An Unusual Therapist

In previous articles I have reported on exceptional wellness programs and what contributed to their effectiveness. I’d like to add a most unusual health practitioner to this group.

His name is Shmuel Tatz and his patients consider him to be a remarkably talented and sensitive hands-on therapist. He is first and foremost a licensed physical therapist – but with a range of skills and knowledge that has grown and matured from years of study and experience – topped off with the confidence of a master and a proud dedication to his craft.

Tatz is no ordinary physical therapist, limited to the modalities that consumers have come to expect. His menu of therapies includes magnetic therapy, manual therapy, light therapy, sound therapy, shortwave daithermy and auriculo therapy to name a few of the treatments he employs. Tatz was trained as a physical educator in Lithuania, then migrated to Israel and studied physical therapy. Since 1985 he has been helping his clients in a comfortable and carefully designed studio at Carnegie Hall. So it’s natural that among his statisfied patients are performing artists that include Lou Reed, Kathleen Turner, Peter Jennings, Mstislab Rostropovich, Eli Wallach, Yehudi Menuhin, Isaac Stern.

Before coming to see Tatz for help, the typical patient has already seen 2-3 physicians, 2-3 chiropractors, and an acupuncturist, says Tatz. The question arises then: Why have so many so-called therapists failed to diagnose and remediate their long endured health condition(s)? How has Tatz succeeded in providing the harbor of last resort?

These questions provoked a strong emotional response from Tatz – tingled with a hint of animosity toward the health insurers in particular and at the system that prepares people to become physical therapists. Both, he says prevent the development of maximum competence and severely restrict the employment of modalities and equipment so freely and expertly employed in the Tatz Studio.

Tatz feels that patients cannot be healed by a physical therapist that after four years of special training goes to work in rehab program or some doctors office. In his opinion, what future therapists need goes beyond the issuance of a license to practice.

Like Md.’s, physical therapists should broaden and sharpen their skills while working under the supervision and tutelage of a master physical therapists like Tatz. It takes a ling time, says Tatz, to develop the sensitivity and skills required to learn the art of palpation and other hands on skills that enable a physical therapists to become a capable diagnostician and healer.

Tatz points out the dampening effects if health insurance programs that set the rules for the use of “approved” modalities as well as the incompatible payments to physical therapists. To Tatz they (the health insurance industry) are business, business, and business. According to Tatz, the insurance company tells the physical therapists what he is allowed to do, how many times he can see the patient and how much he will be reimbursed for his services. “He (the therapist) is a human being … he has to pay rent and electric bills. Can you imagine a physical therapist gets $20 for a treatment? Do you know what this office costs me for one hour? How can a physical therapists run the business?”

What Tatz would like his profession to do is to extend the learning time period for physical therapists after licensing. That would require a post graduation apprenticeship for 3-5 years with an experienced physical therapist then employment for six months with other successful physical therapists. Then and only then is the physical therapist ready to go solo. Finally, the physical therapist opens his own practice in a “small room” and works independently, under no obligation to any health insurance company. This would enable him/her to devote one hour for every patient. This, says Tatz, is how he did it when he started 25 years ago.

Since Tatz has received a great deal of commendable publicity (articles, TV, radio), I expected that members of his profession and organizations representing physical therapists would have invited him to speak at their conferences and conventions. Given that Tatz incorporates other modalities such as chiropractic and massage, I asked him if he has received entreaties from schools that train chiropractors and massages therapists. “Nobody invites me. Why should be invited? I don’t have nay connections with organizations. I’m not interested in politics. I’m interested in helping people.” People, he said, call him for treatments; schools and professionals, none.

In addition to poorly prepared physical therapists there are patients who go from therapist to therapist and don’t get better. Why? Tatz tells the story of a patient who suffered from health condition for 15 years without relief during which she had gone to five chiropractors, four acupuncturists and a massage therapist. Numerous treatments: but no one bothered to educate her on how to sit and get out of a chair. This, Tatz says, is like physician giving pills. This lack of patient education is one reason why Tatz is now working on his doctorate in physical education.

Tatz expects his patients to actively participate in the healing process. This, he says, is essential to maintaining good health and increasing the quality of life. Tatz teaches his patients how to move their bodies in a variety of life situation and expects them to do the exercises at home to support the therapies he is providing. He also doesn’t hesitate, when appropriate, to recommend a yoga program or another specialist to meet the patient’s need’s.

While I understand what motivates Tatz to adopt the “Lone Ranger” approach to his practice, it is a choice he has made – and for him it may be the best choice. Despite his arguments about he need for post school training and apprenticeships for physical therapists, and the unfairness of health insurance policies, other organizational arrangements are evolving as conventional and integrative medicine narrow their differences. We have learned about the advantages offered by programs with a multidisciplinary staff, working together and sharing their knowledge and experience. Ultimately, this should benefit the patient who, depite the talent of a single individual therapist, will require the combined wisdom of a team approach. What comes to mind are two programs I observed and wrote about in previous issues of “To Your Health”: Olive Leaf Wholeness Center and The Center for Health and Healing. While health insurance does cover some of the costs at these centers, it does not appear to appreciably diminish the overall quality of care.

As reflected by the many patients, who gladly put their faith in this highly gifted professional, surely there is room fro Shmuel Tatz’s in the world of health care. But given that Tatz represents the upper level of exemplary therapists, and given that the system that produces physical therapists is not about to change any time soon, the creation of a healing environment where therapists can exchange information with knowledgeable members of their team, is worth critical study. This said, some of the sensible changes in the education and placement of therapists that Tatz proposes deserve a serious study and debate. Also, his condemnation of restrictions imposed by private and public health insurers needs better publicity and active consumer advocate pressure on government to change a very flawed system that robs patients of greater treatment potential and therapists of a decent return fro their services.

From April L.

I was injured from an accident in 1996, I tried many therapists but pain persisted, in addition to the pain I could not move reach or lift anything. The constant pain was disconcerting to say the least.

Someone who heard of his wonderful ability to focus on problems led me to Shmuel Tatz.

After one visit I felt some relief. I saw Shmuel 2 times a week for 4 weeks. His amazing fingers found problems I was not aware of – such as stomach difficulties and other parts of my body that I never realized were related to the distress my body was suffering.

I now have total mobility, can lift, stretch and am feeling great. In addition to this my sinuses have cleared from the magnetic therapy Shmuel uses.


From P.S.

I had a broken foot that was treated by an Orthopedist who by the way could not believe the progress I made with Shmuel so quickly.

I saw Dr. Tatz 2 times a week for 2 months. I think the aspect of the healing that was most beneficial was the way he manipulates the area and his ability to concentrate on the painful and disturbed areas of the body.

I am totally fine now and recommend Shmuel to everyone who needs help.

After the publication of the article title “An Unusual Therapist”, we received many letters. Therapists Shmuel Tatz responds to some of your questions:

Do you do massage?

In physical therapy massage is called soft tissue mobilization. It is a big part of my practice. About 25-35% of most treatments is massage.

Do you do adjustments?

In physical therapy adjustments are called manipulations. They are the same as adjustments with a major difference. Adjustments can sometimes be traumatic for the joints. By applying mobilization, which is small intra-joint movement, there is usually good improvement, which avoids the need for adjustments.

Is yoga a part of your practice?

Everything I do when I am teaching people how to move is based on yoga tradition.

Do you sell magnets?

I use high tech electronic magnets. The machine costs many thousands of dollars and is only for professional use.

My pediatrist has advised a bunion operation. Can you help me with this?
I can help both before and after an operation. Ideally i would trat you before and avoid the operation altogether.

Do you treat Parkinson or MS?

The first day after a diagnosis of Parkinson, MS or any other neurological condition, a physical therapists should be contacted for an intensive course of treatment.

Do you treat migraines?

I have success 85-90% of the time.

I live far away and have acute sciatic pain. Does it make sense to travel three hours to Manhattan?

It is possible to do physical therapy twice a day. You ca stay in the city and work intensively for a couple of weeks and expect 90-100% improvement.

How do I find a therapist in my neighborhood?

Try to see an independent practitioner not primary affiliated with a hospital or insurance company, and who is working in solo practice. After the first treatment, listen to your body, think about what the therapist did and if there is a physical improvement continue.


To Your Health!
by Milt Chaikin

Physical Therapy – Body Tuning!

Body Tuning is the most profound development in healing in decades.

Dr. Shmuel Tatz does not use physical therapy machinery of any kind in his therapeutic approach. He uses touch. His hands touch with a gentleness that can only come from a true instinct and awareness of what is going on in the body. It’s a fact he is more in touch with a patient’s body than the patient. He is aware of the body’s language and what it conveys. By conversing with the body, reading balances and disharmonies, he can fine tune it. He feels the bones, muscles, ligaments and tendons evaluating what is needed and then gently reeducates the body into a more harmonious balance. “The first step is to feel the problem.”

As one patient explains, “My personal experience with Dr. Tatz was rather remarkable. When he first touched mu stomach I wondered what he had in mind. Almost immediately there was a sensation in my spine. As he very gently and ever so slowly maneuvered my head up and down and from side to side (similar to Feldenkrais movements) he softly muttered “lengthen your neck” as a healing mantra. He later explained that he was teaching my body to work with its innate wisdom to heal itself. The morning after my session I woke up with no pain. This was a first for me in a very long time.”

His work is a compilation of many modalities. His system may not be readily evident but one look at his face, when he concentrates on the body, reveals his genuine ability to pick up one needs. As he explained, he feels that our bodies tell us what exercise program will help rather than do more harm. (Perhaps one needs someone lie him to set up the correct program.

He, correctly, asserts that one cannot heal or touch another person if we are not in perfect harmony ourselves – centered and emotionally sound. This attitude comes from a healthy soul who is truly in touch with his need to be a focused whole person. There is totally relaxed countenance that Shmuel Tatz possesses that immediately makes you relax and go with the flow.

He sees a limited number of clients a day as he knows one can only give from what there is to draw from. The urgency to make oodles of money is not uppermost in his mind as he considers his clients part of his family.

He uses magnetic pulse therapy as part of his treatment regimen. As Dr. Tatz explains, “Physical therapists know the positive effects of magnetism on the body. Scientists have developed a machine with different programs so we can adjust for every situation. We put electrodes on the body for example on the hip joint for about 15-20 minutes to provide a very mild relaxation sensation and the pain decreases. Physical therapists can do reflex therapy.”

Originally from Lithuania, Shmuel Tatz studied Western physical therapy in Jerusalem. In the 20 years he is practicing in the United States he has broadened his scope of learning considerably.

To Your Health

Physical Therapy for Pianists

Jerzy Marchwinski’s Road to Recovery

About ten years ago, the well known Polish pianist and pedagogue Jerzy Marchwinski began to lose control of the fingers of his right hand. Within a few years, he had stopped playing altogether. “At first, I started to make a few mistakes in concerts,” he explained, ” and eventually I lost sensation in my right hand. It felt like a piece of wood.”

For the last several years Mr. Marchwinski traveled around Europe, unsuccessfully seeking a solution to his problem. However, during a recent trip to Manhattan, he had the good fortune to meet and work with the respected physical therapist and educator Shmuel Tatz for a period of two weeks. My discussion with Mr. Marchwinski focused on both his odyssey through various unsuccessful treatments and the uniquely productive aspects of his work with Mr. Tatz.

Starting in 1990, Mr. Marchwinski began a series of visits to prominent physicians in Poland, England, France, and the United States. By the end of two years worth of medical exams, the only conclusion that had been reached was that he had suffered some degeneration in his upper spine. Some physicians suggested laser surgery; however, the explanation of the high risk of postoperative paralysis convinced him to forgo such a procedure.

Next, Marchwinski went to a Parisian clinic specializing in the treatment of hand malfunction. He was given a series of exercises which, to his disappointment did nothing to improve his condition. Acupuncture sessions were similarly unproductive.

By this point, Marchwinski had not played for three years, a period of time which seemed like an eternity for him. Frustrated by the many unsuccessful attempts at treating his condition, but unwilling to continue without the piano, he decided to try to play with only his left hand. Determined to reintroduce his right hand to the keyboard as well, he started to develop a limited technical approach that enabled him to play at least to some extent with his inflamed and dysfunctional right hand.

It was at this point that a friend suggested to Marchwinski that he come to Manhattan to work with Shmuel Tatz at Medical Arts. “I didn’t expect a miracle,” Marchwinski confided, “but Shmuel has helped me enormously.” Tatz began by mobilizing the joints in Marchwinski’s right hand through hands-on manipulation. Tatz also taught him hand exercises which have helped Marchwinski to begin to regain control of the fingers of his right hand.

“On a more general level,” Marchwinski elaborated, “Shmuel has introduced me to the sensation of relaxation, the feeling that the body is elastic, like a spring. It is important for me to be able to feel this sensation were when I am away from the piano–while shaving, for example.” After a mere two weeks of work with Tatz, Marchwinski found that in addition to his regaining some control of his right hand, his physical movements in general had become more relaxed and supple. “Thanks to Shmuel,” he remarked, “I even sleep better.”

An Interview with Shmuel Tatz, Body Tuner

With this column Chamber Music introduces a series of short articles about the ways by which various musicians are trying to overcome the problems that came between them and their audience, ranging from the many manifestations of performance anxiety to the actual physical pathologies that can affect them with pain, debility, and even atrophy.

Here, Barry Lenson talks with Shmuel Tatz, a New York City resident who calls that he does, Body Tuning.

Mr. Tatz and pianist Vladimir Feltsman
Mr. Tatz and pianist Vladimir Feltsman

On the eighth floor of Carnegie Hall, in New York, is a studio with the sign on the door that reads, “Shmuel Tatz – Body Tuning”. I knock and enter. Inside, I sit down in a small waiting room. The walls are covered with dozens of photographs of well known performers (e.g. pianists Bella Davidovich and Vladimir Feltsman, violinist Isaac Stern, dancer Merrill Ashley) each scribbled with a few testimonial words of thanks.

After a minute or two, Mr. Tatz enters and settles comfortably into a chair across from me. unlike other practitioners of “methods” I have met, he does not seem to move according to any visible technique or system, or to sit with any artificial posture. He just seems comfortable to be in his body. He excludes energy and extraordinary limberness.

Having ascertained that Mr. Tatz is himself a music and dance lover and his wife is a classical pianist, I start our discussion in typical journalist fashion: “What physical problems do you observe most frequently in instrumentalists?” But he quickly takes the conversation into another direction entirely – a philosophical inquiry into why people seek health care, and the mistakes they make in going about it.

Mr. Tatz: Today, we have over-use syndrome, repetitive motion problems. You are telling me these problems didn’t exist fifty years ago? Of course they did- but today, we have these new names. A musician goes to an expert who says, “Aha! You have such and such a syndrome, and the correct treatment is this”.

Barry Lenson: What is wrong with that approach?

ST: Sometimes the people with the most money get the worst treatment. They ask, “Who is the top person in the field of this problem?” And they go to the person, and may be the treatment works, and may be it doesn’t. There is a Russian expression, “I don’t need a hundred rubles, I need a Hundred friends”. Friend gives you advice, referrals, and ideas- there ‘s far more value in them then in money. You have to make inquiries, find the treatment that is right for you. You have to listen to what different people are telling you, and trust you instincts. Then you must believe. Nobody can decide for you what treatment to choose. Money won’t solve the problem.

BL: So you are saying that going to specialist is not always the best solution for a particular problem?

ST: Not always, no. When you have a problem with a joint in the pinkie, let’s say, you go to a specialist an he takes a close look. [Here Mr. Tatz does an imitation of a specialist, focusing his eyes closely at his own pinkie from half an inch away.] This specialist, perhaps, does not look at the bigger picture. May be the problem lies with the shoulder, elbow; or neck.

BL: So, the problem felt in the elbow or the wrist may be caused elsewhere in the body?

ST: Absolutely. when violinist, for example, experience problems with his shoulder, I often find that those problems come from the hips. [Mr. Tatz stands and imitates first a violinist who is tight and stiff in the body and arms, and then a violinist whose relaxed arm movements seem to emanate from a low center of gravity and free hip movements.]

BL: Why are so many musicians developing physical problems today?

ST: It’s a question of talent. Sometimes someone is a wonderfully talented musician, but has no natural understanding of the body- there’s abuse, too much practicing, the body is out of tune. So the person thinks, “I’m week, I need to do more.” Within a few years, very big problems arise.

BL: In your approach, how do you diagnose where the difficulties lie?

ST: I look at two things in the movement of the joints-accessory joint movement, and intra-joint movement.

Mr. Tatz uses my left hand and demonstrates. First, he has me band my hand as far inward toward my forearm as I can, and then he bands my wrist a little further, using his own hand. That extra range of movement, he explains, is accessory movement. Then he grasps my left hand at the palm, holds my index finger in his other hand, and moves his finger around within the knuckle joint – not in bending movements, but in back and forth and sliding circular movements. This non-flexing movement with in the joint, he explains, is intra-joint movement.

ST: I look at both the quality of the motion, and he range. A problem I find in the joint may later develop in the soft tissue- muscles, tendons.

BL: What type of treatment do you give? Do you manipulate the joints, like a chiropractor?

ST: The thing that matters most is that the person understands the problem, agree with the diagnosis of how he or she has been using the body improperly. Then I need only to show what exercises to do. I don’t manipulate or exercise – you do it. If you see results and I see results, you keep doing the exercises. If not, we try something else.

BL: So it’s not a question of making dozens of appointments with you, to get checked weekly on progress, or something like that?

ST: Why do that if the results are coming? You don’t need a baby-sitter. Most musicians have discipline anyway.

BL: Could you demonstrate some of the exercise you use?

ST: Yes. First, there’s throwing the rock into the river – very important for violinists.

[He takes a playful stance and mimes the action of lobbing a small stone into the river. The movement is loose and gentle, utilizing not just his arm but his back, hips and legs.] And then, for pianists, there’s “going outside on a very cold day”, as in Russia. [Like a cold man clapping himself on the back shoulders to fight the cold, he gives himself a rapid, body-smacking hug with both arms, then repeats the action several times, alternating the positions of his arms (first left above right, then right above left). The movement is very big and energetic. I try it too. It’s fun and it loosens my back and shoulders.]

BL: What do you call what you do? Some kind of physical therapy or chiropractic?

ST: I call my system Body Tuning, just as my sign says on the door.

BL: Tell me about your training. How did you develop your approach?

ST: I was trained .in physical education and medical exercise in Lithuania, where I worked principally with athletes. Each sports team had one physical therapist on staff. My assignment wads a soccer team. Later I emigrated to Israel and studied to become registered physical therapist. I worked in hospitals and with all kinds of problems.

BL: When did you begin to work with musicians and dancers?

ST: In Jerusalem, a young pianist came to me with arm problems. She had gone to an Alexander Technique specialist who told her to stand more erectly. (He imitates someone sitting very erect). When that didn’t work, she went to Feldenkrais teacher, who told her to be more fluid and flexible. (He imitates someone making exaggeratedly round and fluid movements). Now, I’m not saying that different methods are wrong. You just have to be aware that everyone is going to tell you something different. The physical therapist will say that your muscles are week and need to be strengthened. The chiropractor will say that you have a subluxation, that you need opening up. The medical doctor will prescribe a pill, the surgeon will want to remove something. It’s a mistake to go from one religion to another. Listen first. Then decide for yourself. The thing I do differently is to lead people to understand and accept the physical things they may be doing wrong. I have experience with such things, and if the person understands the problem first and is willing to work to correct it, the situation can usually be improved. I don’t say I achieve one hundred percent success in one hundred percent of all cases, but I have seen remarkable things.

In the words of the body-tuned

From a client’s perspective, how does Shmuel Tatz works? I decided to speak with two string players who have sought his help for quite different problems. Their names are not used because one of them requested anonymity.

Client A, a violinist who plays a ballet ensembles and orchestras, had experienced tightness and pain in her upper back and shoulders for years. Previous treatments brought a little relief … and she tried nearly everything, including acupuncture, Alexander Technique, hypnosis, chiropractic, massage, relaxation techniques and a regime of physical therapy that included treatment with heat and ultrasound. She finally found her way to Mr. Tatz. “The difference is quite amazing”, she said. “He seems to have an intuitive perception of the body, to combine technique and artistry as if he were a musician himself. I do have a chronic problem, and it’s not going disappear entirely. But he has brought me more relief than I believed possible”.

Client B, a violinist, first went to Mr. Tatz with an unusual ailment – she had bent over to pick up her case, and felt sudden and intense pain in her back. Not able to take time off from her schedule in orchestras and opera orchestras, she went to the Tatz Body Tuning studio when she heard he could get her up and running again quickly. “After the first treatment, I felt dramatically better,”, she says. “The treatment is mostly hands-on. What does he do? At first, he moved my arms, leg, neck, to see how flexible they were. He can push with his fingers, sense what is inflamed, and work on it. I can’t begin to tell you what his system is, but I know I feel fantastic. I walk down the street, and I see that my shoulders, which used to be up around my ears with tension is gone, even without his having told me to drop my shoulders or anything like that.”

Chamber Music
By Barry Lenson

A Body Tuning Session with Shmuel Tatz

Peter Brook’s production of the Indian epic The Mahabharata was stunning. But for Tara, whose hip joint and upper back have been giving her problems, watching the drama was an excruciating ordeal. The play began at one in the afternoon and ended at midnight; to add to the effect of antiquity, the seats in the specially remodeled theater in Brooklyn had been converted to bleachers with only light padding.

Though she loved the play, Tara’s hip and back ached as she left that night.

To add to the problem, Tara has just completed a five-day vipassana meditation retreat, a 14-hour-a-day regimen of hour-long sittings alternating with mindful walking. Despite her best attempts at yoga stretches and an ergonomic variation on a zafu for sitting, the course had left her hip and back in poor shape to endure the day-long play.

Luckily, Tara has an appointment with Shmuel Tatz at his Carnegie Hall studio.

At the session’s start, Tatz has Tara up on his bodywork table, lying on her left side. Tatz himself strikes a thoughtful pose before beginning to work.

“Before I touch anyone, I try to tune my own body,” says Tatz as he takes a comfortable t’ai chi stance, one leg a step ahead of the other, his body balanced between. Taking a moment to center, Tatz then gently places one hand on Tara’s back, the other on her ailing hip.

“I find the person’s rhythm of breathing, whether fast or slow,’ he says. “I breathe in tune with her.”

Then, pressing on Tara’s sacroiliac, he begins top massage her lower back with his left hand, checking to see if she is relaxed. Wherever he finds some tightness, he relaxes it with massage, then gently rocks Tara’s body side to side with his right fist.

The pressure at the sacroiliac releases tensions there and in the lower spine, while the rocking motion helps Tara’s tight muscles relax, at the same time letting Tatz see if they are indeed relaxing as they should.

Tatz himself rocks his legs in time with Tara’s rocking, simultaneously coordinating each press of the fist with her breath: pressing in as she breathes out, relieving the pressure as she breathes in.

This careful movement, finely tuned with Tara’s own natural rhythm of breath, typifies Tatz’s work as he moves his focus on her lower back, checking the motion of each vertebra with the fingertips of his left hand as he rocks her side to side with his right. As his fingers examine her spine, he stops between the third and fourth vertebrae. “Feel that?” he asks. “Yes, it’s painful there,” Tara answers. The diagnosis is right.

Trained as a physical therapist Tatz sometimes uses X rays to find the exact cause of compression between vertebrae – whether a disc problem, calcium deposits, or poor alignment, for instance. With Tara, he uses his fingertips to massage between the discs, softly forcing open space between them as he rocks her from side to side.

Shifting his attention to her legs, he lifts her right leg at the knee, working it through it’s natural range of motion. In doing this, he sees that the quadriceps is shortened, a mass of tightness in the quadriceps and tendons of the leg, each problem playing into the other. The back, too, is part of the same pattern; nerves running between the back and hip can cause a problem in one place to travel to the other.

In order to help free the hip, Tatz works with the leg, easing the muscles into relaxation through a combination of massage, guided movement, and acupressure. The body is so interrelated, he says, that working on a zone far from the central problem is all part of a holistic strategy aimed at the center. For instance, with Tara’s leg extended, he presses an acupressure point to the side of her ankle, tugs at the leg, extends it as though it were in traction, massages her abdomen, and tugs at her hands raised over he head – all to open the joint at the hip.

As she lifts her leg and waggles it, Tatz says, “Always I ask a question of the joint or muscles. As I lift the leg, I ask the hip joint, ‘How’s your internal rotation?’ If it’s okay, I go to the abductors and ask how they are. If they answer, ‘Very tight,’ I give some help.

The session ends with a touch of the Alexander technique, Tara walking around the room with Tatz holding her neck from behind in a balanced position where it is not fighting gravity. He explains that jutting the head forward, as most people do, creates constant tension in the neck and shoulders, as the muscles there struggle to counterbalance the 10 pound of the head.

The walk is just part of the re-education of Tara’s body. Tatz also gives her some homework, showing her a series of movements and easy stretches to help her body to hold the changes he has made in it.

After the session, Tara’s report is that she feels “great: free of pain, more balanced, and relaxed.”

Yoga Journal

By Daniel Goleman, PhD. – a psychologist and contributing writer on behavioral science for the New York Times.