Hi, everyone.
I'm Ian Harvey, massage therapist.
Today, I'm going to just show you my general back massage routine.
I'm going to start by breaking it down and telling you how I'm doing things and why I'm
doing them.
Then for the second half of the video, I'm just going to work.
I'm just going to do my massage in real time and so you can kind of see how I do it without
all the interruption.
If you'd ever like to skip ahead, you can click down in the table of contents.
Before I start, I would like to clarify that I don't think that this is the right way to
massage.
This is just the way that I massage.
I think that there's value in every different massage tradition, in every different personal
style and if I do things differently from you, then that's not an indictment of how
you work.
Also, the way that I use my body works for my personal ergonomics, my personal structure
and you may have to do things a little bit differently.
I'll try to address that in the video, but keep in mind that you may have to make some
changes to suit your own body.
This is Taylor.
To start with a back massage, I start with bilateral work.
I do few introductory strokes.
What I'm doing is introducing my touch to the client and getting a feel for this client's
unique body.
Once I've done those bilateral strokes, I move to one side and I start working unilaterally.
We'll talk about that more in a second.
So I've got some jojoba oil on my hands right here.
I have no way of quantifying for you how much jojoba oil this is but it's enough to give
me substantial glide.
As I spread this across the body, I'll be able to move more slowly so I try not to overdo
it.
I start by getting low and scooping up.
So I introduce my contact.
I'm not applying any pressure.
Then I apply pressure as I scoop that trapezius tissue, posteriorly and anteriorly.
As I travel down the body, I take steps as I need to.
I've got pretty long arms so I can do most of this from the head of the table.
In fact, if I want to increase this traction down at the lumbosacral junction, I'll step
back and allow that angle to become a little more extreme.
To get my hands back, I will step to the side.
I'll sink down into my own hips and pull.
So I sat down into my stance and now I'm taking this opportunity to define this client's back.
Coming around to the sides, incorporating those scapulas and finally ending up here
at the occiput.
So there's no part of the spine that didn't get some contact just now.
I'll usually repeat.
I know that my hands start at an awkward angle right here but I'm not using any pressure.
All I'm doing is spreading, reintroducing my contact and then when my hands are in a
powerful position, that's when I apply that pressure.
The same thing when I'm pulling back.
If my hands ever get out of a powerful position, I purposely don't use pressure during those
parts.
I'm just dragging fascia.
Again, if you need to, you can come out to the side, just try to balance the amount of
pressure that you're using between your left and your right hand.
If it's not perfect, that's fine.
Here's how I don't want to open my massage.
I don't want to start at the mid-thoracic level and end right here at the lumbar region.
There's so much more to this lumbar fascia.
There's so much more to this thoracic region.
I don't want to ignore the sides of the rib cage.
You'll notice that as I'm working, I am allowing my posture to curl inward.
My trunk is flexing.
Just realize that I'm giving quite a bit of my body weight to my client so I'm not having
to use my back as a crane.
I'm only doing what feels comfortable.
So once I've done a couple of strokes up and down the back, bilaterally, I move to unilateral.
I like to once again scoop up this erector tissue along each side of the spine.
Working with this unilaterally is going to feel quite a bit different than from working
with it bilaterally.
For one, it's going to be a little bit more intense and for another, it's just going to
feel different.
It's going to distort the body in a different way.
So I get low with this.
You'll notice that I do have a low table.
I've got one leg that's kind of connected to the table here.
I'm going to connect my own elbow to my hip and then I sink in.
I like to use an open fist here but you could use an open palm.
I let these metacarpophalangeal joints sink into the laminar groove and I'm applying pressure
with the dorsal surfaces of these phalanges.
I like to apply this nice supportive mother hand.
I bring my body weight over my client and that's how I apply my pressure, by using my
own weight, by using gravity.
During this first application of this unilateral work, I do like to ask about pressure.
So Taylor, would you like more pressure or less?
Less.
Less, okay.
So to apply less pressure, I'm going to pull my body back a bit so that I'm not so far
forward.
I like to restart the move so that I can give them the experience of it at this new pressure
level.
Taylor, would you like even less than that?
Yes.
Okay.
How about that?
Is that still too much?
No, perfect.
Okay, great.
I will continue with those follow up questions as often as I need to.
If I didn't ask those follow up questions, I might never find that perfect pressure and
I think that that perfect pressure is vital to the massage experience.
So I kind of followed my hand here.
I scoot in my feet or you can even take a step and I'm continuing this move down onto
the upper hips.
And Taylor, do let me know if I'm ever too far into your personal space, okay?
When I'm just working with the back, when I'm working with a new client who I haven't
talked about hip work with, I'm not going to go too far down.
But I would like to work with this upper hip region.
I think that working with this fascia here is more effective when you don't just stop
at this imaginary line.
I often traction in the other direction.
Right now, I'm using this fist to outline the upper ilium.
I'm coming down.
I'm not avoiding that iliac crest.
I'm just creating fascial traction toward myself and down toward the table.
Then I like to scoot up to the head of the table and repeat that unilateral move again,
keeping in mind that pressure feedback I got from before, repositioning my body when I
need to change the angle of my pressure.
So as I'm approaching these hips, I like to drop into my hips, drop toward the head of
the table so that I can continue at that 45-degree angle as the body curves upward.
Again, incorporating that fascial traction.
So that's how I'll introduce myself unilaterally.
When I'm working with the back, there are a few things that I like to keep in mind.
More specifically, there are a few things that I don't want to ignore.
One is the sides of the body and two are these separate sections of the back, the thoracic
region including the lower thoracic region, the lumbar spine and the upper hips.
I never want to forget the neck while I'm working here.
So I've worked my way down to this lumbar region.
So I'm going to do some work here.
I just applied a little bit more jojoba oil because I do want some nice glide here.
I'm going to use paired open fists to create some drag down toward myself and down toward
the table.
I'm not going to let my knuckles make contact with these spinous processes here but I am
going to drag toward myself so I'm dragging that fascia.
Then once I've cleared those spinous processes, I want to sink in just a little bit with my
metacarpophalangeal joints.
I am pulling toward myself as well as a bit down toward the table.
I find that this is a friendlier way of working with the QL region than by targeting that
area between the floating ribs and iliac crest more directly.
That's still good work but this is a good way of introducing that work or just a good
way of working with the lumbar region without getting too specific.
From here, I like to scoop up.
I'm bracing my own hand on the table.
I am compressing that QL region toward the spine and turning it into some nice myofascial
traction of this mid-back upward.
So I don't want to forget about the lumbar region.
I don't want to forget about the mid-back.
I like to layer my contacts here.
If my wrist ever feels like it's in a vulnerable position, I can always reinforce using this
other hand on top until it's in a position that feels more stable, more powerful.
You can always use to create that traction in that other direction.
So I'm making my way up to the upper thoracic region.
What I don't want to do when I'm moving from inferior to superior like this is to compress
the neck down into the table.
So I am avoiding pressure downward when I'm this close to the spine.
Instead, I swoop outwards.
So in this case, leftward, to avoid too much pressure right there.
Again, I can layer that.
This lead hand is in an awkward position at the wrist so I'm not using too much pressure.
I'm just using it to introduce this second hand and to act as that mother hand concept.
Whenever I'm up here, I do make sure to give the upper trapezius some nice petrissage because
it would just be cruel not to.
I'm up here anyway, I might as well give it some individual attention and I can incorporate
the neck.
I find that working on the trapezius and the neck at the same time is a good way of telling
the client the story of the relationship between the two.
But I'm still warming this upper thoracic region up and I don't want to ignore this
lateral component.
So I'm going to step back, place a hand along these lateral ribs.
I've got my elbow anchored into my side and I'm slowly making my way up along the lateral
scapula.
I'm placing a hand here on this arm so that I can send a nonverbal signal that it's okay
for this shoulder to hike up just a bit, and then I can use this hand to pull on the arm
as I bring that shoulder back down.
I don't want to leave that shoulder pinned up by the ear.
And I'm just repeating that.
I like to give some extra attention to this lateral region.
I like to give some extra attention to the scapula itself because that doesn't happen
very frequently.
I find that there's a lot of attention given to right here, and while this is a place where
pain is often happening, sensitivity, tightness...
I don't think that this is often the perpetrator, but rather it's the innocent victim of all
these other structures pulling.
These rotator cuff muscles, if they're all pulling in unison, they can pull this scapula
outward, the pec muscles up front can pull that entire shoulder girdle forward.
This upper back region can often be caught in the middle.
It can be caught in this tug of war from all of these different postural muscle having
to fire as well as us having to work in front of our own bodies.
But I do like to give some attention between the spine and the scapula.
This crunchy bit here just to middle to the scapula, that's not a knot.
That's supposed to there, but it does feel nice to have some attention given to it.
Taylor, is any of this pressure on your trapezius, is any of this too specific or sharp?
No, it's good.
Great.
So because my client told me that she wanted less pressure than what I consider to be my
medium, I am purposely being a bit broader with all of these contacts.
I am using a broad thumb rather than a sharp thumb, and I'm using the broad flats of my
fingers rather than digging in with the fingertips.
While I'm up here, I can repeat that fascia tractioning outward.
Once again, not applying my knuckles to the spinous processes but I am kind of bulldozing
over the scapula.
I'm pretending that all of these bony prominences aren't there and I'm able to do that because
I'm using a broad tool, I'm really concentrating on these flats of my dorsal phalanges, and
because I'm dragging toward myself.
If I were applying more pressure downward then there could be unpleasant bone on bone
contact, but by being broad and by keeping that 45-degree angle in mind, I can grab these
sheets of fascia and give them that traction.
I like to bring this out all the way to the axillary region.
So I'm not stopping when I get to the lateral border of the scapula.
Instead, I'm incorporating all of this lateral tissue, the deltoids et cetera, et cetera.
When I work, I like to think beyond origin and insertion.
I want my techniques to feel a mile long rather than artificially short.
Once again, I am connecting myself to the table so that when I'm getting over this work
here, I don't need to be using all sorts of effort.
If I were far away from the table, I would have to use my back to hold myself up and
that's no fun.
So when I'm working with the shoulder, with the traps, with the scapula, I like to do
some mobilization.
I'm using my thumb on the lateral border of the scapula, encouraging it to move as I work
directly with his upper trapezius.
I'm defining the borders of the scapula.
I'm telling this client the story of their shoulder blade and how it relates to their
upper back.
Just make sure if you do too much of this upward pressure, you occasionally bring that
shoulder back down.
So scoop the tissue in the other direction.
In that spirit, I like to get specific here, using my curled fingers to work with this
area superior to the scapula, working with this superior angle of the scapula and down
into this supraspinous fossa.
So here's the spine of the scapula.
I'm purposely outlining it with my fingertips, coming all the way out to this junction of
the scapula and the clavicle.
Working directly with infraspinatus.
I can be more specific by using paired thumbs or I can be broader by starting from the most
inferior portion of the scapula and moving up toward the spine of the scapula, veering
outward so that I don't make any bone on bone contact with that spine of the scapula, and
again connecting in that axillary region.
Finally, I make some more nice contact with the superior traps and with the neck.
My goal here is still to do some mobilization.
I want to get this entire trapezius movingm so I'm gliding over this posterior thoracic
region as I knead this upper trapezius.
I can do some specific work in lower and mid trapezius.
When I use my thumbs, I like to use them in a straight line.
Try to use thumbs that you could use for pushups.
Whenever possible, reinforce those thumbs.
Use something else nearby so that they're not having to do all the work.
Finally, I like to reintegrate that half of the body into the whole body.
I don't want to constantly be sending the signal that the body is just made of all these
tiny parts.
So frequently, I like to do these broader, encompassing moves.
Here, for the first time ever since the inception of my channel is me doing massage without
yammering on.
Here's what all that looks like in real time.
Taylor, keep letting me know about pressure, okay?
Okay.
Thank you.
That's my general back massage routine.
Thanks again to all of my Patreon supporters for supporting this channel directly.
Let me know what you think down in the comments.
Let me know what you'd like to see next.
Consider subscribing and I'll see you next time.
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