Session 4 Transcript

Asia Shcherbakova 00:00 This is amazing.

Patrick Oancia 00:01 Thank you. Let’s go ahead and start.

Asia Shcherbakova 00:03 Okay, yes, let’s begin. So I do the ignition today. Okay. Yeah, we will start and if somebody comes, then they just come.

Patrick Oancia 00:13 If you um if you can stand, you can join us in in the in the beginning and just not uh If it’s not difficult for you to stand, I recommend standing. If you can stand just with a little bit of weight on that in the beginning when we’re doing this stuff. Hi, good morning. Okay, so it’s gonna go ahead. Yeah. Don’t worry about it. All right. Let’s stand with the feet about hips width apart, a little wider than hips width apart. Outside edges of the feet are not parallel to each other at this point. The toes point slightly away from each other. And uh bend the knees slightly. So as we bend the knee bend the knees slightly, we move back into this uh uh kind of sitting against the imaginary chair on the edge there, and then relax the arms first. And then Asha you can just take over.

Asia Shcherbakova 01:08 Yep, okay. And shift the weight onto the heels. If you feel like doing it, try to bend the knees a little bit more. But whenever you feel like you’re getting tired, you can just extend them a little bit. But the idea is that the legs are not just straight but they are actually bent. So we are engaging the thighs a little bit. So the pelvis is not tilted forward. It’s not really tucked, but it’s just relatively neutral. It’s more neutral than when we do the forms where it’s actually perpendicular to the floor.

Patrick Oancia 01:39 Asha, do it.

Asia Shcherbakova 01:41 So relax your arms. Feel the weight on the heels And then imagine that there are strings tied to your wrists. The arms are completely relaxed. Just feel how heavy they are, maybe made of rubber. You’re not drawing the shoulders down here, just the arms are very very heavy and there are strings tied to your wrists and then somebody starts lifting. these strings pulling on the strings and the arms slowly rise to the shoulder height And when they rise to the shoulder height again, they’re completely relaxed. They’re just held by these strings. And James, if your shoulder is acting up, feel free to lower the arms or just keep them at a certain height that is comfortable. So your wrists are completely relaxed here. The shoulders are heavy, the weight is still on the heels. And then from here we activate the wrist. We imagine that we’re holding a small rubber ball in our hands. And then we turn the wrist forward. Forward as much as possible, as if the wrist weren’t to just really face forward even though it’s anatomically impossible, but you do this as much as you can. This should activate this part of the form

Patrick Oancia 03:08 Yep, yeah, I’m sorry.

Asia Shcherbakova 03:10 Keep the lights the hands lightly engaged. That’s the only part which is engaged here. The rest of the body is just falling into this position. No engagement and keep the uh weight on the heels. Whenever it becomes a little bit tiring to hold the arms in the air or you feel like your body is heating up or maybe your breathing is becoming a little bit labored, you can slowly lower your arms. arms at any point. So the shoulders are relaxed, the arms are relaxed apart from The hands which are gripping.

Patrick Oancia 03:49 Straighten the knees a bit more. Straighten the knees more. Lean back more to the heels. Yeah. Straighten the knees more. Lean back more. Right? But don’t fall. And keep them straight rather than bending too much.

Asia Shcherbakova 04:02 And the idea is just that we are relaxing into this position as much as possible, even though it may become tiring in the arms when you’re not using to it and you can lower them down but to the extent that you can hold your arms in the air the entire body is completely relaxed apart from the hands that are gripping the ball.

Patrick Oancia 04:20 Go ahead and grip the ball again. Exactly. Make sure that the pelvis is not coming forward but you are still keeping the pelvis above the heels. Like imagine and you get a squishy ball in the hand squip it onto it like it’s really awkward. The wrist turns up a bit. Yep. Even with your hands down like this, you can still turn the wrist. and squish the ball. Not turn, but torsion. Like the exactly grip the ball. Exactly. Even with it down like that.

Asia Shcherbakova 04:54 Trying to think about symmetry. Okay, so you have affected angle, affected shoulder, but symmetry is what you can attend to

Patrick Oancia 05:03 So the neck is in line with the spine it looks relaxed.

Asia Shcherbakova 05:10 There’s no tension anywhere. And if there is tension, then maybe you need to lower the arm.

Patrick Oancia 05:16 is tense if you know what I mean.

Asia Shcherbakova 05:18 The breathing is relaxed. And if it’s not relaxed, then maybe you need to lower the arms.

Patrick Oancia 05:24 All these are exactly you can move the neck a bit too if you want. You know? The shoulders stay relaxed. Yeah. Yeah, that’s it. Up and down, up and down, as you please, but even when your arms are down, torsion.

Speaker 3 05:37 But what’s weird is it water?

Patrick Oancia 05:41 Concept after just torsion, relax. Yeah, concept after. Yeah.

Asia Shcherbakova 05:46 Also when your arms are up try not to let them kind of bend like this really the arms are extended from the shoulders

Patrick Oancia 05:56 Range of motion doesn’t do that, but you are not doing any movement, you’re imagining that somebody’s pulling on your arms. And the arms are heavy. like this, right? So what you want to do is you want to take it just up, challenge that a little bit for these muscles kind of around here working. And then once it’s there, you grip, squeeze the squish the ball. Not so much. Just like it’s a big Squishy ball and squishy onto the hands. Exactly. That’s it, James. That’s it. Really good. Yeah, that’s it. Squish. Swishing ball

Asia Shcherbakova 06:43 Again, making sure that the weight is on the heels, feel the weight in your feet Completely relaxed breathing. Just trying to maintain stillness within the limits of what feels comfortable. And if it doesn’t feel comfortable, you can lower the arms at any moment. Okay, so from here we are going to start lowering the arms and when we lower the arms we’re trying to synchronize the movement with the extension of your knees. So slowly reaching far away with the arms, the arms slowly go down and as you do this you begin to extend your knees And of course, if they were more bent at the beginning, then you have more range of motion. To perform this movement. So eventually the arms go all the way down. And this is where we completely relax the arms. The knees are now extended. Make sure the knees are not locked, but we’re trying to kind of align the thigh above off the ankle and if you feel comfortable try to close your eyes or if you feel like it becomes more difficult to balance you can keep your eyes lightly open and and just gaze down. Make sure that your head is turned forward and not to the side. Try to find symmetry here. And then just try to relax. So maybe your eyes are closed or you’re just gazing down in front of you. Relax the arms, relax the entire body. Of course you’re not falling, you’re standing, but all the muscles are completely relaxed here. And just notice any sensations you might feel any Asymmetries, maybe hold tension anywhere. Just inspect your body now that it is relaxed after stillness in a position which required effort. Now this position doesn’t require Require effort. So we’re just observing what it feels like right now Making sure the belly is relaxed here. The shoulders are relaxed, everything is relaxed Okay, let’s open the eyes and bring the feet apart.

Patrick Oancia 10:49 Everybody come over. James, you can sit down. I think Marta, yeah, I think you have to push that thing up. Thank you. Thank you. Yeah, it’s just a bit noisy. Um come and sit down for a second. So we just have to go through thank you. Thank you. We just have to go through. James, by the way, is um uh experiencing some problems with his ankle. So um he was wondering whether he should come today and we said it’s uh it’s completely up to you. But uh what we always and this is a great example of how we work, what we always encourage everybody to do is irrespective of their condition, uh particularly if it’s physical, something like it could be in a joint, for example, for James it’s in his ankle, that you would continue to do everything but the thing which is uh is something which is irritating the condition. So this is a great example and I think it’s really great that you came down. But of course we didn’t tell James to come. It was his choice. We said if you feel like it’s inappropriate to stay home. So we also don’t want to give the impression that we’re forcing people to come against their own will, to persevere. But because James can’t do a lot of the standing forms or the lunges and stuff like that, it doesn’t mean he can’t draw his shoulders down or spread the fingers or move through the ribcage. or move to the neck. And this is a great example by which w uh we put emphasis on to uh all the other movements And the approach to the movements, depending on the uh gravitational position of the form, can still be applied depending on condition. So doing those helps you helps the body to stay in the rhythm of the actual practice itself as a opposed to just completely taking a break. So our idea about practice never in inserts a rest and relax We don’t believe in rest, we believe in moderation. So anybody can moderate, um, to the point where baseball’s itself, the practice. and the um in intensity at which you approach any of the movements can be moderated right down to the condition that you’re actually in. So Even if it’s not physical, it could be some somehow um i maybe you’re not feeling well emotionally, or maybe they’re you’re sick, you have a fever, or something like that. Even with a fever in bed, you could apply These different movements. The reason you would ask yourself, okay, why do we do that is because we believe that these movements and the moderation or of the application of these movements has an effect. Holistically, I’m not saying it’s a holistic practice, but has some sort of holistic effect on outcomes for people cross-domain. So Uh thank you for coming James and we’re hoping you it wasn’t too painful getting here. I don’t know how you ended up coming.

Speaker 3 13:57 Did two or three blocks walk in? It’s not so much a pain it can’t It can take weight, it’s just there’s no there’s very limited chance. It’s small.

Patrick Oancia 14:08 So what James uh is suffering from is a bit uh type of arthritis. So Arthritis. I have osteoarthritis myself, so I’m very familiar with with this similar type of pain. So the next thing is we we just wanted to we have a an outline every week that we want to approach each session on the basis of people being able to get through the assignments. It’s not responsible for us to approach the new sessions without the full completion of the assignments by the group And this is we know that everybody’s very busy and that it’s difficult to get through the assignments. But because of the rate at which people were not able to get through the assignments, we have to modify the program so that it matches the pace of the group. If that makes sense. This is not that we’re upset. It’s just that it’s not responsible for us to approach what we would do after the segment four assignment without this the assignments having been done.

Asia Shcherbakova 15:19 The assignment for the session was 87 minutes and the session is 90 minutes. If we’re going to repeat everything that was taught online, we’ll have three minutes for Uh the actual practical application. Yeah.

Patrick Oancia 15:32 Um there’s a great idea on that point very quickly.

Speaker 3 15:35 I couldn’t complete the session because I couldn’t get

Patrick Oancia 15:44 So again, I just don’t want I don’t want you to all misunderstand that I’m waving my finger at you like this. That that’s not what I’m doing. I’m just saying that we have a program that is dependent on the completion of the assignments. If the assignments don’t get completed for whatever reason, we have to modify the program so that it matches the rate at which everybody is right now.

Asia Shcherbakova 16:03 We’re not talking about one person, we’re talking about the group in general because every time before a session we just look overall at how the group is doing and we just make decisions based on the entire group.

Patrick Oancia 16:14 We don’t um so for example I Um this is not uh this couldn’t can’t be transferred to something like a a workshop in in physical education or dance or something like that were because we’re not doing that. We’re not doing physical education and dance. doing something which is requires a kind of like a an understanding of the whole picture of what we’re doing. So the physical applications that we approach, the stuff that we had planned, for example, for today. um require that the theoretical understanding and the practical application of it prior to coming down. So uh if we approach today’s sessions today’s session particularly to the forms, it could very easily be that somebody applies their already established understanding of movement to those things. That were for example you’ll know when you when you when you get through the other assignments that the the the plank and and the press up. So the plank and the the plank and the press up can be confused with physical fitness plank and press up And we don’t want that to be superimposed onto the onto the practice. Therefore, because it’s not what we’re trying to do. We’re not trying to encourage people to do a plank or a press up for the person for the perpose of persevering like you would in fitness. I love doing planks and press-ups and in the fitness concept, but uh I just want to say that. So we but what we can do is what we can go over kind of what everybody’s been able to achieve up to now more or less and we’re gonna focus on that. So today we’re gonna focus on doing more or less the same forms we did last week and we’re not gonna add to the new forms. If we see everybody catch up we’ll try to pile everything in towards the end in a way that’s going to be realistic, but otherwise we’re just going to go at the pace that everybody’s able to actually get through the assignments. We have five segments to complete. If you’ve completed your assignments and you want to practice those more, then please do repeat the practice labs on your own at home. and then you you’ll be able to experience those things as they should be, experienced along with the with the theory. So again, we totally understand how people’s schedules are busy and it just kind of seems um not manageable. to do this stuff. But I’ll emphasize more on it in this segment feedback uh the concept that we’re trying to impart uh and how it differs from what people might be used to in terms of just like showing up and and doing something which is familiar to them because what we’re doing is not familiar. It shouldn’t be familiar or Tony One. It should be completely novel. Yeah. So that makes sense.

Natalie 18:54 I haven’t I’m excited because I I have this look around the way and did all

Patrick Oancia 18:59 Yeah, but it doesn’t matter. It’s but it but it doesn’t matter. A great friend of mine, uh uh uh somebody we know from Japan, a guy called Yan Chipchase, and I’m gonna put his information information in into the segment feedback too is that Jan is a really interesting guy uh published a book got very acclaimed at what he does he goes into He works with teams of entrepreneurs to research um uh Socio-political development across teams in different countries. So it’s very, very interesting work that he does. But he does what he calls the Afghan uh for I forget what he refers to it, the Afghan expedition or something like that. So he’s by application people apply to be a part of this exhibition. And they take people into the Afghan corridor with a mountain bike with mountain bikes, and they walk in mountain bike through the Afghan corridor with like terrorists around. And the whole thing is that they they coordinate it so that it’s very it’s very safe. They have guides, but it’s physically demanding. They walk something like 200 kilometers. and they do another four or five hundred kilometers of cycling. And the whole concept with the group, it’s really interesting, and I’ll share that with you guys on the thing, is that And I really believe in this too, is that if anybody in that group is not able to physically achieve what the others are able to achieve, everybody adapts to that person. Okay, so it’s not about one person being bad. It doesn’t look at it that way. So there’s no scolding anybody about not completing stuff. It’s just we do have the program. The program is dependent on the participation if the participation goes to a certain level we participate with people at that level that makes sense.

Noemi 20:54 My question was is like the form we do something could await pain into the body. Yeah. Pain. Pain. Yeah, because my my neck, like on Sunday, my neck was totally blocked. So I know how that like injury some somewhere in on this side so I was wondering maybe it’s it’s not because of the the the formation but I was like maybe my my body is just starting to reorganize by itself. So I was I was questioning maybe it’s it could be possible that all the farm that we do it like it could sometimes await some pain or I don’t like to I I don’t like to use the word pain but you know what I mean? Like I was just like oh okay something is like reorganizing it my own body. Could that possi be possible sometimes?

Patrick Oancia 21:44 Yeah, so uh uh it’s a good question but as as we talk about in in every segment and particularly the intensity modification segment, if anything, if the by if the after effect of anything is causing any kind of pain, then it’s very important to approach that in a way which is going to be more appropriate to your condition. So I have no idea why you’d be experiencing pain in something and Natalie may be experiencing pain in some other different way. I don’t live with you and I don’t don’t know you very well. But the only thing we can say is that every movement that we do in Baseworks can be approached in a very subtle way, or if there’s some pain that comes up as a result of it then you wouldn’t do it. In relation to the body adapting, you’re you’re right about saying that there is an adaptation process. But this is with the mindset of what you’re doing in Baseworks here needs to be adapted. To then that’s not what we’re teaching. We’re teaching you to first understand what your limitations are and work around those limitations. So if something doesn’t feel right Don’t do it.

Noemi 22:56 Well, I didn’t fit it right away during the class. Actually it’s happened.

Patrick Oancia 22:59 It’s happened after So even if it doesn’t feel right after then Um the smart revisit allows you to practice at home. And uh if you can do the smart revisits at home, then you’ll be able to answer that question more easily on your own while you’re at home with the intense modifications. So there’s not only the smart revisit themselves, but there’s also the um uh the theoretical parts of the lessons. And they’re are they all um they they all have French uh captions So if it’s difficult to understand you can turn on the French caption. You know that?

Noemi 23:37 The French sometimes because I’m French maybe I have to turn the captions.

Patrick Oancia 23:42 But do you know how to turn the captions on in the bottom? There are French captions. There are subtitles. In the bottom there’s a you can switch languages and you can see the subtitles. So in the in each of these segments, there’s a lot of information about modification, and but the most important thing is the reapplication if you have time to do that on your own between. Okay, so if we’re all good I think we’ll start the practice. So we’re gonna do with what what we can today?

Asia Shcherbakova 24:17 Yes. Okay. So James, your uh affected foot will dictate how the other leg will be. So try to go for symmetry Maybe your symmetry won’t look like shoulder width if that doesn’t feel comfortable. Whatever the bed leg can do, the healthy leg adapts. Okay, so you can adjust the feet position based on your condition, but make sure that both legs are doing the same thing. Okay, and feel free to sit down whenever you feel like doing that. Okay, so we will bring feet to heap widths apart and try to bring the toes slightly in. So that the outside edges of the feet are parallel. Draw the shoulders down, bring the pelvis above the heels Make sure that the rib cage is also vertical and perpendicular to the floor so we’re not arching our chest, shoulders down. Spread the fingers Lightly grip the floor. We’re going to create distributed activation in the entire body. So we draw the shoulders down, spread the fingers. Imagine somebody is pulling on your arms. And so pulling on your arms is trying to bring you closer to the floor, but you resist by extending the spine and drawing the shoulders down so entire body kind of looks like this from two positions but don’t overdo it we want the muscles to be active but not overly active lightly spreading the fingers so that hands are active and never completely relaxed. So we draw the shoulders down, we keep the weight on the heels, maybe lightly gripping with your feet. Because there’s traction in the floor as we grip it activates more the muscles along the legs. Relax your neck So the neck is in line with the rest of the spine as its continuation, but as we draw the shoulders down, there should be no tension in the neck. And you can move your ribcage a little bit, maybe drawing a figure eight or moving it slightly forward and back, or just explore this position as you lightly move the ribcage or your spine, you can maybe feel how the weight shifts. You can feel it in your feet, how the weight shifts and you can move your pelvis just a little bit. So we’re adding these micro movements and we’re trying to keep the act activation in all the muscles and we’re just observing what’s going on. Keep drawing the shoulders down, keep spreading the fingers Okay, and then we’ll do our squat a couple of times and try to maintain the same quality of awareness and activation as we do that. So first we will keep spreading the fingers. We’ll bring the arms forward and maybe diagonally up Making sure that the weight is still above the heels. If at any point it becomes very tiring, you can lower the arms a little bit, but just keep this quality of awareness. Spreading the fingers, join the shoulders down so that we feel that the arms are active. And then from here, as if somebody is pressing in the crease of your thigh, you begin to shift the pelvis back, making sure that the Um Natalie, sorry, I meant that like we begin to hinge. Yeah, like that. Yeah. So the pelvis goes far behind behind your heels. So your knees are extended, you hinge in the hips, and your lower back is extended. And then from here we’ll bend the knees a little bit. And when we bend the knees, make sure that the knees don’t go inward, the knees stay above the feet. We keep drawing the shoulders down. And we don’t go too deep into this. If you feel like this position is tiring, you can just unhinge a little. A little bit and stay a little bit higher. The depth is not important, the form is. Keep drawing the shoulders and spreading the fingers.

Patrick Oancia 28:31 Straight knees more.

Asia Shcherbakova 28:32 Okay. And then we’ll slowly come out, unhinging, reversing the movement. So the knees extend. Hips extend and the arms slowly move down to the sides of your.

Patrick Oancia 28:45 Okay, straighten up. Straighten up

Asia Shcherbakova 28:48 Okay, so we’ll do it a couple of more times and we want to just achieve this perfect hinging where the ribcage and the pelvis stay aligned. They should stay don’t want any movement between the ribcage and the rivet and the pelvis. So one more time.

Patrick Oancia 29:00 Spread the fingers, draw the shoulders down.

Asia Shcherbakova 29:02 Arms go slowly diagonally forward.

Patrick Oancia 29:06 To offset the weight.

Asia Shcherbakova 29:08 And then the pelvis begins to move back the lower back remains straight and we lightly bend the knees here.

Patrick Oancia 29:16 And then as as you start to do it.

Asia Shcherbakova 29:17 Keep drawing the shoulders down, keep spreading the fingers. The knees are above the feet. Control the depth. Don’t go too low. Spread the fingers drop the side. The neck is in line with the rest of the spine. Keep spreading the fingers. Okay. And then slowly unhinging. Knees extend, hips extend, and arms go down.

Patrick Oancia 29:37 Synchronize these movements. That’s really good.

Asia Shcherbakova 29:40 And we keep spreading the fingers and lightly drawing the shoulders down. Okay. James let’s come out.

Patrick Oancia 29:48 I had James. Had James stay in a little bit longer.

Asia Shcherbakova 29:50 Ah, okay. Okay. Double street stream of instruction. Okay. Okay, so now we’re going to enter by synchronizing the arms and hips and the knees at the same time time so as the arms begin to move forward the hips shift back and we kind of lightly bend the knees and we do it with maximum awareness and join the shoulders down spreading the fingers

Patrick Oancia 30:12 fingers making sure that the lower back is not rounded here the your shoulders down the form is really coming from um uh okay and then slowly bringing the arms down and But um when you’re doing the transitions, try to make it a little bit more loose. Yeah, like that

Asia Shcherbakova 30:35 And we will do it one last time.

Patrick Oancia 30:37 So spread the fingers.

Asia Shcherbakova 30:39 Arms go forward. In the hips, the lower back is completely straight. There is no arch in the pelvis is not tilted forward. It just moves back. And then we bend the knees from the hair.

Patrick Oancia 30:53 This is what this is what you You see?

Asia Shcherbakova 30:56 Okay, very good.

Patrick Oancia 30:57 Drawing shoulders down for the fingers. Pelvis.

Asia Shcherbakova 31:00 Okay. And then arms go down as we extend the knees and extend the hips.

Patrick Oancia 31:05 Like this around. And try to get this feeling of like this part, yeah.

Asia Shcherbakova 31:20 And bring the leg back. It’s very similar dynamics in what’s happening with the pelvis and the upper spine. So we’ll try to find the upper body will be moving in exactly the same. So the legs do something different, right? But what the upper body is doing is the same. So we are looking for that dynamics in the upper body, but the legs will be in lunging position.

Patrick Oancia 31:41 So don’t bring the arms up.

Asia Shcherbakova 31:43 And James, for you you will be just working on kind of leaning forward and leaning back. And because it’s a lunch, also lifting the ribcage from shorts. Lift in return. So feet are heap width apart. We are drawing the shoulders down, we’re spreading the fingers.

Patrick Oancia 32:00 So I just want you to think about this.

Asia Shcherbakova 32:01 Same as with lunch, we first bring the arms diagonally forward to set up the offsetting of the weight. right now then we hinge a little bit back and bend the knees. We’re essentially coming into a light squat. So that’s what we are transition. We shift the weight onto one leg. Your upper body is still doing a squat. Let’s shift on the right leg. Yeah, sorry didn’t specify. So we’re shifting on the right leg, upper body doing the squat. The left foot goes back. It doesn’t have to go too far back, but just where you can bring the tiptoe onto the floor.

Patrick Oancia 32:34 That’s looking better now.

Asia Shcherbakova 32:35 And pull the legs away for stability here. Make sure that the back heel is not dropped, but as high on the tiptoe as possible. possible so your upper body is doing a squat your lower body is doing a lunge you’re pulling the legs away for stability find a completely straight line upper body and the leg one straight line join the shoulders down The pelvis is looking forward. So your upper body is doing exactly the same thing that we what we were doing in the squad. And then from here as we wiggle the ribcage, we try to lift the ribcage a little. Make sure there’s no compression in the lower back. You’re pulling the legs away or drawing the shoulders down. And then lean forward one more time, find the straight line Shift the weight very slowly to the front foot, no snapping out of it. Return the left foot to hip width apart, weight to center. We’re kind of back to squat here, a very light one. And then arms down and extend.

Patrick Oancia 33:35 And just wait a little bit here, we’ll do the other side. But that’s normal for everybody that same way. So Okay. So draw the shoulders down, spread the fingers.

Asia Shcherbakova 33:44 Pelvis is above the hips. Arms go diagonally forward. Yeah.

Patrick Oancia 33:48 Push the pelvis.

Asia Shcherbakova 33:49 Very slow movement. All the muscles are active, draw the shoulders down. Hinge in the hips and knees. Light squat. Shift the weight onto the left foot. Think about. As we do this, the pelvis stays parallel to the floor. Upper body is the same position as the squat. The right foot goes back onto the tiptoe. It lands, the heel is really really high up. That’s good to maintain balance. We pull the legs away. Make sure that the front knee is just above the heel, not forward, not down. Backwards so we pull the legs away, draw the shoulders down.

Patrick Oancia 34:20 Last thing to do. Find the straight line between the heel and lifting the key. Wiggle the ribcage. I state the movement from the chest.

Asia Shcherbakova 34:38 That actually unbalances you. The movement is in the rib key.

Patrick Oancia 34:41 So the arms don’t leave the chest.

Asia Shcherbakova 34:43 This is the ribcage. And as we wiggle the spine, we lift the ribcage a little bit.

Patrick Oancia 34:47 You keep pulling the legs away. That’s better. That’s much better.

Asia Shcherbakova 34:50 You draw the shoulders down. So at this point we break the straight line.

Patrick Oancia 34:53 The rib cage lifted from there.

Asia Shcherbakova 34:56 And then we lean forward finding the straight line one more time.

Patrick Oancia 34:59 Like what we do.

Asia Shcherbakova 35:00 And then shifting the weight onto the front foot, right foot returns to back to keep width apart. We’re in a light squat and we exit. Okay. We’ll do it another time slightly faster this time. Paying attention to the quality of movement.

Patrick Oancia 35:17 In between, just do a little in between do not not like this The pelvis, in between just a little bit with the pelvis, like a circle, not side to side, a circle. Just for her. Not for the rest of you. I just want her to do this with the pelvis. Look, circle. Circle around more, yeah. Exactly. Uh but but in small movements, yeah. Everything can sorry.

Asia Shcherbakova 35:43 Yeah, so draw the shoulders down, spread the fingers. Um return the feet always back to heap So we never allow the toes to go out like this. Actually, when the toes are slightly in, especially for people who tend to have knees like always rotated inwards like this. This position grip. See how it straightens the knees? And then as we send squat, the knees are forced to be in

Patrick Oancia 36:10 As long as it’s not a good idea.

Asia Shcherbakova 36:11 So that helps correct for some people walking patterns where you know sometimes people walk and the knees collapse or they run and the knees collapse. So this position of the feet and this hinging and work on a squat like this is really helping that pattern. Okay, so the toes slightly in, outside edges are parallel, draw the shoulders down, spread the fingers, arms diagonally forward, very slow movement Hinge for transition, so hips hinge, knees bend, shift the weight onto the right foot and left foot goes back onto the tiptoe. Find a completely straight line from the heel to the top of the head, back foot on the tiptoe and pull the legs away.

Patrick Oancia 36:55 If the neck hurts.

Asia Shcherbakova 36:56 Caitlin, lower the tip to it.

Patrick Oancia 37:01 So we grip, we pull away. So straight line, wiggle the spine from side to side.

Asia Shcherbakova 37:08 And as we wiggle, we lift the ribcage.

Patrick Oancia 37:10 And then if you want to.

Asia Shcherbakova 37:11 And James, try to really focus on this movement. This is something that you can do. You are straight like this, and then you wiggle and lift the ribcage. Draw the shoulders down, pulling the legs away. Everybody who is lunging.

Noemi 37:22 Draw the shoulders.

Asia Shcherbakova 37:22 And then lean forward, finding the straight line one more time. Shift the weight into the front foot. Left foot goes back to keep width apart. Return to center. Slowly lower the arms. and unhinge. Okay and the last side. So arms diagonally forward, spread the fingers, draw the shoulders down. Pelvis back, bend the knees, we hinge Shift the weight onto the left foot.

Patrick Oancia 37:48 Exactly.

Asia Shcherbakova 37:48 Pelvis is parallel to the floor.

Patrick Oancia 37:50 Right foot goes back high on the tiptoe. That’s fine, yeah.

Asia Shcherbakova 37:53 Pull the legs away. Make sure that the pelvis is looking forward, like when we’re doing squat with the upper body. So leaning forward, finding the midline. We’re going to the spine from side to side, draw the shoulders down.

Patrick Oancia 38:06 Exactly.

Asia Shcherbakova 38:07 Really slow micro movements as we draw the shoulders down. And then as we wiggle, we lift the ribcage a little bit. Keep pulling the legs away. The legs don’t move at all on the ribcage moves. Noemi keep activating the legs. Fixing, separating, isolating. You create the foundation by pulling the legs and that’s what helps to isolate up body lower body leaning forward finding the straight line one more time shifting the weight on the front foot right foot return to heap width apart arms slowly down Okay, very good. And whenever we return, we try to return to heap width apart. Okay, let’s bring the legs wider now. We’ll do our star form and then do the star Start tilt a couple of times. So feet are slightly wider than heap widths apart, not too wide here because we’re going to after that turn our legs like this. So maybe about this width.

Patrick Oancia 39:06 So this one if you want you can keep your hands.

Asia Shcherbakova 39:09 James are feeling comfortable in this standing position. Okay. So ideally your toes are also slightly in, so outside edges of the feet are Again, no lifting the chest here. The ribcage is above the pelvis. We want to be as tall as possible. So the ribcage is trying to go up as we draw the shoulders down. Pull the legs away, activate the legs and try to not forget about it. So it’s not like we pull away and just forget. We pull away and we keep pulling. So the legs remain active Draw the shoulders down, activate the fingers, make sure the chest is not lifted, and now lift the arms to the shoulder height. And this is not what we do at the beginning of the class when we do the ignition because it a completely different feeling of the movement. The arm is completely active as we do this. Intentional. Draw the shoulders down. As you draw the shoulders down, the spine wants to extend up and will resist by drawing the shoulders down. Try to be aware of this line of the arms because later we will be doing various twists and tilts. And we never want This line to break. So as we pull the legs away, try to be aware what it feels like when your arms are in this position. Don’t forget to pull the legs away.

Patrick Oancia 40:32 You don’t have to lift the arms and water.

Asia Shcherbakova 40:33 Pull the legs away, activate the arms, draw the shoulders down. Maybe the rib cage is slightly pulled back so that it’s completely vertical. Again, entire body is slightly active here.

Patrick Oancia 40:44 But so from here we will strong start it just means active.

Asia Shcherbakova 40:49 Turning to the side. We’ll start from the right foot. Open the right foot to the right about 90 degrees and then drop the back heel back and as a result the pellet actually bring the hands on the hips let’s first do sorry let’s return so bring the hands on the hips let’s do the legs first and we’ll add the arms so um legs are In this position with the feet parallel, right foot opens, feel like at this point naturally your pelvis opens. The back heel goes 45 degrees back and feel like maybe it might also turn your pelvis a little bit You want to find a position where it kind of feels naturally in between your legs. Pull the legs away. The exact direction is really various person by person.

Patrick Oancia 41:36 So you pull the legs away. Just a little bit more.

Asia Shcherbakova 41:40 Hands on the hips. And then imagine then there is this plane here. You can see this one?

Patrick Oancia 41:45 So your arms would be here and they would go onto your hips. have to and keep your elbows to the sides, create this flex you to have this feeling. And then we’ll start tilting the foot without breaking this flex.

Asia Shcherbakova 41:59 See the ribcage and the pelvis. They are connected We’re not leading with the chest here. The chest and the repeat are connected. It’s the pelvis that tilts. You can imagine that somebody does this movement with it. Somebody comes to you, holds your pelvis, and tilts it.

Patrick Oancia 42:16 Looks good.

Asia Shcherbakova 42:17 Mm-hmm. Pull the legs away. As you pull the legs away, just try to feel the pelvis and the ribcage. Does it feel exactly like it would feel when you’re sitting there?

Patrick Oancia 42:31 As we activate a window.

Asia Shcherbakova 42:35 This is kind of a little bit more.

Patrick Oancia 42:36 I want to naturally so and then slightly coming up. Even just with the case, you can’t do that.

Asia Shcherbakova 42:44 Returns the feet to peril. And we will do the other side So the left foot opens to the side ninety degrees, back heel about forty-five degrees back, and then just kinda wiggle your hips a little bit. And try to see what’s the most natural diagonally in between the legs position of your pelvis. Pull the legs away to activate the muscles around on the hips and again so hands on the hips and the pelvis tilts and the rest of the body follows You can draw the shoulders down here. You keep pulling the legs away. The rib cage and the pelvis remain in the same orientation. And then we come up Return the upper body to upright position and return the feet back to parallel. So now we will add the arms.

Patrick Oancia 43:36 There’s no pain.

Asia Shcherbakova 43:37 Bring the arms to shoulder height. When they’re too wide, bring the legs just a little bit closer to the shoulder. The right foot goes forward and okay. And let’s return back. Watch me just for a moment. Arms follow the pelvis. So look what happens with my arms. As I turn the leg and the pelvis turned, see how my arms turn together.

Patrick Oancia 44:02 Maybe don’t turn so much to to 90 for today. I was just telling everybody a little bit less

Asia Shcherbakova 44:07 Yeah, okay, let’s turn yeah. Because look, leg position series is just not important. Uh a lot of the time people ask what’s the direction of the till? Like where my arms are. Really, that’s case by case. It really depends on all the proportions. The point is that we want you to be able to tilt without breaking the relationship between the ribcage and the the pelvis. Yeah so okay let’s not do the full 90 let’s do slightly less but important point is that as my leg turns my arms move together with the shoulder Yeah? See?

Patrick Oancia 44:39 So like the upper body it moves with the position of the pelvis. It becomes kind of robotic. Robotic. Yeah, like this.

Asia Shcherbakova 44:50 Yes, yes, exactly.

Patrick Oancia 44:52 But this is maybe also the robotic part of it too sometimes when people are first trying to understand it is one of the things that might bring tightness Let people feel like, ooh, it’s rigid, it’s robotic, and it might be in tightness. So yeah, occasionally if you want you can do a release thing like this. But eventually we don’t even want you to do the release thing. We just want you to understand how to use to be moderate enough so that it becomes you don’t need to release if that makes sense. sense. See, the movement itself shouldn’t cause any tension. It should just, the body should just follow in the direction that it moves.

Asia Shcherbakova 45:29 Yes. And to make it easier, so to avoid this stuff from happening, really draw the shoulders down, pull the arms away. Imagine if you’re holding something in your arms. Imagine there’s like a stick here If you really held a stick in front of you, you won’t be able to move your arms independently. So feel like you’re holding something in your arms to all the shoulders. Really focus on this feeling. Connect the ribcage and the pelvis. And then the right foot will open, do it slowly, and feel how the arms turn together the pelvis.

Patrick Oancia 46:02 Don’t turn turn don’t turn out too much. You’re going to ninety. A little bit less.

Asia Shcherbakova 46:09 It’s not that it’s too much at ninety.

Patrick Oancia 46:10 It’s just easier to understand what is less than ninety.

Asia Shcherbakova 46:13 Okay, and then the back heel will go slightly more back. So set yourself up. Feel the pelvis, the shoulders, the arms, everything is one chunk. And then imagine that somebody holds your pelvis. Now you cannot hold your pelvis because your arms are out, but somebody does it for you, and this person tilts your pelvis for you.

Patrick Oancia 46:35 Don’t leave it the chest.

Asia Shcherbakova 46:37 Not the ribcage.

Patrick Oancia 46:38 No.

Asia Shcherbakova 46:39 The pelvis.

Patrick Oancia 46:41 Pelvis. This crease.

Asia Shcherbakova 46:42 Tilt.

Patrick Oancia 46:43 So the left hip. The left hip goes back and the body follows.

Asia Shcherbakova 46:48 As we tilt.

Patrick Oancia 46:49 What you’re doing first. Is you’re doing just do it a couple of times.

Asia Shcherbakova 46:53 Just to feel the dynamics.

Patrick Oancia 46:55 Arms stay in line with the shoulder.

Asia Shcherbakova 46:57 The rib cage and the pelvis are connected.

Patrick Oancia 47:01 And with the This is the way that the body wants it move You understand that? Yeah? So try to s uh you this one’s still hanging behind, right? Yes. So turn? Yes. The hip? This one still wants to hang behind.

Asia Shcherbakova 47:14 Let’s do it a couple of times.

Patrick Oancia 47:16 Do it too much, almost.

Asia Shcherbakova 47:18 Caitlin, bring your hands on the hips and do it with the hips.

Patrick Oancia 47:22 So wait Slowly moving.

Asia Shcherbakova 47:23 Do it a couple of more times. Just try to feel what’s happening in the hips because it’s actually quite complex movement. We are moving in one hip and the other and it’s very asymmetrical. Practice the tilt on your own. Try to get the dynamic.

Patrick Oancia 47:36 That’s it.

Asia Shcherbakova 47:37 Mm-hmm.

Patrick Oancia 47:38 Yeah.

Asia Shcherbakova 47:42 Caitlin looks good now, arms out and try to repeat that.

Patrick Oancia 47:45 No. Yes.

Asia Shcherbakova 47:47 That’s it.

Patrick Oancia 47:48 Is this

Asia Shcherbakova 47:49 So a couple of more tilts.

Patrick Oancia 47:51 Come back up.

Asia Shcherbakova 47:52 Just try to get it. The rib cage on the pelvis and the arms are all connected in one chunk. And as you do that, try to really pull the legs away as well.

Patrick Oancia 48:04 Yeah. Turn.

Asia Shcherbakova 48:05 So you’re essentially activating the muscles around the hips, and these muscles have to contract in a different pattern as you do the tilt. So you’re doing two different movements which compete for the same muscles. One is pulling the legs away and another one is the tilt.

Patrick Oancia 48:19 It’s a bet better, better. Now push this back up and then come back up center like this. So returning. Let’s see, James, you are his arm still hangs back. Yeah. See how your arms are in line with your legs. It’s got to move with the body.

Asia Shcherbakova 48:35 Turn the pelvis.

Patrick Oancia 48:36 It hangs back and this is coming from yoga palates and stuff like that. Look at me. Or from some other development. This is a symmetry, arms out. What we want is we want the hip to drop and then this is

Asia Shcherbakova 48:50 And this is how you tilt.

Patrick Oancia 48:52 Yes, that’s exactly at night. So I’m I’m exaggerating the direction of your movement a bit right now just so you can understand. Later it doesn’t need to be so exaggerated.

Asia Shcherbakova 49:01 Okay, so everybody first let’s return to symmetry and then we will do the other side.

Patrick Oancia 49:07 So everybody relax for just relax for one second. I just want to show as I was showing Natalie and Eleanor. The movement is That when you turn, the body follows. So think about the body following, not this, or not This but more like this hip drops, the body turns. So even just very subtle movement like this hip drops, the body turns. I just enter. This hip drops, the body turns. It’s very robotic again.

Asia Shcherbakova 49:49 And essentially in all these lunges what we do is that we basically try to control and feel the ribage and the pelvis because like for example When the body is tilted forward, see like now it’s connected, what we can do is that we can lift the ribcage, we can tilt the ribcage we can twist the ribcage or in when the legs are asymmetrical we can tilt and then from here potentially we could also lift and we could tilt and then we could twist. So it’s just it’s very simple movements but because this is not how we think about moving our body in our daily life, it really takes a lot of effort to figure out what you’re supposed to To do. Okay, so let’s just do the other side one more time so that we train the other side as well. So arms out into star form, draw the shoulders down, spread the fingers The left foot will open less than 90 degrees. Let’s return. Let’s just practice this transition just a couple of times. As the foot opens, the arm turn. And return to hip width apart. As the foot opens, the arms and the pelvis turn together. Yes. Good. Return one more time. Let’s do it one more time. So the foot opens, arms and pelvis turn. The back heel drops a little bit back. Draw the shoulders down, spread the fingers. Really feel these, the line of the arms And then we will tilt. The pelvis will tilt. And return. And if you don’t feel like you’re getting it with the arms, just bring the hands on the hips. Do this movement a couple of times with the hands on your hips and then repeat with your arms. And if you practice with the arms Then just really try to feel how the arms remain in the same position. Do a couple of tilts. So it’s more diagonal. It’s more Like this, yeah, and when you tilt, yeah, that’s the tilt. Yes, see? That’s the movement.

Patrick Oancia 51:55 But you are even if you just do very subt sh like this short movement. See the arms don’t become independent. This one doesn’t go back.

Asia Shcherbakova 52:05 Couple of more tilts.

Patrick Oancia 52:08 It’s better. Yeah.

Asia Shcherbakova 52:09 And return. And when you sometimes you feel like you’re getting it and then you’re losing it again. Whenever you’re losing it again, just bring the hands back on the hips and do it with the hands on the hips. A couple of more tilts in your own pace

Patrick Oancia 52:23 That’s it, Caitlin. Better. That’s exactly it. Don’t let the back arm hang. That’s it.

Asia Shcherbakova 52:31 A couple of more tilts in your own pace. Try to get

Patrick Oancia 52:35 Mm-hmm. And then now try to make the movement less gross, less big. So tilt the pelvis a bit. Yeah.

Asia Shcherbakova 52:47 Caitlin, look at me.

Patrick Oancia 52:49 You’re doing before is ridiculous.

Asia Shcherbakova 52:51 Not just tilting. You’re kind of sub Doing also something like this or adding an additional twist which we don’t really need. It’s only the pelvis. From here there is this Imagine that there’s a surface and you’re just moving with it that surface. We don’t do an additional twist at the tilting step. Yes. What you do right now is good. Yes. Arms out And just tilt.

Patrick Oancia 53:17 Back up.

Asia Shcherbakova 53:18 Yes, kind of like that.

Patrick Oancia 53:19 And then when you come back, returns. Yeah. So yes.

Asia Shcherbakova 53:23 The depth of the movement here is essentially determined by how much you can come back

Patrick Oancia 53:29 Abduct this leg.

Asia Shcherbakova 53:31 See?

Patrick Oancia 53:32 Small movement. Small movement.

Asia Shcherbakova 53:33 For some people it can also be limited by this probability. Maybe like for me the deepest possible movement will look like this. See how this creates an angle between the leg and the upper body.

Patrick Oancia 53:48 No, but I just stop for a second everyone. Yeah. So um there’s one point that I try try to one thing I should have mentioned too at the beginning when we was talking about after I feel tense. Uh uh uh if there’s no pain, even if there’s no pain, but there’s a kind of um a tightness, does that make sense? Like if the shoulders up and your neck is tight, you feel like tight, you feel like, ah, I have to read. Then something needs to be modified so the neck doesn’t feel tight. So when the shoulders draw down, if the neck feels too tense, release the intensity of the shoulders drawing down. Don’t draw them down so much. Find the point whereby the neck can still move. Does that make sense? Yeah? Because then sometimes the continued activation of the practice will cause the neck to get tense. Like for example, noemi’s condition, she goes home and she feels a tense neck It’ll be it’ll come after from overdoing the movements. Okay, did that make sense? Yeah Okay, so any movement, same thing. If you feel tense somewhere, reduce the intensity by X percentage.

Asia Shcherbakova 55:02 Yeah. Okay, so now that we practice this tilt, we are going to practice the twist in the lunging position. So let’s return the feet back to heap width apart. And James, you will be just tilting forward and then you will be twisting from there. Okay. So remember upper body starts like in a squat. Uh no, not like in a squat because arm arms will be here. Okay, but this hinging dynamic in the upper body the same. So feet are hip width apart. Let’s see. Let’s bring the arms forward so that we can do the transition cleanly. Draw the shoulders down, spread the fingers. We hinge and we bend the knees. This is how we enter. We will shift the weight onto the right foot And then the left foot goes back high on the tiptoe. Yes, we find the straight line here. Find the straight line. And then from here, bring the arms to the shoulder height. Now we have these T arms, we don’t want to break completely straight line from the heel to the top of the head. Pull the legs away. When you pull the legs away, it helps to stabilize the fibre.

Patrick Oancia 56:14 We can. The upper torso only.

Asia Shcherbakova 56:16 The pelvis won’t move from here. Yeah, Natalie, you need to find a straight line or slightly a little bit high. Like when you are standing, the heel, the hip, the shoulder, the head all on one straight line.

Patrick Oancia 56:27 Everybody come stand for a second. Come back up. So in a similar way to when we were doing this, right, the upper torso is moving with the position of the movement of the hips When we step back in the lunge, the upper torso will automatically drop. Does that make sense? So this is standing straight. So if I keep my upper torso in line with the back leg, when I step back, it’ll drop. Not lift. The lifting is the last part that we do gonna do in the lunge, yeah. So think first in the lunge is always when you step back, there’s a tendency to lift the chest already, like this. That rather than lift the chest Hinge and then upper torsi in line with the back leg. Think of that first in line with the back leg and then later we’re separating this movement so that the sternum moves forward and up, but the lifting of the sternum is the separation of the sternum and the pubis more. So it’s like the belly becomes long as opposed to Lifting immediately because this lifting movement is is is governed by the movement of the chest as opposed to The lifting movement here is governed by this position of the sternum trying to follow a circumlinear line up.

Asia Shcherbakova 57:46 Also, as this movement happens, the back leg remains completely straight and strong because the tendency is that when the uh chest starts to lift this knee wants to bend. Show what happens to compensate.

Patrick Oancia 58:00 Okay, try it again

Asia Shcherbakova 58:02 Okay, so let’s kind of try to enter slightly faster so that we can do the twist before we get tired. So draw the shoulders down, spread the fingers. Arms go diagonally forward Shoulders down, hinge and bend the knees. Shift the weight. Let’s do left side first. So shift to the left foot. The right foot goes back onto the the tiptoe and ideally you should have landed in a position where you’re straight the heel to the head straight line so pull the legs away find the straight line arms to the shoulders shoulder height draw the shoulders down spread the fingers So feel the straight line. Then from here as you pull the legs away the pelvis doesn’t move. From the center of the chest, the rib cage begins to turn to the left And you don’t break the line of the arms. Keep drawing the shoulders down, spreading the fingers as if you’re holding something in front of you. The arms are not

Patrick Oancia 58:59 The ribcage and then the ribcage follows the return.

Asia Shcherbakova 59:03 Find one more time the straight line.

Patrick Oancia 59:05 That’s it.

Asia Shcherbakova 59:05 Then arms come forward so that we can balance effectively Arms forward. Yeah. And then step forward and then return the right foot. Hip widths apart and arms left. Yes, that was a very good transition. Essentially we use the arms to offset the weight here because if we don’t use the arms and we just kinda step like this, we cannot bring the foot back enough So look when my arms are here, this is where my foot can go. See? But if I bring my arms like this See how much more I can go because arms have weight we balance. So let’s do the other side and the twist on the other side. So shoulders down spread the fingers Arms go diagonally forward with control, shoulders down, hinge, bend the knees. Shift the weight now into the right. Left foot goes back in line with the upper body. If you feel like you can lean more and widen the stance, but you don’t have to because it’s a bit So straight line, arms to the shoulder height, spread the fingers, draw the shoulders down. From the center of the chest, twisting to the right. Keeping the line of the arms.

Patrick Oancia 01:00:17 Keeping the line of the arms. And even when you’re doing that, you should be able to do that.

Asia Shcherbakova 01:00:25 Return to center. Arms forward. that it’s easier to balance, shift the weight onto the front foot, left foot returns to hip width apart, center and unhinged. Arms down.

Patrick Oancia 01:00:38 Okay.

Asia Shcherbakova 01:00:38 Extend the hands. Knees and the hips. Okay, we’ll do one more time. A little bit faster. Draw the shoulders down, spread the fingers. Adjust according to the arms are going to go forward. Arms remain active, hinge in the hips and the knees. Shift the weight onto the left foot. Right foot goes back kind of in line with the body find. A tiptoeing position where you feel comfortable. Find the straight line, heel to the head, arms to the shoulder height, T arms. From the straight line, from the center of the chest, twist to the left.

Patrick Oancia 01:01:11 And then out

Asia Shcherbakova 01:01:16 From the shoulder sockets, one straight line.

Patrick Oancia 01:01:18 You’re pulling the legs away, return the arms to center. Sorry, that one I can see.

Asia Shcherbakova 01:01:23 Arms come forward.

Patrick Oancia 01:01:24 Just move in the center.

Asia Shcherbakova 01:01:25 We balance forward onto the front foot. We turn the right foot. Arms?

Patrick Oancia 01:01:32 See what I mean? Start to turn the hand.

Asia Shcherbakova 01:01:34 Let’s do the left side. So arms go diagonally forward, spread the fingers, draw the shoulders down. Center. Hinge in the hand he knees and hips. Shift the weight onto the right foot A left foot goes back. Completely straight line. Weight into the tiptoe to the head, straight line, arms to the shoulder height. Mm-hmm. So find the straight line from the center of the chest, twisting to the right.

Patrick Oancia 01:02:01 Lean forward more. Exactly. So you can understand.

Asia Shcherbakova 01:02:03 Pulling the legs away, the front knee stays above the hips.

Patrick Oancia 01:02:07 This one still leads a bit this arm. Yeah. So returning to the right. On the adjustment, arms forward step to the front of the foot.

Asia Shcherbakova 01:02:17 inner thigh.

Patrick Oancia 01:02:18 Bring both feet to heap to the part and arm. It becomes like a robot. Turn back first.

Asia Shcherbakova 01:02:22 Maybe what happens to you is that as you twist your hip goes in.

Patrick Oancia 01:02:27 Yeah.

Asia Shcherbakova 01:02:27 Like this, see like this happens. We pull the legs away in order to stabilize this. And then when this is stabilized here we see this is not like we cannot use the hands here to guide because it’s more like this. Yeah, better. Yeah. Okay. Uh I think that’s maybe it for our standing form for today.

Patrick Oancia 01:02:51 Yeah, so let’s uh let’s sit down shift.

Asia Shcherbakova 01:02:54 Let’s see what the time is.

Patrick Oancia 01:02:55 Yeah we’ll let’s sit on the floor.

Asia Shcherbakova 01:02:58 Wow.

Patrick Oancia 01:02:59 Where where are we at right now?

Asia Shcherbakova 01:03:09 I can practice like this and then

Patrick Oancia 01:03:11 Hands lower. Hands lower.

Asia Shcherbakova 01:03:13 You can like kind of you can keep no Patrick for the twist you cannot do that for the twist. That’s confusing. For the twist yes. Yes, because it’s the rib cage which is turning in relation to the pelvis. Yeah.

Noemi 01:03:30 I’m trying to do that.

Patrick Oancia 01:03:34 So it’s our time uh right now? Is that ten eighteen? And then when we’re gonna do it. Pretty good though. Um when is our what is our cutoff time?

Asia Shcherbakova 01:03:46 Well like this. The idea was that we have this much until this simulation. Ideally we can do all right perfect.

Patrick Oancia 01:03:53 All right.

Asia Shcherbakova 01:03:54 Let’s do maybe uh some inflections and visit, maybe okay yeah.

Patrick Oancia 01:04:00 So I think you can sit on the chair, James, and you’ll be extending your legs forward if you can when you’re sitting onto the chair, if you can straighten them. Yeah, exactly. Mm-hmm. Uh when we go into the forms where we’re where we’ve got the legs straight, you can straighten and follow through. Not now but after. You’re trying to get used to it. Okay. You can shuffle shuffle and just okay so let’s let’s hang on to the knees here first like this. First when you’re interlocked and connected onto the knees. Let the the neck relax first and and the arms are connected to the knees so the shoulders should be relaxed initially. So what we want to do is really let the belly go soft. We want to with this hooking here, we want to feel like we’re really able just to hang and relax from the first from the first uh starting point. Alright, so we’re gonna slowly let the arms go and we’re gonna lean back like this And James, when you’re on the chair, you can go more to the edge of the chair and just lean back a little bit. Try trying not to touch your back to the back of the chair, but just to stay more upright like this. So that uh You can feel a little bit how it activates the abdominal wall. Otherwise, everybody else can lean back a little bit more and you’re finding that tipping point. And James, you don’t have to lift the feet.

Asia Shcherbakova 01:05:39 Around the spine.

Patrick Oancia 01:05:40 And then with that tipping point here we want to find a way to reach the arms down, lower to the side of the body, at the same time we’re extending through the balls of the feet as we press forward and up, lowering the arms down like this, and then lift the chest once. Now with the balls of the feet pressing forward like this, we’re going to lower the legs down to the floor. And when we lower the legs down to the floor like this, look toward the toes. and see that the heels are away from each other. So the heels should not be together, that the balls of the feet are touching, as you can see that. See them trying to touch the balls of the feet together. And that the heels themselves are apart from each other. So balls of the feet touching heels are apart. And then the legs want to rotate inward like this. Like this one. Take the you can take one arm off the floor and bring it forward like this. You can lead with the right arm. The shoulder and then the left shoulder leads forward like this and the upper spine automatically does a flex. And then as you start to come up Keep the upper spine flexed. Keep the balls of the feet extended. The ankles and legs are active. The calves are pressing down towards the ground. You may get to one point where you feel the flexibility stops you If in the hamstrings, if you can go a little bit further, you can continually activate the legs. The legs are almost rotating in towards each other as the ankles extend, the shoulders draw down Continually draw the shoulders down. The fingertips are just light on the floor beside you. The back of the calves are pressing towards the floor. The balls of the feet are pressing forward. The legs are rotating internally towards each other as you draw the shoulders down. The neck is relaxed, you can see here. So the neck becomes relaxed. And now what we’re doing from here is we’re trying to go from our spinal flexion to spinal extension. So as we start to extend the spine, we may need to adjust And come more upright to extend the spine. If you have more level of flexibility in the hamstrings, you might go diagonally forward and up. But we don’t want the lower back to become round, so if there’s less flexibility, you want to adjust yourselves just so that you come upright so that the spine is straight. And the shoulders continually draw down, and you’re doing these very subtle movements through the rib cage and chest as the shoulders continue to oppose those subtle movements. like this, but the navel doesn’t draw towards the spine. It’s only the shoulders drawing down and the rib cage floating. As the arms are out to the side, shoulders are drawing down. You’re gonna draw the shoulders down continually as you flex and roll back. So the shoulders draw down as you flex and roll back. See I’ve I’ve released my hands. That’s right. The balls of the feet are continuing to press forward. As I roll back, I’m still flexed and extended. And the feet just automatically lift. And then we’re going to bend the knees. And we’re going to hang on to our knees like this.

Speaker 6 01:08:40 Relax.

Patrick Oancia 01:08:40 And we’re gonna let the soles of the feet lower down to the floor and we’re gonna hook around to the front of the legs again one more time So when we’ve hooked around to the front of the legs, if you want here, you can just check to see maybe if there was a bit of tension or something like that. So again, these things that we’re doing here, these these micro adjustments They’re really useful when you first start practicing Baseworks because it helps to release any kind of tension that might have come up or on days where you’ve um overassumed the level of calibration you can move. But ideally in any of the movements what we want is Enough consideration around the dynamics of the activity that these won’t be so necessary at the end of the day. But feel free to do them when necessary. So we’re gonna let go again. We’re gonna hang back. We’re gonna hang back onto the knees. So this is hanging. And then once we hook onto the knees, we’re gonna tilt back so that our feet lift up off the floor. And with our feet suspended up off the floor here, we’re going to lead with this arm. We’re going to push the right palm forward, leading with the right shoulder. And then we’re going to lead with the left shoulder as we push the left palm forward. And then from here, either the knees come up to about this height with the ankles extended, or you can straighten the legs completely. Whichever you’ve chosen to do, the last step is to lift the chest up as we press the palms forward. So either the legs are straight or the knees are bent and the chest is lifting. Continually draw the shoulders down, continually spread through the fingers, the palms of the hands are active. Now bend the knees, hook on. Lower the feet down to the ground once. Come forward like this. Hook the arms around the knees And just let go, relax. And again, if any movements are in the neck are necessary or through the shoulders, you can do that a little bit right now to see if there’s if it helps a little bit to to kink out any tension that came up So we’re going to try that one again a couple of times just because it’s worth uh it’s worth the practice Hang on to the knees, hang back. Tilting the feet come up off the ground. We’re going to start to lead now with the left arm, left shoulder. So the left shoulder initiates the movement as we press the palm forward. Then the right shoulder initiates the movement as we press the palm forward. The knees are suspended here. Now the knees either extend this much, balls of the feet are still extended. You can see this. The ankles are are extended. Either stay here or the legs go straight and then lift chest at the last moment. So continually pressing the palms forward, continually drawing the shoulders down, continuing to extend the ankles straight legs or bent knee doesn’t really matter and then we’re going to lift the chest a bit as we hook onto the knees. We’re going to lower the feet. Once the feet come down, we’re gonna pull ourselves forward a bit and then we’re gonna hook around to the outsides of the legs and just hook and relax. So this hooking is um just like a loop. You can loop the legs and it makes it comfortable just to let go here. So you’re letting go with the arms hanging around the knees Just kind of feeling. Check to see again neck is tense or anything. You can move your head and neck a little bit if it’s necessary.

Speaker 6 01:12:15 You feel like it’s about to cry.

Patrick Oancia 01:12:16 Okay, so let’s try that one one more last time So we’re gonna let the arms come back, hang onto the knees. We’re gonna tilt onto the pelvis so that the feet float. Now with the feet floating off the ground, we’re gonna lead again with the right arm. So the right shoulder leads the movement as we press forward. Then the left shoulder leads the movement as we press forward. Then we’re going to lift the chest, extend the knees straight or keep the knees bent, lift the chest again, draw the shoulders down, balls of the feet are extending. Continually drawing the shoulders down, continually lifting the chest. Keep the feet down. Continue to draw the shoulders down, bend the knees, hook on. Lift the chest up first with the feet floating. Then lower the feet at the last minute very gently. Hook around and relax.

Asia Shcherbakova 01:13:03 It should not cramp.

Patrick Oancia 01:13:04 It cramps because hook, hang, relax.

Asia Shcherbakova 01:13:07 Maybe there’s not enough No, I’d like to have a you just like to have a pale chocolat right now. Eat some uh nice croissant from some place.

Patrick Oancia 01:13:19 What do you think? Huh? Pin chocolat? I fucking I’m just thinking about that bakery over here on St. Laurence. It’s so Good, um fuck. They’re the chaussant bomb and the fucking pan chocolate my god. And they have like a lemon cake too, okay. So hang back. So just to motivate ourselves, just so you know, there’s a great bakery on Saint Laurent after the session today. Hang back, balance. Let go and now we’re gonna extend the legs forward into our reclining transition. So as we extend the legs forward, we lower the upper torso back. So again we’re we’re playing with the w weight of gravity, center of gravity over b uh this. Lower the arms down. Open the legs now about this much. Balls of the feet press forward and lower slowly down to the floor. So the feet are maybe uh are um forty to sixty centimeters wide, maybe about the same width as they would be in star form. automatically extend the ankles here and spread the toes. You can see what I’m doing here. And you can think that the legs rotate kind of in toward each other. Not out, but in As you press the balls of the feet forward now, we’re going to take this left arm up, lead with the left shoulder. We’re going to take the right arm up, lead with the right shoulder. Upper spine is flexed. Balls of the feet press forward. As you come forward, you’re gonna feel the feet slide forward. Again, this is the separating mechanism that happens, and then you’re gonna flex the upper spine. As the ankles are extended, the backs of the calves are down onto the ground. Shoulders draw down towards the hips. Upper spine flexion Continue to draw the shoulders down. Continue to activate through the legs. Continue to press through the balls of the feet. But when I say this, it doesn’t have to be so much activity. Just continuously activating the legs, continuously drawing the shoulders down, continuously flexing the upper spine. Then we go from spinal flexion to spinal extension. And as we go up into our spinal extension here, the arms may come away from the side of the body and go more out to the side of the body. You can see like that. And then you’re finding the position by which the spine can go completely straight. So if you’re flexible, you might be further forward. If you’re not flexible, you might be further back. But you’re trying to find the flexion to extension dynamic. That’s our cue. And then we’re gonna flex the spine again as the act legs activate. Flex the spine again as the legs activate Flexing in, draw the shoulders down, activating the balls of the feet pressing forward, the back of the calves pressing to the floor, shoulders drawing down. When I say back of the calves press towards the floor, I don’t necessarily mean lock the legs either. So just a light press. And now we’re going to tilt back like this. See with the upper spine flexed? The arms are also forward. So we’re flexing back like this and we’re finding a point where the legs suspend and balance. Come to the shoulders, uh forearms down, balls of the feet press up. Start. Lower the feet.

Asia Shcherbakova 01:16:31 You constantly want to that’s what we called the maintenance focus. So from here, just sink, sink, sink, sink, sink, sink.

Patrick Oancia 01:16:41 When your name flat, lift the head up and look toward me. You can if you want, lay down. It’s not about cutting. Come on, lay down on the ground if you can.

Asia Shcherbakova 01:16:49 As low as you feel.

Patrick Oancia 01:16:50 This shouldn’t be a problem for you, right? Laying flat on your back? Yeah, that’s good. Now bring the legs a little bit wider than hips width apart today. So see this? My legs are a little bit wider than heads width apart. The head lifts up and looks forward. The head lifts up and looks forward. Move with one arm and the other arm forward like this. If the head’s lifted up looking toward me, what you’re doing here is you’re trying to flex the spine, and with the spinal flexion, you’re trying to move toward me like this, yeah. Now Naomi, you can leave the head down and just flex the spine like this. Leave the head down. Maybe you can help Naomi a bit, uh. Like this, so you’re flexing the spine and you’re mobilizing each hip and each leg. Each hip and each leg gets mobilized and the lower spine becomes longer. The more you move the shoulders forward, the more you elongate the lower part of the back and you start to traction the spine. Now one point keep the chin in towards the chest and lower the head down. Once the head touches the ground, the back of the head, once the back of the head touches the ground, take either hand, either the left or the right hand. Reach around to behind the crown of the head and just gently lift your head up a little bit to pull the chin in towards your chest. so that the back of the neck becomes long. It shouldn’t feel uncomfortable, so don’t pull too much to the point where it causes any discomfort. Just it’s a light pull with the fingers to the back of the head as the chin draws in towards the chest. So the back of the head feels quite heavy here. The back of the shoulders also feels heavy And then the spine from the back of the sacrum to the back of the head also feels elongated. Take the arms now out to the side of the body, and they can be facing down or facing up. It doesn’t really matter. And now we’re going to bring attention to the weight. Okay, so back again to this cycle of the weight of the heels, the weight of the pelvis, the weight of the back of the calves, even, the weight of the back of the shoulders. the weight of the back of the head and the weight of the back of the arms or the front of the arms, whichever part of the arm is down. These points I just listed, you can feel the weight sinking into the surface below you. So it’s um This feeling of heaviness should be quite comfortable. So, first thing is that we want to acknowledge the weight and keep the breath totally calm. And then as some time goes by, we want to maybe transfer that feeling of weight into a kind of a weightlessness if it’s possible. So if it’s not possible, it doesn’t matter, just feel the comfort of the weight. Try to keep the body quite still here without moving it if possible. And just really allow for those heavy points of the body which are connected to the floor to really merge into that. that surface of the floor below you. At one point it may feel light. If it feels light, that’s great. If it doesn’t feel light, also good. Your eyes now can be open, you can be staring up to the white ceiling, it doesn’t really matter, it’s totally fine, or you can close the eyes if you want to. My only recommendation is when you close the eyes, that uh you try not to go to sleep and Try not to let it become too much of a relaxation thing, because this mimics in some ways what some people would consider to be a kind of a relaxation, a prone relaxation position. uh sorry not prone but uh supine relaxation position but it’s not really we’re not relaxing here we’re trying to bring the awareness to the weight of these points of our body connecting to the surface below us. And if there’s a feeling of weightlessness, it’s still not meant to be a sign that you’re relaxed per se. But more just bring attention to the feeling of weightlessness as opposed to drifting off into something which feels kind of euphoric or nice. So if there’s any of that that comes into it, I just recommend you to bring the attention back to the points of the body which are connected to the floor and maintain the awareness on those points of the body connected to the floor as opposed to drifting off into some sort of deep, you know relaxation. Well, of course, with all that being said, it shouldn’t feel uncomfortable. It should feel relatively comfortable. But there’s a difference between feeling comfortable and um and um and and kind of disappearing as you might do in some some methods for relaxation. We want to be aware of of of the body, we want to be aware of the weight of the body, and we want to be aware that there’s a hard surface below us. And the merging of the body in the surface below you doesn’t mean you disappear. It just means that This new feeling of weightlessness comes into the picture, but the connection to the points on the floor is still there. Okay, so from here what we’re going to do is we’re going to take a deep inhalation into our chest and as we breathe deeply into our chest we’re going to raise the arms up behind the head And when we reach the arms up over top of the head, we’re going to interlock the fingers. And we’re going to press the palms away from our head as we stretch out through the legs. Away from the stretching of the arms away from our head. So you can move your pelvis a little bit here too and sort of stretch up through the abdominal wall and the rib cage as well. And then you can let the arms go and relax the breath. And the arms can go out to the side wherever. You can spread eagle, whatever it feels comfortable. And then you can choose to do whatever you want in order to to come back up and we’ll just do a QA before we wrap up today. Give my coffee. Ten minutes, right?

Asia Shcherbakova 01:27:34 Yeah, about ten minutes we have, yes. Any questions? Observations. Questions observations, yeah. Comments, questions, sharing, yeah.

Natalie 01:27:45 Breathing has been off all week because I used a product to remove silicone and I think my body was like to breathe properly. So every morning I was feeling very congested and like really Rip wasn’t going enough. And when lying down, all of a sudden it opened up and they felt online.

Patrick Oancia 01:28:10 What were you using during the week?

Natalie 01:28:12 This product to remove silicone from the shower and uh and I put gloves but I didn’t think about the uh share. Interesting.

Patrick Oancia 01:28:25 Thanks for sharing, yeah. Thank you. Noemi’s always relaxed in the corner there. Yes.

James 01:28:42 They could comment I had the website. I couldn’t finish. Like I I clicked done.

Patrick Oancia 01:28:48 Yeah.

James 01:28:49 It didn’t close. I went I re I uh refresh, watch the video again, click done, and it still wouldn’t work

Speaker 3 01:29:03 Interesting.

Asia Shcherbakova 01:29:04 I will check that. So basically the latest lesson you are at, you were you were not able to finish it because when you press done it did not it was literally the last two, so I I watched

James 01:29:16 I wasn’t gonna do the planks obviously, but I was gonna run through it so you know that I’d see it. But I couldn’t it looks as though I haven’t done two. I had I did the one three times and then you did the other one.

Asia Shcherbakova 01:29:27 Okay, generally speaking when there is a technical issue just please send us a message like immediately on the platform. Yes, we try to address it.

Patrick Oancia 01:29:34 You can send us a DM or an email or something like that. Um uh what computer are you using? Windows? Mac. A Mac, okay. Uh which would n up updated to the recent OS?

James 01:29:45 Uh that

Patrick Oancia 01:29:48 Uh browser?

James 01:29:50 It was in Safari.

Patrick Oancia 01:29:51 Safari. Try Chrome. Okay. Yeah. Would I it happen to me also what I did then? back even more. Okay.

Natalie 01:30:01 In the and then come back and then move. Oh, it was like move on. Yeah.

Asia Shcherbakova 01:30:06 You know, most most of the time It’s some weird browser thing where the browser drops um some script that listens to what you’re doing and it’s just some connectivity thing. It’s impossible to fully eliminate that even though we try to offer Optimize but yes, what Eleanor said sometimes when there are weird glitches, try to just like quit, reopen, go back, not just refresh.

Patrick Oancia 01:30:36 Try um try c try Chrome. Yeah, Chrome tends to be a bit more stable, I think.

Asia Shcherbakova 01:30:42 Okay, any other non-technical questions, not about the platform

Caitlin 01:30:49 I noticed just then when we were lying flat, I wasn’t full um that there’s much of a weight in the I guess like it’s my pelvis. That’s the better guy that’s touching the floor. Like I was trying to

James 01:31:10 Where weightlessness is like there’s more weightlessness already in that red competitiveness.

Asia Shcherbakova 01:31:17 Mm-hmm.

Caitlin 01:31:19 I’ve had issues with So that was interesting just to leave it as that.

Asia Shcherbakova 01:31:26 Mm-hmm.

Caitlin 01:31:28 That’s what’s going on in color.

Patrick Oancia 01:31:35 Uh later when we get to the uh well when you guys get to the point the journaling segment of the of the uh um of the primer, which is not something you need to complete before the end of this uh before the end of the session. Uh you we even they can still access the journal now.

Asia Shcherbakova 01:31:53 Yeah journal is accessible.

Patrick Oancia 01:31:54 Yeah so you could even just go ahead and access we created a journaling tool in there. So So if we encourage people that whenever something like that happens to journal about it. So you can have the journal in a paper, a book at, if you have something, a piece of paper with a book at home, or you can use our journaling tool.

Asia Shcherbakova 01:32:15 About the journaling. So b um there is a whole segment about journaling in the primer that you will access later. Natalie had a question in one of her assignments whether or not we read the journal. We do not read the journal. So a journal is something for you. We use sometimes it automatically for research but we don’t know whose message it is so it’s it’s a private thing what you’re doing in your journal. If you want us to know something you either post a public comment if you’re okay with a private Everybody knowing or if it’s like more personal you can send us a private message but the journal is not monitored by us.

Patrick Oancia 01:32:50 We don’t know we don’t when the journal entries go in, they go into the database, but we don’t know who puts them

Asia Shcherbakova 01:32:55 Yeah, we do some aggregated analysis, but just we we do not know. Natalie wrote that in her journal. We don’t know now. I haven’t been sharing those things in there because I haven’t remembered what you have.

Patrick Oancia 01:33:08 Yeah, if but if you find if you find it’s relevant um to share something like like that as well, like with the group. They can post a forum uh post and that yeah. That’s great. Thank you but you know for posting the forum.

Asia Shcherbakova 01:33:20 But the journal is really like for what Ca Caitlyn said right now because it’s not something like we don’t really have like a part of the curriculum about what to do when you feel a certain sensation asymmetrical during the asymmetric simulation right so because this is so like case by case but for you knowing your prior history knowing that what kind of injuries you had or just knowing that this movement I do in my prior practice it always feels different on one side like that may connect and um this is why journaling is useful because for example if you didn’t share it today maybe you would have completely forgotten it Tomorrow, forever, right? But because you said it today, maybe you will be able to connect it with something two weeks from now. So verbalizing these subtle things that you notice helps to commit them to memory.

Natalie 01:34:13 Well I found a way to describe what I was trying to describe last time. Mm-hmm. Call it the fruit and the jello.

Patrick Oancia 01:34:19 What do you call it?

Natalie 01:34:21 The fruit and the jello.

Asia Shcherbakova 01:34:23 Uh-huh.

Natalie 01:34:24 Now have you ever had fruit and jello? No. No. Imagine like a grape or strawberry and jello while it’s firming up. So imagine that iron I am the strawberry or the so I can feel my body and I can feel the jello. Instead of um um sticky space like hair. Yes. So when we’re doing the equate work or I’m feeling like I’m a fruit and gel.

Asia Shcherbakova 01:35:02 I think it uh maybe uh uh is also relevant to what you were sharing uh last time where you feel like you you feel the space. Yeah or the Yeah, supported by the space. That sounds like the same phenomenology. It’s great that you are creating obviously nobody ever probably came up with this. term but the fact that it works for you and there is also there’s when you explain what you use this term for like if you just use it fruit and gel nobody understands like what but when you are saying I use this term for this sensation when you explain that that actually makes sense because there’s a certain kind of this tactile quality that you’re trying to describe and if it works for you that that term If you use some credit term, that’s that’s great.

Natalie 01:35:44 Yes that’s feel the boundary of my fruit and yes and yet being uh wholly society, not uh even the bottom.

Asia Shcherbakova 01:35:53 Yes Yes. It’s maybe also for ignition. Essentially in ignition you also want to be completely in the jello. You want to just like relax and just just be there. Yeah. That’s great.

Caitlin 01:36:05 It reminds me I had a moment where um that session where I did some um school training uh years ago and um The instructor said that she when she changed how she was swimming in contract with water, she started to feel like water was a water. like syrup and water and then you can feel like when you start to relax the water and become aware of how beautiful you are, that you can feel the weight of the water. of that sensation today which feels quite quite similar to the yellow yeah where I was like something feels silkier or as I’ve got better at swimming and like now like heavier um and and that feels like it’s funny that you think about syrup you thinking about jello

Natalie 01:37:02 swimming is I feel like a rock. I uh when I swim, I always feel like we’re wrong at the most exactly the bottom and I’m fighting around the bottom. Because the first thing you have to do is learn to trust the water.

Asia Shcherbakova 01:37:19 And by the way, in which form did you feel that CRP sensation? Um nice question. Um it was definitely when my arms were out noticing the different Okay.

Caitlin 01:37:38 Actually, maybe even relaxed at the most. Every end kindness of that. Um yeah.

Asia Shcherbakova 01:37:49 Interesting, thank you for sharing. That’s a nice video to feel supported.

Speaker 3 01:38:03 Definitely less strong in the first two hours.

Patrick Oancia 01:38:07 Yeah. I but I I but I could I told James in the email that we we don’t claim that Baseworks is gonna heal anything, that most of our students that have come in with injuries in the past have found that the recovery has been faster if they continue to do their practice with us.

Asia Shcherbakova 01:38:25 And by the way James when you are doing these things right with your toes you bring more blood to your foot.

Patrick Oancia 01:38:32 You you improve circulation and even when you’re doing spreading through the fingers or drawing the shoulders down or activating the legs away from it. All of that is increasing blood flow. So blood flow is a great thing, although um that’s just the byproduct of those move the by one byproduct of those movements and Baseworks is that it increases blood flow, but it’s not For the purpose of increasing blood flow. Yeah. Yeah. Um, so I think we’re out of time, but before we go, Noemi, I just want to show you something here just so you can see. Come on over here. So each video here has this single CC. Uh and then you go here, English. Oh yeah, I know. Oh you know the separate title.

Noemi 01:39:12 Okay, so I just wanted to I was talking I was thinking Sorry? I understand English. It’s just like English because when I just when I work like learning shoes.

Asia Shcherbakova 01:39:24 Have you set up your time zone? Okay. You can set your time zone that should set it to something different. It says that I did something that I said. So anyway, please set the time zone in your profile and if it doesn’t fix it for you, let me know. But I think that should fix it.

Patrick Oancia 01:39:49 Right.

Noemi 01:39:49 So I I’ll need to find like a specific s moment in my day when I have energy to actually integrate new information and it’s English so for me it’s like this is harder because I need to do the translation too.

Patrick Oancia 01:40:04 But I but I’ll take away it. No, it’s it’s not. But I understand what you mean because for me Yeah my brain takes new information much better in the morning than at night. So I do understand. But yeah, I don’t know if you can do it in the morning or middle of the day or something maybe. All right. All right. All right.

Noemi 01:40:32 Because if you get late, then you might get the lake and you don’t keep up with it. with all the rest.

Patrick Oancia 01:40:37 Well yeah but don’t don’t beat yourself up to you it it we work as uh we work according to whoever uh yeah.

Noemi 01:40:46 I love that.

Asia Shcherbakova 01:40:49 Yeah, but the other is the kind of stuff that’s not.

Speaker 6 01:40:54 I think also to know like when Yeah. If when you’re able to like integrate new information, what’s up link um I try you at the night and librarie don’t