Session 3 Transcript

Asia 00:00 Rule of a thumb we just if if it’s possible to do it without any props, we prefer not to do it. Uh-huh

Patrick Oancia 00:09 Tap on your mic?

Asia 00:11 Yes, yes, yes. Can you hear me? Can you hear me? So I think Caitlin m sent a message that she’s not. No, it’s okay.

Patrick Oancia 00:23 They’re both here. They’re just in the Okay, go ahead.

Asia 00:28 What? Okay, everybody. We are still come on up.

Patrick Oancia 00:31 Let’s stand up and start. Okay. Go ahead. Okay. Start. Go ahead and start the ignition.

Asia 00:37 Just a moment. I need to. We haven’t yet. Just a second. I need to mark who’s here, James, Natalie, Eleanor.

Patrick Oancia 00:57 Okay, so I’ll let you start Asha.

Asia 01:00 Okay. Okay. When Natalie comes, I guess she just joins.

Patrick Oancia 01:04 So let’s go ahead and start with the ignition. You can stand with the feet a little bit wider than hips width apart and the feet slightly pointing away from each other. And you can bend the knees a little bit too like you’re leaning back against the edge of that stool, the the tall stool there. Relax the arms down for a second here initially just to to uh uh start to establish a good starting point for that and the arms are also really relaxed and kind of lazy in the beginning. And we’re having that feeling that there’s the marionette arms as we raise the arms up to the side. And we’re going to torsion the wrists in and forward and we’re going to draw the and we’re going to relax through the back of the neck, keeping the knees slightly bent. It will try to keep the arms relatively light here so that the uh The tension doesn’t really come into the neck if possible. So we’re trying to relax. the neck as much as possible and relax the belly as much as possible. So just the knees slightly bent and the wrists torsion inward. So like we’re squeezing onto those physio balls I saw Eleanor had some physio balls there today. Yeah, some physio balls, right? Are those the squishy physio balls? Yeah, they’re squishy. Think of bigger squishy physio balls as we’re squeezing forward here like that so that the when the wrists torch them forward we have that squishy physio ball type of thing going on Lean to the edge of the heels even. So the weight really centralizes over the heels here when we’re doing this to start. And you can always remember if you’d like to lower your arms down any point in time as James is doing Absolutely fine to do so. You don’t have to persevere to keep the arms up. It’s not necessary. We’re just trying to find the best possible way we can approach the practice without Uh it feeling inappropriate to our condition, whatever that is today. Back of the neck is relaxed. The belly, importantly, is really relaxed here You can also play a little bit with the weight over the heels. Uh if you if you can see that I’m kind of like moving. the weight from one heel to the other heel to here as my knees are bent as I move back and forth. This also kind of helps to create a bit of a foundation or stability here in the ignition. And also allows for you to feel that that the quadriceps of the bent legs are active. So when you shift from one to the other, you feel the quadriceps also activating there. It’s not a squat, but you want to feel that the big muscles of the upper parts of the legs are are working to hold the position. And then after sensing that a little bit, you come back again to not really moving that much Again, wherever the shoulders get tired, you can always lower them down. And try not to arch into the back here too and open the chest. We’re trying to keep the lower back neutral. The back of the neck is also relaxed. And again, this torsioning of the wrists is the very important thing. The forearms become active and torsion forward as you squeeze onto those physio balls The physioball sort of squishy ball thing here in the fingertips. Remember the belly. So as we come out of it now, we’re Synchronizing the movement of the arms lowering with the knees straightening. So we’re not going to lock the knees out completely or straighten the knees completely Until the arms are all the way down. So the movement is very, very subtle. The knees start to go straight and the arms lower. And by the time the arms get down to the side of the body, the knees become straight. I’m sorry I used the word lock. I didn’t mean to say that, but the knees are straight, but they don’t lock. They just become straight. The arms are hanging down here. And for a second or two here, you can sort of tune into how that felt this morning. And um Maybe you could use that as a calibration gauge to how you might approach the forum practice that we’re going to be doing today All right, you want to take over? Yeah.

Asia 06:48 Okay, and let’s bring the feet to heap widths a partner Look at your feet and make sure that the outside edges of the feet are slightly parallel. Parallel that the toes are slightly in. First, shift the weight forward so that the weight is on the toes and then Bring the pelvis back above the heels and feel like you’re almost falling back as we’re here. Make sure that the weight stays above the hills here. The rib cage is stacked with the pelvis, so not open, but we pull the ribcage slightly back, but at the same time no pulling in the navel, just Sort of relaxed, but we stack the ribcage on the pelvis, and the weight is still on the heels. And keeping the pelvis above the heels is what help helps with the stacking. So draw the shoulders down, spread the fingers. Imagine somebody is pulling on your arms like literally from the shoulder end down and you have to extend the spine, extend your knees, extend the hips. everything up just to resist the movement of being pulled down from your arms and your weights is still on the heels.

Patrick Oancia 08:05 It’s a start tilt, right?

Asia 08:06 Yes. Yeah, draw the shoulders down. Staging the ribcage on the pelvis, keep drawing the shoulders down, spread the fingers. too much um try to keep the wrist in line with the arm it is a little bit like standing on the tiptoes but with the wrists don’t overdo it but make sure that you keep the hands active. We want to have the entire body active except for the neck. So draw the shoulders down, make sure that the ribcage is above the pelvis. You can lightly grip the heels in just a little bit. You shouldn’t feel any pain or compression in your neck, in your knees, in your hips, nothing. But as you do this movement, you should feel more activation in your legs. Yeah. Keep spreading the fingers actively, drawing the shoulders. Shoulders down, extending the spine. You can try to extend the back of the neck a little bit, so essentially the head is also above the ribcage. in the pelvis we’re trying to become as tall as possible while keeping all the muscles active.

Patrick Oancia 09:07 It’s almost as if the feet point a little bit toward each other. Like just the feeling.

Asia 09:11 Draw the shoulders down and keep spreading the fingers and keep extending the spine. Try to move the ribcage just a little bit. You can imagine that you’re drawing drawing maybe a figure eight coin. Or just moving the ribcage left and right and as you do this feel how that changes the feeling maybe in your stomach, in your legs, in your feet. So we are doing these micro movements to To increase the amount of sensation we can perceive from the muscles and keep activating the muscles. So join the shoulders down, spreading the fingers, lightly gripping in. The goal is to try to activate every muscle as much as possible So the ribcage is just above the pelvis and we’re extending the knees, extending the hips.

Patrick Oancia 09:56 Flatten the hand.

Asia 09:58 And you can move the head from side to side here just to make sure that there is no tension in the neck. Keep doing these micro movements with the rib cage. You can even shift just a little bit the weight from one leg to another. You want the entire body to be filled with very low intensity. sensation in your muscles here. And if you feel like you begin to hit up then maybe you’re doing too much activity. So never too much, but you want to try to feel something in your muscles Okay, and then let’s just to relax for a moment. Just let the body go soft. Okay, and then we try to continue with the same awareness. Okay, so we will try to keep all the muscles active in every form we do from Here. So once again, make sure that the pelvis is above the hips. Draw the shoulders down, spread the fingers. So active arms. Not too active, but just active. Never keep the wrists completely relaxed. here. So from here first we’ll bring the arms diagonally forward and as we do this the ribcage doesn’t move as all we keep drawing the shoulders down so draw the shoulders down spread the fingers then move your hips back we want to hinge first with the knees completely extended make sure that the weight is on the heels makes sense And then from here just a little bit, bend the knees just a little bit. But make sure that the lower back is completely straight.

Patrick Oancia 11:39 Raise the arms forward.

Asia 11:40 Don’t go low, just focus on keeping the ribcage and the pelvis stacked.

Patrick Oancia 11:44 The weight of the arms, change the chest.

Asia 11:47 And then from here we’ll slowly extend the knees, extend the hips, and lower the arms.

Patrick Oancia 11:51 Keep the chest more neutral. Exactly. Exactly. Yeah, exactly.

Asia 11:55 Let’s lower the arms. And we will try to do this transition a couple of times.

Patrick Oancia 12:01 Let’s let repeat because I’m as I help people just go over and over again.

Asia 12:04 So we will not try to just like hold it for a long time. What we want to focus on is the hinging. So straight, straight, straight, straight, straight, straight hinge and weight transfer like imagine you yeah so imagine you’re wearing a corset here right so this doesn’t happen this doesn’t happen this is completely straight so one more time shoulders down spread the fingers

Patrick Oancia 12:29 Yeah, we’ll repeat them a little bit because I’ll go around and help a little bit more. And then Asia will uh Asia she’s Asha will also go around and help. I say her name like it’s spelt She’ll also go help when I’m doing that too. So we’ll spend a bit more time on that today.

Asia 12:42 Okay, so gripping the floor lightly, spread the fingers, draw the shoulders down, keep the pelvis above the heels, arms diagonally forward

Patrick Oancia 12:51 As the arms go forward, shift the pelvis back. Yeah.

Asia 12:54 Okay. The pelvis keeps the knees strongly. Keep the pelvis, move the pelvis back and don’t backarch. Keep completely straight line between the ribcage and the pelvis. From here, bend the knees just a little bit and make sure that the knees are above the feet and they don’t go inward.

Patrick Oancia 13:15 You just went like this.

Asia 13:16 Keep drawing the shoulders down, straight spine, and then slowly extend the knees, extend the hips, and lower the arms. Try not to lose the activation of the arms here, but we’ll not relax here in the don’t hike the shoulders though. Keep the activation, keep the activation, keep the activation. That’s it. Arms forward and up and shift the pelvis back. Find the straight Fine.

Patrick Oancia 13:37 That’s it, Noemi. That’s it.

Asia 13:39 And then start bending the knees.

Patrick Oancia 13:41 You keep the shoulders down at the same time.

Asia 13:43 And when you bend the knees, look at your knees, make sure they’re above the feet. Exactly.

Patrick Oancia 13:48 So it’s the opposition.

Asia 13:49 Keep straight spine. Okay. And then extend the knees, extend the hips, lower the arms down very slow. Synchronizing the movement. Mm-hmm. Let’s do it a couple of more times. So arms go diagonally forward as you keep drawing the shoulders down.

Patrick Oancia 14:06 Transfer. The arms come forward.

Asia 14:08 If you feel like arms are g getting tired, they can be slightly lower, but more or less like diagonal. And then hinge back in the hips. As if somebody is pushing you in the crease of the thigh and then start bending the knees. Make sure that the weight here is on the right draw the shoulders down and spread the finger. Don’t go too low.

Patrick Oancia 14:29 That’s it. Try not to let the toes though. Try.

Asia 14:31 Even though it feels like you can fall over.

Patrick Oancia 14:33 Try to keep the toes down.

Asia 14:34 The knees extend the hips and bring the arms down.

Patrick Oancia 14:37 Very good

Asia 14:39 Okay?

Patrick Oancia 14:40 Yeah, that was looking a lot better.

Asia 14:42 And then we will do it just one thing, just one thing. When we do this also The knees are never like this. Okay? So the knees are as far back as possible. So the hips go back, see how much the knees went back. And then as you bend, see the knees they kind of stay maybe above the heel. They never go forward. So we don’t want these muscles to work here.

Patrick Oancia 15:04 Yeah, the the the toes want to go up sometimes too, but that’s okay. But try to find a pl way to keep the toes down. It’s like you know fall and then the toes go, oh the toes want to come up, but try to keep them down and try to work more with this exchange weight overstand.

Noemie 15:23 It’s like someone’s pushing Like invisible line here.

Patrick Oancia 15:26 Like pulling.

Asia 15:29 Pulling. Yes. Exactly.

Patrick Oancia 15:30 Yes.

Asia 15:33 Yes, yes. You wanna go forward, but somebody’s pulling you back. Yes, and this is what creates a straight spine. Yes.

Patrick Oancia 15:41 But at the same time that somebody’s got the invisible thing here.

Asia 15:43 Yeah. Yeah.

Patrick Oancia 15:45 There’s an opposition that way. But uh really that pulling one thing, the other thing is the weight of the arms. They’re so heavy the arms, right?

Asia 15:55 The weight of the arms allows you to come um much f farther back. So like for example, if my arms were here, this is how much I can go back, but if I bring them forward I can go even further. Okay, so let’s do a couple of more and then we will move on. So feet width apart, shoulders down, spread the fingers.

Patrick Oancia 16:16 Even a little bit closer together with the feet. Just a little bit, yeah.

Asia 16:20 Yeah. So arms forward and up. Keep lightly spreading the fingers. Join the shoulders. shoulders down, hinge in the hips. As if somebody pushing in the curse of the thigh. At this point the weight is on the heels. And then we begin to bend the knees and the Knees are above the feet. They don’t go inward.

Patrick Oancia 16:40 Shoulders back down a bit more, exactly.

Asia 16:42 You don’t have to go too low, just bending knees a little bit is okay. Join the shoulders down. Keep spreading the fingers and then unhinging, extend the knees, extend the hips, slowly lower the arms. Okay. So lower the arms and let’s relax for a little bit Okay. From here let’s move the legs wider Then heap width apart outside edges of the feet parallel maybe James for you just a little bit narrower and for Natalie just a little bit wider Okay, that’s kind of okay. Mm-hmm.

Patrick Oancia 17:22 Also, if any of you ever feel like it, if you ever feel like it, you can even come back here and stand here and look at her. You know what I mean? Like you can move the air. Yeah, you can move around.

Asia 17:33 Yes, you can.

Patrick Oancia 17:34 If you ever feel like it, we can move.

Asia 17:36 Yes. Okay, so here again, first let’s bring the pelvis like forward and then exaggerated. The pelvis is forward. And then let’s bring the pelvis back as much as possible above the heels. So that the weight is on the heels, we’re almost falling backward As we do this, when the pelvis is here, it’s much more difficult to arch. It becomes much less natural to do that. So the rib cage and the pelvis are stacked. We don’t want to tap, we just want the pelvis to be vertical and the ribcage is vertical. Okay, so from here pull the legs away As you pull the legs away, feel how it makes the legs active. So pull the legs away, not too much. You don’t want to get tired. The pelvis is above the heels. Draw the shoulders down, spread the fingers. And as you draw the shoulders down, spread the fingers. Bring the arms very slowly to the shoulder height.

Patrick Oancia 18:34 Just no it is. It is.

Asia 18:36 The wrist is forward James, how is your shoulder?

Patrick Oancia 18:40 In the beginning.

Asia 18:41 If you feel like the shoulder is acting up, just keep the arms slightly lower. Yes. We want complete symmetry here. So we want both arms shoulder height. So draw the shoulders down, spread the fingers. Again, imagine somebody is pulling on your arms here. And James, for you maybe you will be imagining that the arms are being pulled in this direction if you can fully uh lifting so pull the arms away pull the legs away draw the shoulders down anything like that extend the spine up flat you’re you’re opening the chest too much Bull the brib cage slightly back and slowly lower. Let’s not hold the arms up too much. So just slowly lower the arms, but keep the activity into in the entire body.

Patrick Oancia 19:21 Yeah.

Asia 19:21 Slowly lowering the feet uh annoy me too that oh your feet are pretty good though a little bit.

Patrick Oancia 19:26 Even if you just exaggerate just marginally in the beginning.

Asia 19:29 Then you can go later with the sign the way that the pelvis pull the legs away and we extend the spine. The movements of like if you really imagine that somebody’s drawing the shoulders down and you’re like this, this is what’s gonna happen, right? This is completely unstable. So in order to resist something like this happening, you have to bring the pelvis back, rib cage back, draw the shoulders down and extend the spine. And this is what will activate all these muscles muscles, right? So we’re not like intentionally bringing the stomach in, but this will become active be when you resist the movement of uh drawing the shoulders down. So let’s try to do one more time. The goal here is to stack, stack, stack and distribute it active activation in all opposite directions. So one more time, pulling the legs away, activated the legs. The pelvis is above the line of your heels, spread the fingers. And arms to shoulder height or slightly lower, completely symmetrical. You can even look at your arms, does it look like they’re the same shoulder height? Because very often the tendency is that one arm will be slightly lower, even though it feels like it’s shoulder height So shoulders down, spread the fingers, pull the legs away, the rib cages above the pelvis, extend the spine up as much as possible. draw the shoulders down and again micro movements just a little bit move the rib cage from side to side you can try to shift the weight On your feet, move your pelvis just a little bit. Almost invisible movements. And we do this to just feel the muscles better and feel the position better. Spread the fingers, draw the shoulders down relaxed breathing if you feel like your body is heating up from this lower the arms in that case also make sure that the wrists are extended Sometimes the tendency is that the hands kind of want to go in like this.

Patrick Oancia 21:23 Draw this in.

Asia 21:24 Okay. And then let’s fully lower the arms.

Patrick Oancia 21:27 Yeah. It’s hard to, yeah. And then you can raise them up and down whenever you want. Activate the legs, yeah.

Asia 21:34 Okay.

Patrick Oancia 21:35 Uh yeah, one one thing I just wanted to comment because I was I was uh I I was asking Noemi to point the toes in a little bit. And Noemi was saying, oh, when I point the toes in, it really changes the way that it feels here. Which is true. It’s it’s feels yeah, but it’s true, but we would prefer that feeling than anything like this, if that makes sense. Makes sense, yeah. And then later they can go more parallel. Later. So a little bit of exaggeration first makes this feeling like what Noem was saying of the of this the um the pelvis opening behind like this right that’s more what we want you to feel than This right if that makes sense. See? This. So yeah. This this does like a complex zone. It’s like the in When we do the opposite, it’s all dependent. Correct. But then later you work on just trying to make them parallel without so much exaggeration. Exaggerate a little bit in the beginning and then yeah. So go ahead. Hey, by the way, that’s here or here. It doesn’t matter where you are, you can do the same thing. You can also point them a little bit in like this too here. Okay. Oh yeah. And as I was telling James here before too, is like as Asha instructs, if the arms are up and it gets tiring and you’re trying to focus on the rib cage Lower the arms and just focus on the rib cage like that. Draw the shoulders down and then you can raise the arms up again. Yeah. And then you don’t think about too much stuff here.

Asia 23:20 Yeah. Okay, so we will do a couple of star tilts.

Patrick Oancia 23:25 Do you want to do you want to do a couple more of those maybe or um no I think I’ll just do the star tilt because we’ll still

Asia 23:32 be holding the arms up a lot but let’s first do a couple of tilts with the hands on the hips so that we save the arms and what we’ll be working on is connecting the rib cage and the pelvis. So whenever we tilt, see the upper body is gonna be moving as one chunk and then we will be adding the arms to this. Yeah. This is not exactly what we’re gonna do. But focus on the on the uh upper body is one chunk. So the ribcage, the pelvis, and the uh waist. So bring the hands on the hips and again we don’t want to do this right so bring the pelvis above the heels hands on the hips rib cage is pull slightly back So stacked. Yeah. Okay. And let’s bring the right foot We will open it out like this to about 90 degrees. And then usually this movement also, if you were to just kind of relax here, your pelvis should naturally follow the front leg a bit. So just relax and just feel how does your pelvis want to be with the this leg position. And then the back heel will go 45 degrees back. And then here again, just kind of relax, just move around and see where your pelvis wants to be in this position. And you want to pull the legs away, meaning that the front leg is pulling forward and the back heel is pulling back. And you want to find a position where the pooling is equalized. And this is where the position of your pelvis should be.

Patrick Oancia 25:11 Even the if it

Asia 25:13 So it’s your kind of your feet which are controlling the position of your pelvis. Okay? So pull the legs away. Make sure again that you’re not arching here. Try to as much as possible stag the rib. in the pelvis. Okay, and then return like the right foot 90 degrees back and return the left foot to parallel. We will do the leg transition on the left side. The left foot 90 degrees out. The pelvis turns a little bit. The back heel 45 degrees back. Too much. Pull the legs away and see where your pelvis lands. And your upper torso stays together with the pelvis. So your hands are on the hips. And you can feel the position, the direction of your upper torso. It’s together with the pelvis. One chunk. And don’t back arch. Try to keep the pelvis vertical as much as possible. Okay, left foot 45 degrees back, right foot back out, so uh feet parallel. Let’s do it one more time. So make Sure, that the pelvis is vertical at no point we want to tilt it forward. So the pelvis stays vertical, the right foot opens to the side, the back heel back, this turns the pelvis. The rib cage and the pelvis are now aligned. Pull the legs away. Okay, then return the right foot back, the left heel back, feet parallel. Then the other side, left foot out, right heel back, pull the legs away here.

Patrick Oancia 26:51 The toes want to move You know that that the toes want to move?

Asia 26:56 Making sure you’re not back arching.

Patrick Oancia 26:58 Rather than the heel, yeah.

Asia 27:00 No, I mean you have a little bit of a tendency to do that this try to keep more vertical it may feel like in this position with these legs that you’re having to tuck yes but we imagine that the uh pelvis is vertical to floor. Okay, and then the left foot goes back, right foot goes back, feet are now parallel. Okay, so now we will try to do the tilt. The tilt first. Oh with the hands. Okay. So we just practiced how the pelvis turns, now we’ll add the tilt. So the right foot forward, back heel back. Hands on the hips. And then really think about the ribcage and the pelvis being one chunk. You’re holding your pelvis in your hands. I can’t tell my heels. Back your a little bit more back.

Patrick Oancia 27:55 Still turning too for too mo too.

Asia 27:59 Okay. So everybody holding your pelvis with your hands, yes.

Patrick Oancia 28:03 So yeah, no, it’s okay.

Asia 28:05 Okay. So holding your pelvis with your hands and the pelvis will tilt. Imagine just the pelvis. The pelvis tilts and everything else tilts with it Watch. The pelvis tilts, yes, very good. And the the ribcage tilts with it.

Patrick Oancia 28:18 Return.

Asia 28:19 Return.

Patrick Oancia 28:20 Yeah, that’s it.

Asia 28:21 Pull the legs away.

Patrick Oancia 28:22 So I didn’t turn that much though.

Asia 28:23 One chunk.

Patrick Oancia 28:25 Only the hips move a little

Asia 28:27 And return.

Patrick Oancia 28:28 Okay, sorry, I’ll let you follow her.

Asia 28:30 You can even bring your hands a little bit lower so that you can feel the muscles working in the crease of your hip and you tilt see you should feel the muscle under your fingers here and then return increase yeah so upper body moving is one chunk tilt yeah

Patrick Oancia 28:47 But no.

Asia 28:48 And return. So let’s return the feet par to parallel and we will do the other side.

Patrick Oancia 28:54 Exactly. That’s the fold. Feet.

Asia 28:56 The crease is there.

Patrick Oancia 28:58 Exactly. And then this moves back into guide the other side.

Asia 29:01 Let’s do the feet parallel and then we’ll do the left side. So left foot out, right heel back. Hands on the hips, hold your pelvis, pull the legs away. And as you pull the legs away, the pelvis tilts and upper body follows you.

Patrick Oancia 29:17 Yeah, that’s it. That’s it. That’s it.

Asia 29:20 And return. That’s it. And keep pulling the legs away. Don’t forget. Okay, pulling the legs away. Pull the legs away and tilt. One chunk.

Patrick Oancia 29:28 Always creasing here.

Asia 29:29 Good. And keep drawing the shoulders down and then return.

Patrick Oancia 29:33 Stays neutral.

Asia 29:34 Okay, and one last time. Tilt

Patrick Oancia 29:38 Yeah. So you’re still leading too much with your chest. You should lead only from decrease in the hip. Decrease in the hip is what look see this? See my upper torso? It becomes locked.

Asia 29:48 Feet parallel?

Patrick Oancia 29:49 Ah, yeah. Better Creasier. Exactly.

Asia 29:52 That’s it. That’s it.

Patrick Oancia 29:54 And then your chest leads.

Asia 29:55 Did everybody get the tilt?

Patrick Oancia 29:58 You’re getting it. They’re getting it.

Asia 30:00 Yes, okay. And now we will do that with the arms out. Okay, so remember that the rib cage and the pelvis stay stacked.

Patrick Oancia 30:07 One thing. Um as I mentioned to to Noemi and also Natalie Eleanor was doing quite well. I could also see Marta was doing well and James. There’s a tendency that we lead with the chest, right? We don’t want to lead with the chest, we just want to lead with the crease See? It’s like almost robotic. You know what I mean? If it’s like a bit of like a robot, like we are the robots. Doom doom doom doom. Just think of the craft work song. So this stays, see the upper torso stays uh independent in its movement from the tilt. So really the the the the movement is really in the hip path.

Asia 30:51 Yes. Yes, yes, and uh so what the uh the movement is essentially this hip adducts, so see what happens? What this hip is doing? It the leg moves in and this one flexes but from a position which is a little bit weird. So the movement is in the hips, but visualization is that it’s just the pelvis tilts. We are moving the pelvis. We’re not like thinking, oh I’m just going to move my left leg like this and my right leg is gonna go like this and let’s see what’s gonna happen you’re imagining what happens with your pelvis okay so we will do the tilt now with the arms out so feet are heap widths apart pelvis above the heels let’s bring the arms to shoulder height spread The fingers and keep drawing the shoulders down. When you draw the shoulders down, it activates all these muscles, it becomes easier to keep the upper body together. So the right foot will open to the side And the left heel will move back 45 degrees. And make sure now that as you pull the legs away, the pelvis, the ribscage, and the arms are all aligned Okay? And as you pull the legs away, focus on the rain cage and the pelvis, being as one chunk, and tilt the pelvis and let the arms follow.

Patrick Oancia 32:06 the back heel.

Asia 32:07 Don’t break the line of the arms. Really slow movement. Okay. And then slowly return. Keep pulling the legs away, keep drawing the shoulders down. Keep the movement of the keep the line of the arms Maybe spread the fingers more, draw the shoulders down. Try to make the arms like a stick. Really, really rigid stick. When tired, bring the. When you’re tired, lower the arms.

Patrick Oancia 32:30 Just lower the arms.

Asia 32:31 Or bring them on the hips, yes. Here so that’s the right.

Patrick Oancia 32:33 Or hands onto the hips like this.

Asia 32:34 Let’s do one more tilt.

Patrick Oancia 32:36 Hey look default whenever the arms are tired you can put the hands on the hips because the hands on the hips still allows you to move in the in the yeah and gives you kind of this flatness.

Asia 32:45 Yeah so one more time so tilt.

Patrick Oancia 32:47 Watch the chest march Rib cage back. I know it’s weird.

Asia 32:50 And then return. And then let’s bring the hands on the hips and return the right foot and the left foot to parallel and then we will Turn to the left. So left foot goes to the left, right heel back. We establish the position of the hips.

Patrick Oancia 33:06 You’re still leading this way. Don’t lead.

Asia 33:09 No, I mean the right heel has to go more back. Yes like that. So pull the legs away from here. If your arms are fine, bring them to the shoulder height or just keep them on the hips. And keep pulling the ribcage back. Okay, so shoulders down, spread the fingers, wrist kids, pull back, pull the legs away. And then tilt. The hips and tilting with the with the Which moving is one unit without breaking the line of the arms. Maybe this is good, yes. And then moving up a return, the arms stay as one stick or just lower them. Lift up. And then tilt one more time.

Patrick Oancia 33:48 Better.

Asia 33:48 Don’t lead with the chest, lead with the pelvis.

Patrick Oancia 33:51 Delete.

Asia 33:51 Mm-hmm. And then return.

Patrick Oancia 33:55 So you’re doing you’re doing this.

Asia 33:57 And less tilt? The pelvis tilts.

Patrick Oancia 33:59 See?

Asia 34:00 Arms stay in one line.

Patrick Oancia 34:02 I’m not lead.

Asia 34:03 Mm-hmm. And then a return. Slowly bring the arms down.

Patrick Oancia 34:09 Yeah.

Asia 34:10 And then return the feet to parallel. Yes?

Patrick Oancia 34:23 Because uh I know because Natalie’s coming from body work and from doing lots of stuff. So there’s a tendency initially when your arms get tired, you want to do this, right? You want to go like this, but we want to stop before we have to go there. You understand that? Because this presupposes we need to recalibrate. So we don’t want to include we don’t want to in inject this here into into Baseworks. This is very good for when we do like kung fu or something like we want to sort of relax but before we get the t the the necessity to go whoa oh my god wow like this we want to stop put the hands onto the waist so that we don’t have to disrupt the patterns. Does that make sense? I I it’s not wrong to do this. You know, this but this has its place. In dance it has its place. In martial arts it has its place. In physical fitness it has its place. Yeah, good. All right, so carry on. See see James is taking a break. If if you have any problem you can always sit down, James. No problem.

Asia 35:31 Yeah, anyway, that was much better. This tilt is, even though it looks very simple, you think how simple of a movement that is. It’s not that easy but yes it it looks much better right now. Jennifer sorry Patrick we will be doing another form with the arms today. What what was there?

Patrick Oancia 35:50 Airplane. Because if there’s no sun, I think it’s not a good thing. You can take the glasses off, yeah. Uh arms as a stick, right?

Asia 36:01 Draw the shoulders down, spread the fingers, and we will in another form we will be kind of twisting and turning. You can always imagine also that you’re holding something, like a literal stick. Imagine like there is a broom for example and you’re holding it. If you’re literally holding something like this, your arms will not start moving separate. separately. So you can use that visualization as well. Let’s start tilt? Yes. And let’s do the I the lunch and then from there. Yeah. I can take over the call. Let’s take a look at the same thing. So front lunge and then we will add the torsion that we didn’t do last time.

Patrick Oancia 36:41 Okay. So no worries, yeah. With the feet again hips width apart. And they I just you know I’ll just change my position so you can follow me however you want. So the feet hips width apart outside edges that the feet are parallel to each other. Yeah I like that you move there, but are you okay that I’m facing you now? You okay? Okay. So We’re going to be hinging into the hips. We’re going to be shifting the weight to our right leg. So all the weight comes over to the right leg here. Yeah, follow me. Yeah, so just bend hinge weight shifts to the right leg arms go slightly forward this one goes back So your lunge stance may not be so wide depending on how you feel. So you can see how you’re gonna do that. With the legs pulling away from each other now, the legs pull away from each other, the arms can go forward at the same time the shoulders drop back down towards the hips. And watch that the chest doesn’t go over the top of the right leg, but rather stays in between both legs as we do that, as we activate the legs away from each other. Now lower the arms now. And as we lower the arms, we’re going to shift the weight to the right leg and we’re going to step forward again. So we’re going to come in and out a few times and Ashle will go around and also help a bit. So remembering you can shorten the stance to to allow for yourself a little bit more to have a little bit more bandwidth to uh To stay in it for a while longer. So we’re gonna bend the knees again. We’re gonna shift the weight to the left hip, and we’re going to take the right foot back So high to the tiptoe, the left knee over the top of the left heel. Activate the legs away from each other. Think of the midline, chest in the center of the body, then we can raise the arms out to the side of the body and up Draw the shoulders down towards the hips. Try not to open the chest too much. Try to keep the back of the neck neutral. Spread through the fingers. Draw the shoulders down towards the hips. Activate the legs away from each other. Move a little bit into the rib cage. introducing a bit of a micro movement here. Now we’re going to lower the arms now and as we lower the arms we’re going to shift the weight to that left leg again and we’re going to try to control the movement with the right leg as we come forward. Excuse me. Let’s change my position. Shh hinging again. You can also take the hands out in front like this initially if you’d like to. Hinge again. The weight shifts over to the right leg. And then that left leg goes back. Again, find the position by which you feel comfortable to stand high to that tiptoe. See the upper torso falls forward first, like this. Raise the arms forward and up, draw the shoulders down towards the hips, spread through the fingers. And with the legs pulling away from each other now, we’re going to start to undulate the ribcage, moving the ribcage and chest in a circumlinear motion forward and up. And then we’re going to release that motion as the shoulders draw down, spread through the fingers, lower the arms down, shift the weight to the right leg and step forward. So we’re going through it a little bit more quickly now and we’re adding the We’re adding the lift from the chest. Think about the rib cage separating from the pelvis. in a circular motion upward when we lift upward. So this separates And the belly cavity becomes long. Okay, arms come forward, shift the weight to the heels, shifting the weight over to that left leg now. We’re gonna take this right leg back in a controlled fashion Tiptoe of that right foot, arms go out to the side and reach out to the side.

Asia 40:30 Touch Patrick’s ankles like completely.

Patrick Oancia 40:34 Activate the legs away from each other here now. As we draw the shoulders down towards our hip, we’re locking the shoulders down towards the hip. We’re spreading through the fingers. We’re going to start to move the sternum and rib cage in a circumlinear motion forward and up, making this cavity of the belly really long as the chest leads forward and up so there’s no squashing the lower back We’re gonna release that now. We’re gonna release the arms down and we’re gonna shift the weight over to that left leg again as we step forward back to the center. So we can just do one more time. Just take a break for a second here. So you know when we were doing this, This movement. This is a part of our fixing separating isolating concept. And when we do this movement with the rib cage, And sternum in a circumlinear motion up, it’s the same thing. The pelvis stays neutral and down. We don’t press forward like this, but rather we’re separating the pelvis and the rib cage Stretches up, right? So we’re trying to sort of elongate this area into the rib cage as we lift, and then there’s a natural arch that takes place for that when that happens. So let’s try it again when we’re in the lunge because it’s always easier said than done. Feet again hips width apart. Hinge into the hips, arms come forward, weight goes over to the right leg. Step that left foot back tiptoe high. Activate the legs away from each other now. Pull the legs away from each other here as the shoulders drop back down towards the hips. Spread through the fingers and then we’re gonna start to move through the rib cage and chest. So trying to make that that that belly cavity quite long and a circumlinear motion forward and up. Continue to draw the shoulders down, continue to activate the legs away from each other. Now we’re gonna release this lower the arms down shift the weight to the right leg and step the left leg forward So when we step in, step out, we’re trying to step in with the same um Uh uh if you want to call it quality as when we go in. Weight arms come forward, shift the weight over to the left leg, reach that right leg back, tiptoe nice and high. Anchor the legs there so the legs start to pull away from each other on the floor And then you can raise the arms out, or maybe your arms are already out. And with the arms coming out like this, draw the shoulders down towards the hips, spread through the fingers, activate the legs away from each other As you start to move the rib cage forward and up, then this area between the belly and the pubis becomes quite long and the chest lifts a bit higher as the shoulders draw down into that movement. And then release, shift the weight to the left leg, and we’re stepping forward with the same sort of quality as we went in. Now we’re going to add the the axle torsion onto this one with the arms out. So it’s a similar idea when we torsion we’re thinking about the hips also following as or the part of the body following as a byproduct of the movement itself rather than just the direction. Okay, so but the direction is there, but it actually has less to do with the direction and more about what happens with the joint stacking. So let’s try together. Outside edges of the feet same, hips width apart. Shift the weight to the heels, arms come forward, weight shifts over to that right leg, left leg goes long back high to the tiptoe of that left leg. Now open the arms out to the side now. As the arms open out to the side, spread through the fingers, draw the shoulders down. And think. The center of the chest turns to the right and the arms follow that movement. The arms don’t lead. This is where we separate. So you can think that the chest starts to meet the inside of that thigh direction and then we turn back to center. And as we turn back to center, we lower the arms down and we shift the weight to that right leg and we step forward. So the arms will go out right like this. So we’ve done all the preparation here in star form. So the star form arm movement is the same. We don’t we don’t separate the arms in their movement from the from the torsion.

Asia 45:33 Also before the torsion, attention to the stream straight line the back leg and the torsion completely straight line so we torsion from here we don’t torsion like this okay

Patrick Oancia 45:48 Weight goes to the heels, shift the weight to the left leg, right leg goes back long, open the arms out to the side, activate the legs away from each other here. That’s nice and broad here. Shoulders draw down towards the hips, spread through the fingers. The upper torso leans forward so that it’s more or less in line with that back leg.

Asia 46:07 Yeah, see how straight Patrick is. Look, heel, hip, Patrick’s head, completely straight.

Patrick Oancia 46:12 And then I torsion and everything just moves as a byproduct to the movement of the torsion over. The arms don’t separate, the head doesn’t turn more. Everything just moves as the byproduct of that movement toward the left. And then release the arms down, shift the weight to that left leg, step forward.

Asia 46:30 Shake will disappear. Yeah.

Patrick Oancia 46:35 After this V sit simple cross.

Asia 46:38 Yeah.

Patrick Oancia 46:39 Okay. Shift the weight to the heel. Let’s do it again a couple times. Weight goes to the right leg. Let’s take the arms out this time. Step that left foot back, tiptoe nice and high, the arms are out to the side. Upper torso leans forward in line with the back leg. Activate the legs away from each other here and this arm line is is is straight And then we just think the turn is governed from the center of the chest toward the right. Like this. And the arms just move with that naturally, the head just moves with that naturally. Activate the legs away from each other, continually spread the fingers, continually draw the shoulders down, and then turn the chest back to the center, lower the arms down, shift the weight to that right foot, step the left foot forward. Your hands come to the waist or down. Doesn’t really matter. Bend, and then again, let’s take the arms out to the side. Shift the weight to the left foot. Whoops. Right leg goes back. Activate the legs away from each other. Now upper torso goes in back with that, in line with that back leg. Spread through the fingers, draw the shoulders down. Back of the neck extends. Torsion from the center of the chest toward the left. So the arms just move with that, the head just moves with that. And then we activate the legs coming back to center. Continue activating the legs. The shoulders continue to activate as we lower the arms down now. Shift the weight to the left foot and step forward. Relax for a second. Let’s do one more on each side. But let’s keep the arms down for this one. Bend. Shift the weight to the right leg. Step the left foot back along. Anchor.

Asia 48:39 Straight line, grid lines in symmetry.

Patrick Oancia 48:41 See this upper torso back leg, activate the legs away from each other, then go ahead and raise the arms up To the side of the body. Now the center of the chest is turning to the right. Activate the legs away from each other, spread the fingers, draw the shoulders down towards the hips. Pull away. and really try to find out. Turn back to center. Continue drawing the shoulders down towards the hips. Continue spreading the fingers. Activate the legs away from each other. Release the arms down and then shift the weight to the right leg. Left leg steps forward. Bend, wait Back activate Arms Shoulders spread the fingers forward upper torso understanding Center of the chest turns. Continue to draw the shoulders down. Continue to spread the fingers. Continue to activate the legs away from each other. Keep the upper torso in line with the back leg. Activate the legs away from each other, turn the center of the chest back forward, draw the shoulders down as you shift the weight to the left leg, bring that right leg forward. See the shoulders are still drawing down here. Side note, when you’re even coming out and you’re transitioning your way back, If you continue to draw the shoulders down, that adds a level of control than if you don’t draw the shoulders down This is the the idea with distributed activation that we’re trying to always keep everything active and then that allows for us to have more control in any of the movements. Okay. Wide squat we didn’t do.

Asia 50:40 I think we’re not supposed to do it later, yeah.

Patrick Oancia 50:43 Okay. Let’s go ahead and sit onto the floor. Is that right?

Asia 50:51 Yeah, who’s next?

Patrick Oancia 50:52 You come when?

Asia 50:54 I don’t come. No, I mean seriously.

Patrick Oancia 51:03 How much time we got?

Asia 51:05 We have I think forty more minutes

Patrick Oancia 51:14 Okay, that’s me.

Asia 51:15 Alright, let’s go. No, forty-five more minutes, I’m sorry.

Patrick Oancia 51:20 Good. Great So let’s hang back. Let’s come and hang on to the knees, like so. And we’re going to really just hook on to the outside of the knees as we tilt back. and lift the legs up like this. So we’re balancing onto just maybe above the tailbone and hanging off the knees.

Asia 51:49 Here, completely extend them Elbow just like a hang.

Patrick Oancia 51:54 And we’re gonna be leading with the right shoulder as we press the right palm forward first. And we’re leading with the left shoulder as we We push the left palm forward so that the movement initiates from the shoulders and then the knees have to extend to a certain point where it feels comfortable. They can either go straight or just to this much and then we’re lifting the chest at the end to converge. So this is a similar position to that of the peak hold. When we do this. Now we’re gonna bend the knees, we’re gonna hang on to the knees and we’re gonna hang back and hang once.

Asia 52:30 Upper body doesn’t move.

Patrick Oancia 52:33 Actually, if you want, you can lower your feet down once here as well too to take a bit of a rest. But this hanging onto the knees should give you enough of um a break. Between um each session. But if you really have to, you can come up once and do this if it if it’s more comfortable for you. This is also fine. So we’re gonna hang again, tilt. becomes easy, then this is we’re gonna lead with the shoulder now with the right hand with the left hand first, the shoulder leads as we press the palm forward, the shoulder leads as we press the palm forward.

Asia 53:07 Transition

Patrick Oancia 53:09 Then let’s reverse the motion. Lift the chest and extend the legs. Lift the chest and extend the legs. Balls of the feet extend forward. Lift the chest. the balls of the feet. Bend the knees. Hook onto the knees and then just hang. Once you’re hooked on you can hang and you can chill in between. Bring the feet to the floor, come up to here for a second, hook around like this, and just look at me. If you can uh if you’re um If you’re facing away from me, just turn toward me and take a look at me for a second. I’d just like to show you the dynamics of we’re going to try two more times, but I’m going to just demonstrate one thing before we go in. About the shoulder movement. If of course if you want to stand up and and walk around, you can also do that. I’ll do this a couple times. So when we hang and we go back first and we get to this uh starting point here. A very important thing is that this movement comes with the shoulder. This is not just the arm lifting away, but rather the shoulder movement wants to almost pull you completely forward like this. So even though we’re back here like this, this shoulder, it makes the the scapula go broad. And then we’re pushing like this. That’s the first point here. And that second point or we can change the order is that the chest lifts and then we extend. So the extension can be the knees stay a little bit bent but we’re extending, or they can go all the way. That it’s not important how far they go, it’s more just about this motion and this motion. Okay, I’ll try that one more time. I’m just going to show you the to to exaggerate the movement with the shoulders so you understand the shoulders forward and a little bit down is what stabilizes And builds over time the ability to distribute the activation across not just the abdominal wall but everywhere So when we start here, we don’t think abs, we think shoulders And then this becomes active.

Asia 55:24 You can imagine a wall here. For example, if I am the wall, the movement of the shoulders is like this. That’s what he’s doing. doing with his shoulder.

Patrick Oancia 55:31 And by default the abs activate. So the abs don’t activate by drawing the core in. Right. So that’s a different that’s a different concept, right? So core strength uh is doing something different to the nervous system than what we’re doing right here, right now. This activation doesn’t come as a result of me thinking that I need to activate my core because when I do that, I’m become excited. So what we want is we want the thing to be controlled. So by this shoulders draw down and then chest lifts. This becomes active and then this goes forward. But I’m exaggerating I’m exaggerating this thing here with this becoming active. It’s um This is not the focus, right? So the activation of the abdominal wall is not the focus. That’s the byproduct. Does that make sense? The byproduct? Is it Dion France a bipartite? No.

Asia 56:40 Secondary effect. But razor. Like secondary consequence. Secondary consequence.

Patrick Oancia 56:48 Okay, I uh uh pray is could you put more okay because I need to understand that that it’s a very important this bipartisan concept So the byproduct is that the abs become active, right? But it’s not the the reason, right? It’s not the because we want to keep this c we ourselves calm. Let’s try it together one more time. Let’s try it together Side effect.

Noemie 57:18 I think it’s like

Patrick Oancia 57:23 But you know one thing, stop for a second. So the difference between side effect and byproduct, there’s a slightly different connotation. Right. So um side effect is bad? Side effect is ne generally negative connotation in in in in English. Maybe not in French, but in English it’s a negative connotation Yeah. But byproduct is the result.

Asia 57:48 But not the primary result. So that’s just

Noemie 57:56 Le résultat secondaire. Résultat. Secondar. Secondaire.

Patrick Oancia 58:06 So good.

Noemie 58:07 It’s basically secondary results.

Patrick Oancia 58:09 Secondaire.

Noemie 58:09 Yeah.

Patrick Oancia 58:13 The residue. That’s great actually. Residal sec secondary. Okay, let’s try to remember that one. Okay. Hang. What’s good? Hang. Yeah. And then the feet come up, see we’re hanging. So here we’re still hanging, they were relaxed, right? Because this is just hanging. Now the shoulders Lead with the shoulder, lead with the shoulder. Then that belly becomes active. Then the chest, then the belly becomes more active. Converge, then the legs, balls of the feet extend. You can go straight or stay like this. Hook, hang, relax Okay. Come back up to here. Hook once. Relax. Capiche? Capich.

Asia 59:03 Patrick, and just maybe for for James I would like to uh add that you have these big muscles, they are obviously making this movement more difficult for you. But nobody should ever do something that is excruciatingly challenging and in your case really like you will just Just be working on this, this, and this.

Patrick Oancia 59:24 Yeah, even then.

Asia 59:25 And that’s it. And other forms, when you do other forms, like for example, when your hamstrings become longer, this will make it so much easier and uh yeah and just draw the shoulders down so you just stop we will talk about the intensity modification later But the idea is that, for example, there are, I don’t know, five or six steps in the four. Just you will be doing step one, two, three until step four becomes comfortable.

Patrick Oancia 59:52 Okay, so it sorry, I just don’t remember it’s to what extent has the reclining transition been explained? to this point not yet, right?

Asia 01:00:04 Maybe explain the detail. We didn’t really I mean it was this i explained in detail in the primer but we did not practically went into it

Patrick Oancia 01:00:13 Okay, but in um I’m just trying to remember in in segment one, two, three, there’s any place where there’s an emphasis on it. Uh I don’t remember. Does reclining transition mean anything to you?

Asia 01:00:26 Reclining transition?

Patrick Oancia 01:00:28 Yes. Reclining transition.

Asia 01:00:30 We studied in detail in the transits, in the the three types of transitions, and the reclining transition. Transitional the floor transitions at segment um six, no five maybe.

Patrick Oancia 01:00:43 So um we’ll take just a second. I mean even though this is not super relevant at this point in time, a reclining transition is something that we do in between every form.

Asia 01:00:56 On the floor.

Patrick Oancia 01:00:57 To connect the forms. So the reclining transitions when we come up and then we do one and then we go back suspend. And then our reclining transition is this, but it’s very controlled. So that reclining transition You uses the same patterns to make it manageable. And the reclining transition is something that uh should always feel very controlled and very fluid. So it should never look anything like this. That makes sense. Um so as we go through, even though there’s not a lot of detail, try to follow the best that we can because we’re doing a bunch of floor work right now. And those reclining transitions, I’ll introduce them as we go through the floor work. All right. So I’ll try to guide you through everything. So hang back. Actually hang here first. To relax the head. And relax the belly. And just um relax the breath. So try to get your into the most relaxed possible. Starting point. And then we’re going to go ahead and tilt back, hang on to the knees once, bring the feet up off the ground, let go. As we extend the legs, we lower the upper torso and lower the forearms down to here. Lift the legs, balls of the feet press forward. Now we’re going to bend that left knee, cross the right ankle over the top of the left ankle, bring the heels in close to the pelvis, and find our way up to here first with a little bit of a suspension And then we’re gonna allow for the outside edges of the feet to go down. So when we get to this position here, we’re not upright, but we’re hanging back. So every starting point is from From a um a a slight recline back with the spinal flexion. So with the spinal flexion here Draw the shoulders down. So the spine is flexed, the shoulders draw down, and we oppose the floor with the feet like we’re wanting to push ourselves backward with the outside edges of the feet. So we’re opposing this motion forward with the feet as we flex the upper spine is completely awkward. Pushing and flexion. Shoulders draw down. The neck is also relaxed. Yes, that it’s just a few. And now we’re going from our spinal flexion to spinal extension. So as we press the outside edges of the feet to the floor. The spine extends and the hands can go away from the side of the body also when you’re doing this. Spine extends straight and you might have to adjust the position of your body a little bit further back to allow for the spine to go straight. Maybe even support yourself a little bit with your hands to feel the extension of the spine. And then go ahead and flex the upper spine again. We’re leaving some of the micro movements out right now just so we can go through it. And as we flex the upper spine, we’re pressing with the feet to the floor, rolling back. Finding our tilt, which is our suspension here again. And with our suspension, we’re coordinating the movement of the legs extending with the upper torso lowering And then we’re allowing the the arms to lower down to the floor. Balls of the feet extend. We’re going to cross that right leg now. Left leg goes over. Bring the heels close to the pubis and allow yourself to come up here a little bit to this point, suspend once. Outside edges of the feet, drop down. Now you’re hanging back again here. This is the position where you start. Outside edges of the feet press down and forward as you resist that motion forward in your flexion down So you don’t have to go so far down, you can just maybe come this much. But the flexion in the upper spine is prominent. The shoulders drawing down is prominent. The next is relaxed. Spinal flexion. And then we go from our spinal flexion to our spinal extension. And the extension of the spine may take us further back. We may you we we might support with the hands here a little bit in order to get the spine nice and extended. Or maybe you can do without. But doesn’t really matter. With or without. And then flex the upper spine again. And with the upper spine flexion, drawing the shoulders down. Tilting back, suspending, extending, lowering, lowering, lift the chest. Lower the feet down. Bring the right hand forward, the left hand forward. Bring the arm forward, the arm forward. Come upright like this. So you’re just sitting. It’s hard all that, so we’ll take a break in between. We’re gonna do the same thing again, the same thing on both sides again. But in between we come up to a place where it feels comfortable just to hook on and relax. So with this locking here, see my um my forearms locked around my knees It means that I’m stabilized and I can just let everything go soft, ideally. All right, let go. Tilt, suspend. Lower extend. Opposing the weight. Forearms, lift chest. Bend the left knee, the right knee, cross the ankles Lower the feet, find your way up to here, you’re still hanging back. So here the abdominal walls active automatically because of the position the body is in gravity Outside edges of the feet press against the floor as the upper spine flexes. You don’t have to go so far forward here. You can just stay here. If you want to take it a little bit deeper, you can continue to oppose the motion of the feet as your spine flexes forward. Continue to draw the shoulders down. And we’re going to add micro movements in here now. So before we go to our extension, we’re going to move through the rib cage over the top of the pelvis a little bit. And then we’re going to go ahead and we’re going to go into our spinal extension. So the spinal extension may result in the feet, the knees dropping down a little bit, or you might go further back, your hands might go back. It doesn’t really matter what happens you just want to try to get this flexion to extension feeling in like dialed in and then that flexion happens again and as you flex you’re pushing again And you’re going back and the abdominal wall just turns on automatically? You’re in your tilt and then we’re transferring Weight over center of gravity. Legs go forward, they’re heavy. Upper torso goes down, it’s heavy. Lower, balls of the feet extend. Cross that left right leg now. Left leg goes over. Is that right? Come on up, suspend once, even like this in between. Drop the outside edges of the feet and you’re still hanging back here, right? Abdominal wall still on. Press the outside edges of the feet to the floor And as you flex forward, draw the shoulders down. Shoulders are drawing down as you flex forward, opposing that movement with the flexion forward. Continue to draw the shoulders down And now before we extend, move the rib cage over the top of the pelvis slightly with the spine flexed. Continue to draw the shoulders down in that movement. Now go from spinal flexion to spinal extension. And as you extend, draw the shoulders down. Oppose the extension. So the shoulders draw down away from the spine becoming straight. So the spine becomes straight as the shoulders draw down. The feet continue to press. You’re still trying to resist away. And then we’re going to go and flex again. Spinal flexion, tilt back, suspend. Find that suspension. Again, the weight of the legs, the weight of the upper torso are governing the movement as you lower. Balls of the feet extend. Lift the chest, lower the feet. Right hand comes forward, left hand comes forward. Hang once Come up, hook, and relax. Should they start and look at it? Okay, we’re gonna do something similar this time, and we’re just gonna go into it. Hang back. Tipped balance. Let go, extend, lift the chest. Bending the left knee, flex the left ankle Bending the right knee, flex the right ankle. So we’re crossing between in the center of the shins, lowering the feet down. Come on up Now when we get up to this position here we’re going to adjust a little bit. The front of the legs are more or less parallel to each other and the soles of the feet are parallel to each other. So it’s kind of a square shape and you can move the pelvis around a little bit too if you’d like here. The square shape is that the soles of the feet are Parallel, the knees are in the same line as the soles of the feet. So the feet aren’t close to each other here, they’re away from each other. And this is a very awkward position for the legs to be in with the ankles flexed. And then we’re going to hang back. The ankles. The ankles stay the ankles stay flexed and um the toes no the toes don’t really activate, just the ankles, just the ankles. Outside edges of the feet press to the floor, upper spine flexes. At the outside edges of the feet press, you flex in. So this one is slightly easier probably to resist than the other one. As the shoulders draw down, upper spine flexes forward. Continue to press with the feet, so you’re trying to resist this motion as you flex forward. Now we’re going from our spinal flexion to spinal extension. Now as we extend, these feet almost want to make you feel like you’re lifting off the floor, the outside edge of the feet. They’re really, with that much resistance, lifting the chest Well not the chest, but the spine becomes straight. So this opposition aids in the spinal extension. And the hands just go to the side like this. Now we’re going to go ahead and continue to press, resist as we flex. So this pressing allows for the flexion to really happen naturally. See the pressing of the feet? It goes and this happens naturally. Then we’re tilting backward and as we tilt backward this has to let go at some point. We still keep the ankle flexion as we lift. And then we’re transitioning. The legs go forward, the upper body lowers, the forearms go down, the balls of the feet extend, lift the chest Bending the right knee, flex. Bending the left knee, flex, cross, lift, and adjust. You can do a little bit of adjusting here, like this. Soles of the feet are parallel.

Asia 01:13:29 Here in right.

Patrick Oancia 01:13:30 The knees are in line with the soles of the feet. The shins are more or less parallel to each other. The front, the bottom parts of the legs are more or less parallel. They may not be for everyone depending on the length of the shins, but something along those lines. And then we go ahead and press. So we’re pressing with the flexed ankles away. And then by that by doing that, the upper spine flexes as you come forward. Upper spine flexion, shoulders draw down now thinking, right? See the shoulders are drawing down, upper spine flexion. Resisting. So you’re trying to push yourself away as you flex forward. And then we’re going to go from our flexion to extension, continuing to press to the outside edges of the feet as we start to extend through the spine. Shoulders continue to draw down. So spinal flexion to spinal extension. Feet resisting and pushing to the floor. Shoulders draw down. Away from the head toward the hips. Flex the upper spine again and we start to tilt back as we push through the feet in our tilting motion backward. We’re suspending to this point. And we’re trying to transition again. The legs become heavy, the upper torso becomes heavy, and then we’re trying to find our transitioning point. Back down, balls of the feet extend, lift the chest. One more, no, let’s come here once. Let’s take one break in between. So we add the micro movements in the next time around. Let go suspend lower balls of the feet Bend the left leg, right leg, ankles flexed, shins cross, lower, lift. Flex. A pose. We get to this point in our flexion. The shoulders draw down, the feet are pressing away from each other. The feet are pressing forward. And we’re going to start to move the rib cage above the pelvis. So you can think it’s a very, very mild movement. The shoulders are continuing to draw down despite this movement taking place. So the shoulders draw down, but the rib cage mobilizes over the top of the pelvis. And you’re still continuing to press through the feet at the same time. So all these things going on, the patterns are being converged here. in that flexion, in the shoulder depression, in the feet opposition to the floor. And then with that micro movement, you’re going to start to micro-move into your spinal extension So the feet still continue to press, the shoulders still continue to depress downward as the spine becomes long and the rib cage still kind of undulates over the top of the rib of uh the pelvis like this. So I’m exaggerating all those movements. You can see how the actual micro-movement becomes a part of the payroll for the extension. That makes sense. And then flex the upper spine. As you flex, you push. As you push, you tilt. Then you suspend. Then you calibrate the weight. Balls of the feet, lift the chest. Bend the right leg, left leg, flex, cross, lift. Adjust, hang, oppose, flex, shoulders Neck relaxed. Keep the flexion. Move through the rib cage. Micro movements. Continue to draw the shoulders down into that movement. It’s awkward, but it’s relevant. And then with the micro movement, with the shoulders depressing downward, with the feet pressing forward, with the spine flexion initially, then you go through the extension. So the the micromovements still stay dialed in, the shoulders still draw down, and the micro movements in the rib cage are supporting the extension of the spine as we come up. The shoulders draw down, the feet continue to press. Active. Then we’re gonna flex and tilt and suspend. And lower and balls of the feet, lift the chest. Lower the feet, hands come forward. Come here like this, hook around, hang, and completely relax for a second. All right. We skipped one. Let’s do it now. Peacold. Come to the knees. Ah, yes, so we use the analogy. You remember we were here, right? This one, right? This is the peak hold, but the arms are up here instead. So we’re thinking of this converge foci when we go to the peak hold. So bend the knees Because it’s not about straightening the legs or burning the hamstrings, it’s about converging this triangle shape, you know with the pelvis up. Let’s try together. Oh, a really good thing that Ash had recommended last week, you can turn your butts toward me and come into it, then you’ll be able to see me through the legs if you’d like to do that. Yeah? All right. Alizi. Okay, so on all fours initially like this The hands themselves maybe can come even a little bit wider than your shoulders width initially, okay So the hands can maybe go a little bit wider, particularly if you have tight or uncomfortable shoulders. The knees and the toes are the width of your hips apart. Eventually the hands will also be the width of your shoulders apart, but it’s okay to take the hands wider initially. Now we’re gonna grip to the tiptoes and lift the knees up off the floor like this. You can look back toward me underneath your legs. So you see we’re kind of like in this uh suspend the position here first and what we want to do is we want to tiptoe Like this as we press the chest back and straighten through the arms. So the arms can go straight if the knees are bent more and then they become in line with the upper torso And then that way you can keep the knees bent and the rib cage and the thighs are coming together. So the rib cage and the top of the legs are going together, spreading through the fingers. Draw the shoulders down now Shoulders draw down towards the hips, lower the knees once, come back to here, just back to sit up onto the heels for a second, and we’re going to try this two more times So whatever, you can stay in the same position, you can turn around, you can do whatever you like, but we’re gonna try two more times going in. So remembering the arm line is in line with the uh upper back and the knees can stay bent in order to allow for that arm line to get dialed in. And when we’re in, we’re drawing the shoulders down toward the hips to allow for that to stabilize. in the shoulder girdle so you don’t compress the shoulders. So go ahead. Hands go a little bit wider than hips width apart. Come to the tiptoes. Lift the pelvis off the floor. You can step the feet back a little bit here, draw the shoulders toward the hips. Rib cage closes in towards the the tops of the thighs. Really draw the shoulders toward the hips here as you do this. Spread through the fingers. Even grip the fingers slightly into the floor. Then lower the knees down once

Asia 01:22:05 We’re gonna try one more time together.

Patrick Oancia 01:22:07 Just give us give yourself just ten seconds or so. In between.

Asia 01:22:11 Just a little bit narrower stick.

Patrick Oancia 01:22:15 Okay. We’re gonna go ahead and come back up. , hands go wider than the shoulders width apart, tiptoes up, chest presses back. Shoulders draw down towards the hips. Press the rib cage towards the thighs. The thighs toward the rib cage. Lift the pelvis up high. Draw the shoulders down towards the hips. Spread through the fingers, grip the fingers into the floor. Try to keep the arm line and upper torso straight. Go ahead, lower the knees down. Lower the knees down. Sit down on your butt. Right on. Turn around. Let’s from this position here start to lower down. Upper spine flexes Bring the legs wider than your hips width apart initially. Keep the head up off the floor, looking toward me Take the arms forward. It’s again the movements initiating from the shoulders here. So the shoulders are moving forward and with that shoulder movement forward you can straighten each leg Like say for example, my left shoulder goes forward, my left leg straightens, my right shoulder goes forward, my right leg straightens. And we’re doing this flexion in the spine here initially to get the lower part of the back as close to the floor as possible with a head up. So once the legs are straight, once the lower back is quite flat, keep the chin in towards the collarbone, lower the head down. Once the head gets on the floor, you can take either hand behind the head and uh and give your chin a little pull in toward the collarbone so that you feel a little bit of a elongation through the neck so the back of the neck becomes kind of long Now the weight of the heels are heavy down. The weight of the pelvis is heavy down. And take the arms out to the side of the body. And the arms can be a little bit away from the uh the actual torso itself. The hands can be either facing up or down, whatever you like. And again bringing our um attention to the weight into the back of the heels, the back of the calves. Feel the weight into the back of the pelvis. Feel the weight into the back of the rib cage, into the back of the shoulders, and into the back of the elbows, hands. And the very back of the head. And all these points I just listed Or were they connecting to the surface below you? In this case, the Marty floor in this room. See first things first, we want to sense that weight and that it’s relevant in in its weight. And then over time we’re imagining or trying to visualize that the points where the weight are that are connected to the surface below us. Start to feel weightless, and that’s uh that’s an interesting process to let that happen. Maybe it doesn’t happen. But either way, the weight itself should feel comfortable. Okay, without too much sort of abrupt movement here, you want to find the smoothest possible way To lie onto your belly. So however that is for you, turn to either side, roll over onto your stomach, and then when you’re on your stomach, you can either have the Forehead down or either one of your cheeks down. And then take the arms either up above your head or to the side of the body, whatever feels more comfortable for you. And in a similar way here, we want to feel that weight into the arms, into the cheek or the forehead. Into the tops of the feet, into the rib cage, into the pelvis. Again, that sense of all these points which are connecting to that surface below you The first step is to feel the relevance and the reality of that weight. And whereby possible, if it’s Gonna happen, you could transfer into this sense of weightlessness in the comfort. Now, of course, for me this is comfortable. It may not be too terribly comfortable for you at this point in time. In whichever case, then just focus on the weight. Yeah. Okay. So whenever you’re ready, Gain just find the most appropriate uh way to s snap out of it and then uh you can um Come on up and uh we can uh answer some questions before we leave for today. That’s pretty good today, right? It was better? Do you feel like it was it’s coming together a little bit more? It looked like it to us, I think. Yeah. It looked like you were everybody was experiencing better. But um now’s the time for any first hand questions. Of course, we were hands-on helping more today uh for the With it. Yeah. So um but is there anything we can clarify about what we did today or about the material that you studied at home or anything? Yeah. Yeah, I have a question about the

Elinor 01:31:38 You never mentioned or maybe that’s not a part of like the pelvic floor. I’m just wondering about this um this part here.

Asia 01:31:48 Can I I take that? Yeah. Yes. So we similar to how we don’t say engage abdominal muscles, we don’t say it about anything. don’t say engage these muscles or those muscles. So we don’t do this with pelvic floor for the same reason. But a lot of the movements we do do engage the pelvic floor. pelvic floor because all these movements they engage the pelvic floor. All this stuff engages the pelvic floor. This engages the pelvic floor. This engages the pelvic floor. A lot of movement patterns that we use actually do engage the pelvic floor and for example for me um I’ll share my experience with this I did not feel my pelvic floor for like most of my life and then when I started doing Baseworks after maybe two two weeks of doing this, I had the strangest sensation when I first developed the sensation of it, it felt like there were two avocados implanted into me overnight. And it just felt suddenly like I could feel something that I couldn’t feel before. But absolutely all all these tractioning patterns, they are engaging the pelvic floor.

Elinor 01:32:56 For me it’s interesting like um like with the abdominals like uh so with not mentioning it I think if I don’t know sometimes like I wonder about the risk of engage when they do engage that because it could be engaging this way or so the that plays Like same with the pelvic form in a way, you can push it this or let it come in.

01:33:23 I don’t know. So

Asia 01:33:24 Look, I I I think I think I understand what you mean. Um at at the very beginning we’re just trying to the goal is to understand our movement patterns and what we actually mean when we say this or that. The goal eventually is distributed activation where you can engage all muscles at the lowest possible intensity and you have full control over what you’re doing. So at that step, is it in, is it out, how much it’s engaged? This is up to you. You can do whatever you want, right? Basework specifically is not a pelvic floor training exercise, but as a byproduct, you will develop sensitivity and control. For example, it’s easier to show it with the stomach. I can’t really show it with my pelvic floor. This is why I’m I’m gonna use this example, but um for example with um with the abdominal muscles if I were to pull my abdominal muscles in it will really See like between the pelvis and the ribcage it will go in, right? But distributed activation, if I were to do the distributed activation, I draw the shoulder like this here. I relax my stomach, I draw the shoulder the shoulders down but if I do all this movement all these movements the muscles they do get engaged but it’s a straight line I’m not pulling it in right so the same thing with the pelvic floor it will be engaged how exactly it does doesn’t really matter, it will equalize somehow w once you learn to do that. And probably will be different from person to person. Yeah.

James 01:34:53 Um curious about how I can find ways to adjust when my left hip tightens up. That’s why I sat down that I can I want to get out. I’m wondering if there’s ways within that I can find.

Asia 01:35:08 Which movements specifically you find make it tight?

James 01:35:12 Uh the lunges it was I think it’s getting tight for the I can’t remember what it’s saying, but I know by by the time we hit the line was no even in the even in the tilts I think it was And it does it’s not specific to the movements because it does it too hard. So I’m just wondering if there’s a

Patrick Oancia 01:35:36 way that I can find so that is is that an injury?

James 01:35:41 I’m not sure what it is. It’s tied to an injury in my lower back. So it’s tied to the solar as it’s tied to a bunch of things.

Patrick Oancia 01:36:00 It’s hard to say. The the the biggest recommendation I have uh at this point because what was that? Is that going? Is that is your phone? No, but uh that’s that was almost very nice, yeah. I was actually thinking, oh, where’d that come from? It reminded me of the old yoga days. Um All that I can say about that is because uh We can’t break down the source of the discomfort for you. That if something is really uncomfortable, the only thing we can recommend for you at that point in time is to do what you did, sit down. But When you’re thinking about the other forms that we practice, like if you’re in star form, for example, it doesn’t bother you here, right? Would it?

James 01:37:07 I don’t think it it didn’t start it. It might I mean it may have started but I wasn’t feeling it.

Patrick Oancia 01:37:12 Right, but it’s a it’s a it’s a there’s a different load here, like obviously in in comparison to something like this so in star form wherever you can in the smart revisit apply micro movements And the continual use of the patterns with the legs pulling away from each other and the rib cage moving, the shoulders drawing down, the neck moving, all of those patterns and micro-movements with continued repetition in whichever form you’re in, whether it’s in that or whether we’re here practicing in this All of those have, for many people in their reports to us in the past, attributed to a unified Balancing, rebalancing, potentially, of any kind of anatomical cluster. So I can’t promise that, but all that I can say is that those patterns are applied in all positions of gravity in base work. And when there’s load, when there’s no load. So they’re e more easily applied in sub at some times than other times and then transferred through to more challenging times. So the more you repeat them and practice them it may resolve something that you’re experiencing. But the disclaimer is that you should always talk to your physician. about these problems which uh which is you’re doing. But I I believe that many people many people have come with very serious medical problems to base work practicing with this over the years, um the ACL tears and uh and completely resolved fast recovery from this continual micro movements and the repeated patterns. In any form or even just if you’re at if you’re working on your computer, you can also draw the shoulders down Or you move the neck or move the rib cage. I think that they all have yeah, but again just just as a disclaimer, we’re not introducing anything we’re doing here as a healing model. We’re we’re not we’re not claiming to resolve your problems. All that we’re claiming to do is help you to bring awareness to your condition. So that might be good, it may be compromising, that may be

Asia 01:39:41 So just to add, just maybe as a general approach, you can see it maybe as intensity modification with micro movements, especially when people have some abnormal, undiagnosed tension and discomfort where on any CT scan there’s nothing but still like they have this stop there. A way to we usually recommend to work is basically you identify precisely at which point you start having this sensation. So for example, let’s say like here is fine, like here is absolutely not alright, but it means that somewhere in the middle it happens, right? So you like, okay, like this, like this, like this, like this this like this. Okay, here it starts. You so you catch that moment. This means that it won’t go forward, right? Because where you pull back. So you will pull slightly back and then you will use my micro movements and you will play with it. So you will pull the legs away and you’re like, can I go a little bit in? I will move my rib cage a little bit. I will keep pulling my legs away and then the tuck the pelvis, just try to experiment with it because the combination of distributed That activation is my micro movement. It’s essenti essentially like a tissue massage, right? And it helps you to identify a place with tension and literally use the surrounding tissues to pull around. It’s like untying the knot. Yeah.

Patrick Oancia 01:40:58 But again, even though it is a tissue massage. But can of course all that it is it’s a it’s a it’s a It’s a tool, another tool that you can use alongside of whatever you’re already doing to bring awareness to your unique condition. So yeah, yeah. Sorry, Mark.

Marta 01:41:21 No, it’s sorry, I think this is not finished. Um so uh first uh hands-on for me is really good because sometimes my kinesthetic sense Is different from what my eyes are telling me, so it’s incredibly useful to say, Dearfoot, please try this. So thank you for that. So I I am working around uh known injury. I’ve broken my coccyx twice in two different directions.

Patrick Oancia 01:41:51 I do that.

Marta 01:41:52 I thought you overachiever. Oh no, actually, sorry. Um, but once I fell off a horse and broke it one way, shit, and then I gave birth and I broke it the other way. So now it’s Somewhere in the middle.

Patrick Oancia 01:42:05 You’re really lucky. Yeah, no, I think so because uh in I don’t mean to say this in a negative way, but broken like that, cocks, really makes you

Asia 01:42:17 Aware.

Patrick Oancia 01:42:18 Aware. And and when you start doing something like what we’re doing here, I think you’ve you’ve got the best way in some ways the best advantage because you’re working around this uh thing. It sounds strange but throw you off a horse and to um pretty good horse ride too. Yeah. If you’re gonna fall off, do it while you’re galloping through the sunset in South Africa. Is that what you did? You were in South Africa. Yeah I was where? In Stella Bosch?

Marta 01:42:48 Um I was uh just as I was in the drive

Patrick Oancia 01:42:51 Oh yeah, I fucking love it.

Marta 01:42:52 Yeah.

Patrick Oancia 01:42:52 I I love South Africa.

Marta 01:42:54 There’s a whole there’s a whole story that goes with it, but the bottom line is I didn’t ride any horses, but I drank a lot of great wine. And then the second time I I was giving birth and so it was part of a process and I didn’t realize until two days later that in fact it was postpartum that there was actually a bone broken. So because I’m a little bit silly, I said it myself.

Patrick Oancia 01:43:20 Um right on. Right? That’s what you do? In South Africa, yeah

Marta 01:43:26 Um, so I’m trying to find ways that will allow fidelity to the form without Landing on pieces that aren’t actually entirely where they’re ideally going to be. So I’m I’m acknowledging that. And what I’m finding is that is that base work so far it’s revealing my fixes so I’ve got a shoulder thing and so I do this and so when I’m doing this I go oh that’s the way I did this absolutely fascinating um but so so this may be a conversation for I wanted to bring bones that poke into the ground into the class we may have a discussion Should I maybe be thinking about doing a private to get some more specific hearing?

Patrick Oancia 01:44:16 We don’t do private. Perfect. Okay. That yeah. That is my question. You know, that’s thank you for sharing. That’s really cool. Um there’s one thing I would like to say about hands-on. We didn’t really touch anybody for the first time. couple of weeks but in our teaching methodology and in this session summary I’ll put a link to our teach up page with information about our teaching methodology methodology. We have an acronym that we use to describe support for the students, which is called NOTA, Narration, Observation, Demonstration Assist and assess, and that does dial in the necessity to address people where they are in their learning archetype. Okay, so some people are more kinesthetic learners, some people more visual, some auditory, some are a combination of all. But what we encourage everybody to do in Baseworks is not fall back on the archetype that you believe that you are. So even though we’re very happy to that you that you were able to benefit the from the touching. Our goal is to help everybody become a visual learner, an auditory learner, you know, so to break the patterns and to open, you say, the perceptual threshold. up to the point where I normally feel good when I’m, I feel I learn more when I’m touched and guided, you know, as opposed to being able to analytically understand

Asia 01:45:43 or visually understand or essentially when s an instructor obviously knows what they expect to see, helps you physically, that provides a very concrete feedback. feedback for you so that you can be sure that oh yeah I’m doing what I’m supposed to do. But that essentially takes away your own learning because with your senses you could not have arrived there. But it’s um from the pedagogical perspective, if you provide this type of feedback all the time, the sensory learning doesn’t happen. is all about sensory learning. So our goal as much as possible to develop various sensory tools that the person can use themselves. to get that information from the body. And I cannot overemphasize how distributed activation with micro movements together actually help. It may feel like when we do this stuff at the beginning, it’s like nothing. You know, like who cares? I’m just standing here and activating. But by doing that, you teach your brain to hear the signals coming to the through uh to the brain as actual localized sensations and understand what does it mean to be in this position Right? When I’m in this position, I’m not like this, I’m not like this, I’m not like this. I’m learning, my brain learns to feel, am I straight on not this means that when I’m in the lunch I can reproduce it in am I like this am I like this am I like this I can compare it with with this right so we we call this this the focus of this is structure we build visceral understanding of what it means to be straight and then gravity is we are at an angle where it’s difficult to see without mirror. Yeah I could go to the mirror and like check but then again visual input will always override proprioceptive input because this is just how our biology This is how our biology works in general. But what you describe, you are self-aware of a very human limitation that we are working with specifically in base, Yeah.

Patrick Oancia 01:47:46 Yeah, and this transfers back to what you were talking about, James, in s such a way that with the continuity of this stuff, you not only bring awareness to whatever the idiosyncrasies are and the limitations to your movement, but But at some point in time you become more acutely aware of how to work how to work with it in under any set of circumstances when there’s nobody around. Yeah.

Noemie 01:48:13 I think that’s impressive because when I arrived like I I was working a lot and like I’m a massotherapist and like I work on construction so I use my body a lot during the week So in the weekend it’s like challenging to like do it right, but after after the session, it f I feel it right away like how much like space and like how much it heals my buttons. actually to do to do it right and to just activate the right thing so I don’t put too much into like the sensation of like pain or something. I’m just doing it and I try to be more like present and at some point I feel like it goes away. So maybe for for your pain, like for I do it on myself and just today at first it was challenging I was like okay just focusing on breeding and be here and like do it like listen to the body and at some point it feels it gets less than full. So maybe could that’s a cue maybe that could that you you you can try for next time or when you do it at home It’s for me it helps a lot. Like just I wanna wanna share it, but like I I feel way better now. So thank you for thinking.

Asia 01:49:27 What do you what you’re doing essentially it’s sensory calibration that happens within so it’s not learning that happens like after a week after something but this is what can happen within a session as we do these the dist distributed activation micro movements, we overflow the nervous system with sensation. And at first it may be like, oh my god, there’s too much of this signal. What if it’s bad? So it gets assigned a value with which may be negative but then if you keep doing it the brain like okay it keeps coming but it’s okay seems like it it’s not really broken or anything okay that’s fine and so the negative value gets removed moved and also just the muscular um the the amount of signal which goes to each muscle gets kind of equalized. So you have work both in your brain and at the level of the muscle fiber spinal cord just the level of muscle tension.

Noemie 01:50:18 And I think we we use to like overstimulate part of body, you know like if you do like hammer, you hammer all day, but you don’t do it with both hands. So What we’re doing here it I think it’s really nice because we need we activate both so the the body always works together. Like it’s not just one part of the body or one arm or one So this is like yeah, it’s it’s really incredible. Like I’m yeah, I’m impressed how how good it is.

Asia 01:50:49 Thank you

Natalie 01:50:50 I want to thank you for emphasizing last week about doing it every day. didn’t get to do it every day, but I did it a little bit more and I see the big difference with today Mm-hmm.

Patrick Oancia 01:51:06 And I don’t know. I I noticed that. Yeah. W when you you should when you show up today. Go ahead.

Natalie 01:51:17 Yeah. Well, sorry, I’m I’m seeing the method to the methods. Um kind of thing. Um the for something I don’t know how to express, but it feels like we’re um instead of being like a piece of weight with gravity fighting gravity when we’re activating like the shoulder, it feels like I’m using um space, like a um an using like a grid? Yeah, like energy. Mm-hmm. It’s I am not seeing things at two as two dimensional. But it’s like an in this support that is there uh for you and I activated.

Patrick Oancia 01:51:59 I don’t know how to analogy.

Asia 01:52:02 Yeah. You wanna no you want to say I just wanted to add a technical commentary but you I’ll just go first.

Patrick Oancia 01:52:07 I mean yeah I’ll just comment quickly uh uh to the to the the the the repetition. So anything we’re talking about, say like the shoulders drawing down or the fingers spreading or the feet pulling apart, all that stuff, if it’s continually dialed in as Ashra was just mentioning. Relation to Noemi’s comment, including your approach to each specific form, at any level of intensity, even at the lowest level of intensity You’re doing a little baby hinge with the fingers spreading but the shoulders drawing down. The more that can be done, whereby you have the time to do it, the more that that’s going to be compounded into the subsequent experiences that we have.

Asia 01:53:01 Yeah, and I just wanted to say about the thing that where you feel like the movement that you do is somehow connected with space and it’s actually not separated. That’s I realize there is no enough language to talk about these movement experiences so it’s always difficult to find words to talk about this and it’s always very interesting when people start talking about their movement experiences. So we we just really like uh the these moments of sharing, but it’s the reason why it um happens like that is because actually movement and the coding of space are really not separate because in order for me to be able to reach for something this point needs to be somehow represented in my brain and it’s actually not separate from movement. It actually is stored as my capacity to reach for a specific point. So when you start paying attention not just to where your hand can reach but where you your what your hip is doing, what your knee is doing, what your shoulder is doing, and how they interrelate, you make the entire space kind of of connected like you have normally separate maps for reaching, for walking, for protecting your face, protecting your head. And what we do is that we bring all those maps online at the same time and we teach them to connect.

Patrick Oancia 01:54:20 Yeah, so there’s a there there’s there’s uh almost and you know I I wrote an article about this too that you can see on the base work site. The training of large language models is based on neural network programming. And what we’re doing is a kind of neural network programming by introducing these patterns at a very fundamental level. And we think it has a lot of relevance in in the bigger context of movement and the associated outcomes of movement on the human experience.

Asia 01:54:55 So the idea is essentially You just throw in a lot of information and let the system figure out the patterns.

Patrick Oancia 01:55:01 That’s basically what the calibration on on the level of the nervous system uh transf is across domain. It transfers across to thinking to you know Potentially. I I did want to say that everybody is that we uh We anyway, you’re not going to be able to make it to Italy. We go to we’re going to present at a very relevant neuroconference in Italy in in June. If you’re any of you are around, it’s in Padova, next close to Venice. And we’ll be there for two days presenting at a conference that specifically relates in part to proprioception.

Asia 01:55:41 On body representation.

Patrick Oancia 01:55:43 Body representation, yeah. Where is Italy? Italy.

Asia 01:55:47 Italy?

Patrick Oancia 01:55:48 Italy, yeah. Yeah. Ah, but um But um we also have been invited now for the second year to present at the Brend uh Brenda Milner Day at uh the Neuro. At McGill. So It’s March May May eleventh. May eleventh Monday at the Neuro. That’s that’s free of charge. Anybody can record And then we can record the well we don’t we don’t record it’s a it’s a full day event. Yeah Um but if you’re around on Monday, May eleventh, you can you can attend that conference for free. It’s the Brenda Miller.

Asia 01:56:28 It’s it’s uh celebrating uh You just need to register for the It yeah it’s uh you have to register online.

Patrick Oancia 01:56:32 Well you know there’ll be um there’ll be a newsletter uh soon that we’re we’re we’re going to announce that. That’ll be our second time doing a poster presentation at Begill but there’s a lot of interesting uh research going on And it’s a public event open to the public for neuroscience. If you’re around, come because it’s a good idea. Food’s really nice, yeah. Yeah. You can register, it’s free food. Uh nice vegan options and vegetarian options. options as well. But this is where we go into the weeds a little bit more. We go into the details. So uh if it’s of any interest uh come on down. The McGill thing is really nice. It’s always a nice event. Yeah that much Uh well I think that that’s it. It’s eleven eleven right now. When’s our next session? We’re we’re way over time, right? We’re a little bit on what a little bit. Eleven is the finishing time for this space? I’m just saying if it’s possible to record it and then you like how to share the rest of the action. You buy it, buy it, and it’s like Yeah. And watch it from home because I don’t I don’t have the money to do that right now. Uh Italy, yeah. But I think I’m just Yep. Okay, well thank thank you for the feedback. Um so hey everybody will see you next week. Yeah uh thank you for today and uh Um the next assignment is longer, 80 minutes. So eighty-seven I think. Seven. Eighty-seven is. Eighty-seven minutes. So it takes a little bit. Somebody’s coming in. Are you supposed to come in to display? Oh, okay. Okay. Oh, thank God. Uh just so uh be aware of the the next assignment. This next assignment is really relevant in terms of what we’re gonna be doing next week, so you take the time to do that. Thank you. All right. So suggestions for wet.

Asia 01:58:25 Well uh