Oksana Adagamova – Dnipro – Ukraine 2024

Hello!
I am Oksana Adagamova. I live in Dnipro, Ukraine.
And I’m glad to introduce you to my beauty space Adagamova Oksana Healthy & Beauty Space.
Today I would like to give you a short tour and show you how the facial massage training takes place.
This is the classroom where we learn to create real beauty.
I did everything to make the students feel comfortable, convenient, tasty and fun!
I use various visual materials to ensure the most complete assimilation of theoretical information. These include teaching aids, pictures from an anatomical atlas, posters, and a 3-D anatomy atlas.
At the seminar, I pay a lot of attention to anatomy so that students have a deep understanding of the processes that occur on the face during aging. Only then can we ensure a good result after the massage.
During the training, the students practice on each other and, in addition to learning how to massage clients, rejuvenate their own faces during the seminar.
My comprehensive programme includes 6 courses. This seminar is dedicated to intraoral massage. In some courses, we draw muscles on ourselves.
During breaks, we socialise, talk about life, drink aromatic coffee and eat sweets.
After each course, students receive certificates and go out into the world to create real beauty with practical experience!

 

 

• Let’s start with the preparatory stage.
• At this stage, we will work with the diaphragm and upper shoulder girdle.
• Why do we need to work with the diaphragm?

• The fact is that the breathing process has a very strong effect on all organs and systems of our body. And, including, on the aesthetics of the face. I will give an example, if the diaphragm is spasmed and it does not fully perform its function, for example, it cannot fully lower during inhalation, some other muscles will help it.
• One of the auxiliary muscles is the scalene muscles, which are located on the lateral surface of the neck. How will this affect the aesthetics of the face? We will see that the face will be swollen, because the lymphatic outflow is carried out along the lateral surface of the neck, and, as we know, all the lymph goes down into the venous angle.
• If the chest is turned forward, all the tissues here are fused, the neck muscles are spasmed, including the scalene muscles, which are overstrained due to the incorrect breathing pattern, then the lymph will be delayed on the face. In order to relieve these muscles, we need to restore a normal breathing pattern.
• First, we need to assess how a person breathes. Can they fully open the lower part of the chest?

 

• After all, some breathe only into the stomach, and some, when we ask them to take a deep breath, connect the neck muscles. We need the chest to be opened in the lower part. There are direct and indirect signs by which we can determine whether the diaphragm is working fully. I talk about all the signs, about all the relationships in the theoretical part of my seminars. I pay a lot of attention to theory. I am sure that a professional who works with the body or face must know the anatomy well and what structure he affects, understand what is under his fingers. He must feel the condition of the muscle or fascia that he is affecting.

• In order for students to understand the causes of various aesthetic defects on the face, I give a lot of theoretical knowledge. For example, I explain why the nasolabial fold deepens, why pursed lips or forehead wrinkles appear, or why the second chin sags, and how, for example, this is related to the tone of the pelvic floor muscles. Then students understand that facial aesthetics are related to the state of the whole body, namely, posture, head position, breathing process, etc.

• But now we will pay more attention to practice. I put my hands on the lower part of the chest and ask the person to inhale, expanding the lower part of the chest. We inhale, exhale. On the exhale, I add vibration. Inhale and exhale again. Now I will work separately with the right and left halves of the diaphragm. I ask you to inhale with an accent on the right. Then I go to the left. I put my hands and ask to inhale more with an emphasis on the left. I assess the amplitude.  Then I do the “recoil” technique. I put my hands on the chest. I ask to inhale with the chest. I work with the whole body. Inhale, exhale. Several times. And sharply remove my hands.

 

• Next, work with the hands in three vectors. Then I work with the fascia in the chest area simultaneously from the back and front surface. Here I work with the superficial fascia. The technique relieves tension very well. Then I move to the other side. Then I work with the fascia again. I definitely pay attention to the ergonomics of the master. This is very important. 
• Then I work with the neck. I do it with my body. And the client feels it very strongly how you work. Let’s move directly to the massage. Now we will work with the décolleté area.  The first movement is a circular kneading over the sternum. I need to feel if the tissues are mobile here. The main goal of the massage is to make the tissues as mobile as possible. If I feel that there is a sticking somewhere, and in the sternum area this happens very often, there can also be many painful places here. If the tissues are immobile, I need to make them acquire the consistency of healthy tissue. That is, it should move in all directions. When age-related changes occur, some sticking very often forms.
• There are many techniques for working with this area. The results are very noticeable on the forehead when we take “before” and “after” photos. Wrinkles are smoothed out well. Then we move on to the area between the eyebrows. I’m showing the techniques a little faster now to make the most of it. In general, the massage takes about an hour.

• Next, I work with the orbicularis oculi muscle. It needs to be relaxed. It’s quite thin and I work very gently and move on to the “crow’s feet” area. I spread the fascia very carefully, we don’t press here, in general, you can’t press hard on the temple area, because the sphenoid bone is located here. If there are wrinkles, you can pinch it. We’ve completed the myofascial block of working with the face.

• Next, the massage also includes a lipomodeling block, in which we work with fat packs, then a lifting block. I’m skipping their demonstration. I’ll show the final block now. It can be of two types. If a client comes with very thin skin and a fine-wrinkled type of facial aging, it is necessary to tone this skin. Then I choose techniques for skin toning. If the skin tone is normal, then I can not use these techniques, but immediately do massage techniques for relaxation.

• We gradually prepare the client for the completion of our procedure. All movements are very soft and pleasant. At the end of the massage, I go to the lower extremities. This is such a “surprise” for the client so that he feels relaxation throughout his body. We thank the client for coming to us and we receive a lot of positive feedback!