breathing for Peak Performance; and Fascia Release and Balance.

Created in 1994, the Franklin Method combines dynamic science-based imagery, touch, anatomical embodiment, and educational skills to create lasting positive change in the body and mind as well as improvements in posture, movement, and focus. The Franklin Method uses the Dynamic Neurocognitive Imagery (DNI)™ method for movement and postural control retraining. Eric Franklin’s books and workshops are available in many languages, as are his teacher certifications.

Introduction. How I Came to Use Imagery
Reinforcing What You Want
Purpose and Will
Using Imagery for Alignment
Using the Audio Files

Part I. Posture and Dynamic Alignment
Chapter 1. Roots of Imagery for Alignment
A Brief Look at Imagery Throughout History
Alignment in History and Art
Imagery and Ideas of Ideal Posture
Somatic Disciplines
Summary

Chapter 2. Postural Models and Dynamic Alignment
Postural Habits
Dynamically Aligning
Summary

Chapter 3. Foundations of Mental Imagery
Brain, Consciousness, and Imagery
Nervous System
The World in the Brain: Neuroplasticity and Imagery
Developmental Patterns
Developing Mind: The Role of Imagery
Summary

Chapter 4. The Art of Change Through Imagery
Four Steps in the Art of Change
A Closer Look at the Four Steps for Change
Summary

Chapter 5. Imagery’s Five Ws: What, Who, When, Where, and Why
What?
Who?
When?
Where?
Why?
Summary

Chapter 6. General Guidelines for How to Use Imagery
Factors That Influence Successful Imagery
Modulating and Adapting Images and Metaphors
Sequencing the Imagery
Problems and Opportunities When Cuing Imagery
Resting Positions for Imagery Practice
Summary

Part II. Biomechanical and Anatomical Principles and Exercises
Chapter 7. Befriending Gravity and Finding Your Center
Gravity
Forces
Anatomical Terminology for Location and Direction
Summary

Chapter 8. Laws of Motion and Force Systems
Newton’s Laws of Motion
Force Systems
Lever Systems
Energy Conservation
Ability of Materials to Resist Force
Dynamic Stability
Summary

Chapter 9. Joint, Bone, Muscle, and Fascia
Joint Types
Bones
Muscles
Connective Tissue and Fascia
Summary

Part III. Exercises for Anatomical Imagery
Chapter 10. Pelvis, Hip Joint, and Company
Pelvic Arches
Balancing the Pelvis
Motion of the Pelvic Halves
Counterrotation and Three-Dimensional Alignment
Pelvic Powerhouse
Hip Joint and Femur
Iliopsoas and Piriformis
The Fascia of the Thigh and Leg
Summary

Chapter 11. Knee, Lower Leg, and Foot
Get to Know Your Knee
Fascia of the Lower Limb
Tibia, Fibula, and Ankle
Foot
Interaction of Fasciae, Muscles, and Ligaments of the Leg and Foot
Summary

Chapter 12. Spine and Body Wall
Vertebrae
Intervertebral Discs
The Spine’s Curved Design
Sacrum and Pelvis
Spinal Ligaments
Musculature of the Abdomen and Back
Abdominal Wall
Abdominal Muscles and the Concept of Core Stability
Summary

Chapter 13. Shoulders, Arms, and Hands
Suspension of the Shoulder Girdle
Glenohumeral Joint
Humeroscapular Rhythm
Elbow
Wrist and Hand
Summary

Chapter 14. Head and Neck
Atlas and Axis
Fasciae of the Neck
Skull
Fasciae of the Head and Face
Suboccipitals
Mandible
Hyoid and Tongue
Eyes
Nose and Mouth
Summary

Chapter 15. Rib Cage, Breath, and Organs
Rib Cage
Breath
Support and Breathing for Abdominal Organs
Heart
Skin as an Organ
Summary

Part IV. Returning to Holistic Alignment
Chapter 16. Definitions of Dynamic Alignment
Plumb Line
Median Alignment
Defining Ideal Alignment
Dynamic Versus Static Alignment
Dynamic and Static Stability
Pulling Up and Ideal Alignment
Summary

Chapter 17. Integrating Dynamic Alignment Exercises
Alignment in Supine Positions
Alignment in Sitting Positions
Standing and Walking Alignment
Releasing Excess Tension
Continuing Imagery Exercises