Session 5 Transcript

Patrick Oancia: Okay.

Patrick Oancia: So standing with the feet a little bit wider than hips width apart.

Patrick Oancia: And the outside edges of the feet are not parallel at this point in time.

Patrick Oancia: Bending the knees a little bit and sitting back towards the heels.

Patrick Oancia: uh kind of helpful um prompt I guess would be for this

Patrick Oancia: this one is that when you’re bending the knees and you sit and you’re the weights going back to the heels, uh you can almost imagine like there’s just a kind of a gentle crease in the hips here too.

Patrick Oancia: So it’s not like you’re leaning forward.

Patrick Oancia: but from straight legs, weight to the heels and the knees bend, then there’s this kind of crease and the pelvis kind of scoops up a bit.

Patrick Oancia: Not overtly, but

Patrick Oancia: just scoops up a bit to counterbalance that weight and you could say that this is the stance so you really feel how the weight now moves to the heels and that um

Patrick Oancia: the the legs themselves become active, particularly the upper bigger muscles of the legs become active.

Patrick Oancia: So you again we can walk from one foot to the other foot here.

Patrick Oancia: And as you do that, you can straighten one knee, bend the other knee

Patrick Oancia: and uh the weight kind of uh just locks into the other leg as you shift.

Patrick Oancia: So as one knee straightens and then and the other knee bends,

Patrick Oancia: you lock into the um to the groundedness of that heel weight in each one and then that helps you to also sense the distribution of weight between both heels when you come back to center.

Patrick Oancia: And then there’s

Patrick Oancia: There’s this crease here, like a little kind of a gentle crease with a slight but um tucking of the pelvis upward.

Patrick Oancia: So relax your arms first.

Patrick Oancia: And I’m going to go ahead and the arms are going to be kind of relaxed as you lift them up.

Patrick Oancia: First, the wrists are completely limp, just so we get the arms up to about shoulders height.

Patrick Oancia: And of course when they’re up at shoulders height here we can torsion again the wrists forward and you know as much as possible that the palms kind of face forward

Patrick Oancia: And we try not to bend the elbows here.

Patrick Oancia: We try to keep the elbows straight.

Patrick Oancia: And you could squeeze onto those balls.

Patrick Oancia: uh like this kind of like squishy ball thing into the fingers.

Patrick Oancia: Okay.

Patrick Oancia: You can remember at any point in time here too, if the arms feel a bit tired, you can always let them go down.

Patrick Oancia: But if you can manage to persevere keeping the knees slightly bent, that might be a bit better

Patrick Oancia: Also, check in to see what’s going on with the belly.

Patrick Oancia: Make sure that there’s no tightening of the belly.

Patrick Oancia: Don’t arch.

Patrick Oancia: Yeah, more like this.

Patrick Oancia: And the neck is also relaxed.

Patrick Oancia: Also there’s you know a tendency again for the if the arms get tired uh really tired again that’s letting them down is a good idea because there’s a tendency when they start to get tired that the arms will drop and

Patrick Oancia: And it’ll the hands will go below the shoulders level.

Patrick Oancia: We’re trying to keep the hands at the level of the shoulders with that torsion to the wrist.

Patrick Oancia: So it’s kind of dynamic in its own way.

Patrick Oancia: And we just want to make sure that this is manageable.

Patrick Oancia: If it is not manageable, then we let the arms down, take a break, and come on back up.

Patrick Oancia: And uh we’re working on the quality of the hands, wrists, arms, shoulder height, and that torsion of the wrists forward script onto those balls.

Patrick Oancia: And try not to uh open the chest here

Patrick Oancia: too much is if the belly’s relaxed.

Patrick Oancia: The chest in the sternum area is kind of neutral.

Patrick Oancia: And we’re continually just checking back in, sensing to see whether the weight is distributed over over both heels or not.

Patrick Oancia: The front of the foot really should feel pretty light here.

Patrick Oancia: And you there’s that marginal feeling that you’re gonna drop fall backward.

Patrick Oancia: But of course you don’t fall backward because you’re trying to with that crease in the hip as you push the pelvis up trying to redistribute the balance of weight, even just a very small area of weight over the top.

Patrick Oancia: um the line between heel to heel.

Patrick Oancia: So uh you can say that uh the base of support

Patrick Oancia: works in a kind of a triangle or square.

Patrick Oancia: Assort like a square meaning the points of the square would be in front of you and behind you.

Patrick Oancia: And the other two points of the square would be at the heels.

Patrick Oancia: So it’s like a diamond-shaped square between the feet.

Patrick Oancia: That’s your base of support.

Patrick Oancia: So by tucking the pelvis upward and managing the weight

Patrick Oancia: keeping the weight to the heels, you’re redistributing the upper body weight over the top of that center gravity base of support square dot or diamond we can say as we squeeze on

Patrick Oancia: to those balls.

Patrick Oancia: Keep the arms neutral.

Patrick Oancia: At some point if the arm’s been up for a while here now and they start to burn, again remember the burning is not what we’re looking for here.

Patrick Oancia: We’re trying to find

Patrick Oancia: uh moments at which we can recalibrate and and lower like for me for example for today I can normally hold them up for quite a long time but I did a big a big shoulder workout

Patrick Oancia: yesterday at the gym so my arms are sore and I feel like it’s more appropriate for me today to lower them down and let myself relax for a second still keeping that weight distributed over the heels

Patrick Oancia: and then when I’m feeling like okay it’s kind of okay again then I can reach my arms up again and turn

Patrick Oancia: and torsion the hands forward.

Patrick Oancia: That feels better for me today than to just kind of persevere through it.

Patrick Oancia: Mind you, I could persevere through it.

Patrick Oancia: But again, that’s not what we’re looking for here.

Patrick Oancia: We’re trying to tune in to what our condition reveals on the day.

Patrick Oancia: So my circumstance is had a shoulder workout yesterday, had a swim this morning at the gym.

Patrick Oancia: So my

Patrick Oancia: Arms are not gonna stay up as long as I’d like as long as they normally would.

Patrick Oancia: So to come out here we’re gonna synchronize again this movement with the knees straightening at the same time that the arms lower.

Patrick Oancia: So this is really slow.

Patrick Oancia: It’s almost like slow motion.

Patrick Oancia: The knees don’t go totally straight until the arms have lowered to the side of the body completely.

Patrick Oancia: are relaxed.

Patrick Oancia: So you’re thinking about gradually straightening the knees as we gradually lower the arms

Patrick Oancia: If your shoulders are tense, make sure to sort of extend the arms away from you a little bit as you lower down.

Patrick Oancia: Because the shoulders will tend to hike up a bit if they’ve been a bit tired.

Patrick Oancia: So you can almost draw the shoulders mildly down as you lower the arms and as you synchronize the movement of the knees, straightening with that motion.

Patrick Oancia: And then by the time the arms get down beside the body, the knees should be straight, but again not locked out, but just straight.

Patrick Oancia: And try to let everything relax completely.

Patrick Oancia: Even the belly.

Patrick Oancia: Let the belly go soft hang.

Patrick Oancia: And you can just tune in here to see, okay, maybe there’s some, I don’t know, like uh

Patrick Oancia: tension it came up could be maybe the shoulders were a bit tired maybe there’s a bit of tension in the neck maybe the belly itself is a bit tight maybe you were gripping a little bit with the jaw or the teeth little things happen

Patrick Oancia: Tune in, check around, see if there’s anything that is tense, and try to let that tension go.

Patrick Oancia: And interestingly, you can maybe let it go in a way that it goes down

Patrick Oancia: So we’re letting it go down.

Patrick Oancia: Rather than just let it go out, let it go down because that downward motion

Patrick Oancia: kind of matches a little bit a lot of the stuff that we’re doing here in the opposition between the surface below us, which is the floor in this case.

Patrick Oancia: If you’re practicing outside, it could be the grass, concrete.

Patrick Oancia: wherever you’re wherever you are.

Patrick Oancia: So it’s a downward dropping, and that’s just kind of a little, I don’t know.

Patrick Oancia: reference point because we can let tension go outward and that has a different quality or we can let it go upward that has a different quality when we’re using these kind

Patrick Oancia: kind of references to releasing tension, particularly if you practice any relaxation modalities.

Patrick Oancia: This is more just about letting the surface absorb the tension.

Patrick Oancia: And new

Patrick Oancia: Neutralizing the tension.

Patrick Oancia: So it’s a bit of a kind of a meta like a practice metaphor, you could say.

Patrick Oancia: All right.

Patrick Oancia: And we’re gonna bring the feet now about hips width apart.

Patrick Oancia: And outside edges of the feet are parallel to each other.

Context: (Natalie arrives and the group discusses that the door downstairs was locked)

Patrick Oancia: Okay, so with the outside edges, the feet parallel and feet about hips width apart.

Patrick Oancia: Spread through the fingers, draw the shoulders down.

Patrick Oancia: Just start in standing form.

Patrick Oancia: And why not?

Patrick Oancia: We can just grip the heels slightly in toward each other.

Patrick Oancia: James, mindful of your condition

Patrick Oancia: If it’s still not quite sorted yet, spread the fingers, drawing down, draw the shoulders down, back of the neck extends and moves up away from that movement.

Patrick Oancia: Again, this is this kind of bouncy.

Patrick Oancia: Like the f for springing off the floor.

Patrick Oancia: And it’s interesting because these floors, they’re Marley floors, right?

Patrick Oancia: They’re for dancing and they do have a little bit of a spring in them anyway.

Patrick Oancia: Um and if you really tune into it, my experience is

Patrick Oancia: that is if you’re on a wood floor with a suspended frame or a bouncy surface like a tatami mat in japan that would be or a judo mat or um i don’t know like a

Patrick Oancia: rubber mat, you can feel you can sense that springiness without even bouncing off of it.

Patrick Oancia: There’s a kind of a springy sensation with that opposition.

Patrick Oancia: So as the shoulders draw down, as the heels slightly grip, as the neck extends away.

Patrick Oancia: you feel the floor opposing that activity up in a very subtle, almost non-definable way

Patrick Oancia: And then relax.

Patrick Oancia: And we’re going to take the feet wider than hips width apart first.

Patrick Oancia: And the feet outside edges of the feet are still parallel to each other.

Patrick Oancia: So as we activate the feet away from each other here, we feel the buttocks activate a little bit

Patrick Oancia: And that’s more effectively attainable by making sure that the outside edges of the feet are parallel so that uh it’s awkward the feeling.

Patrick Oancia: As you move the feet away, you feel here almost a glutus medius actually

Patrick Oancia: The outer part of the buttock muscles here become active.

Patrick Oancia: And if you’re sensing that, then we’re kind of on the right direction here.

Patrick Oancia: But at the same time, let the belly go soft.

Patrick Oancia: So you feel the belly is completely relaxed, even though the legs move away from each other.

Patrick Oancia: Now we can go ahead and draw the shoulders down here once.

Patrick Oancia: And as we draw the shoulders down with the legs pulling away from each other, we feel a kind of immediate stability as we raise the arms

Patrick Oancia: So that the shoulders draw down as we raise away.

Patrick Oancia: So you think of this motion.

Patrick Oancia: The shoulders are drawing down and we’re raising away and up and the palms are facing forward.

Patrick Oancia: So the back of the neck extends, the fingertips extend, the shoulders draw down, and the feet you can still continually pulling away from each other here.

Patrick Oancia: Spread through the fingers, extending through the back of the neck.

Patrick Oancia: Activate through both legs pulling away from each other here.

Patrick Oancia: Spread through the

Patrick Oancia: the fingers and then lowering the arms, releasing the leg activity, but continuing to draw the shoulders down as you lower the arms, and then step the feet again hips width apart.

Patrick Oancia: So let’s move wow move through our transit.

Patrick Oancia: Um

Patrick Oancia: Starting in star form, or sorry, starting in um in standing form again, spread the fingers, draw the shoulders down.

Patrick Oancia: Forget the heel gripping at this point in time.

Patrick Oancia: Extend through the back of the neck, opposing that motion of the shoulders drawing down.

Patrick Oancia: pressing downward, spreading through the fingers.

Patrick Oancia: Hinging to the knees now and the hips.

Patrick Oancia: We’re going to shift the weight over to that right foot.

Patrick Oancia: And we’re going to step that left foot back about this far.

Patrick Oancia: So we’re automatically setting ourselves up for star tilt.

Patrick Oancia: Okay, so we’re set rather than transitioning from star form to star tilt, we’re just practicing our transit

Patrick Oancia: So we’re the feet again can be kind of diagonal like they were last week, activating the legs away from each other.

Patrick Oancia: And then we’re raising the arms up, spreading the fingers.

Patrick Oancia: drawing the shoulders down.

Patrick Oancia: And as we pull the legs away from each other, we’re creasing into that right hip a little bit as we lower into the um

Patrick Oancia: into the tilt.

Patrick Oancia: Remember not to let that top arm get lazy.

Patrick Oancia: Of course Asha will go around and check.

Patrick Oancia: And then activating the legs away from each other as we lift upright.

Patrick Oancia: We’re releasing, uh spreading through the fingers, draw the shoulders down, and we’re releasing the arms downward.

Patrick Oancia: And we’re gonna shift the weight to that right foot now and step the left foot forward.

Patrick Oancia: Draw the shoulders down.

Patrick Oancia: Uh you know what?

Patrick Oancia: Um I was just doing something right now and I thought we’ll practice it this way today because normally what happens

Patrick Oancia: In our transitions, is that we will hinge, step back, and that right foot will point more forward.

Patrick Oancia: But rather than pointing the right foot forward today, look at what’s happening here.

Patrick Oancia: I’m wondering if I can show you with a line on the floor.

Patrick Oancia: So look, see that line, right?

Patrick Oancia: The taped line.

Patrick Oancia: Rather than hinging

Patrick Oancia: Stepping back and pointing that foot that way.

Patrick Oancia: See what I mean?

Patrick Oancia: Now it kind of goes a little bit at an angle away from that line.

Patrick Oancia: Let’s do this.

Patrick Oancia: You can imagine and you know what?

Patrick Oancia: We can even all just practice on the lines if you want to.

Patrick Oancia: practicing right on the line.

Patrick Oancia: And just watch me first before before you do it, just so you can give yourself a little bit of a break.

Patrick Oancia: When we hinge and we shift the weight to the right leg, let’s take that one back.

Patrick Oancia: like this so that the this foot is not really moving.

Patrick Oancia: So we’re kind of on an uh a bit of yeah then this sets us up for this angle and then we look at the line

Patrick Oancia: The line kind of still stays in that direction of that right foot going forward, but this one now steps back and doesn’t really turn out that much, but rather just a little bit.

Patrick Oancia: So actually

Patrick Oancia: What would be even better is if, for example, we can practice it something more like along the lines of this, where the feet are almost parallel to each other as we activate the leg.

Patrick Oancia: legs away and one of the reasons why is we’re still working on this hinging motion when we have more control over this hinge then the position of the feet can change a little bit

Patrick Oancia: it over time.

Patrick Oancia: So why don’t we try that today?

Patrick Oancia: So this front foot, whichever the front foot is, okay?

Patrick Oancia: Let’s try to keep that in line with that front line.

Patrick Oancia: And when we step back, step back something more just like this.

Patrick Oancia: Yeah, that makes it

Patrick Oancia: sense okay we can we can follow along together here so let’s start again with uh uh standing form shoulders draw down spread through the fingers we can do the opposite side now

Patrick Oancia: Actively drawing the shoulders down, actively opposing the neck and head away from the shoulder depression.

Patrick Oancia: So this

Patrick Oancia: Oppositions happening first, hinging.

Patrick Oancia: And as we hinge, we’re going to shift the weight to that that left leg and step back

Patrick Oancia: Activate the legs away from each other so that the hips now are facing this direction.

Patrick Oancia: And then we’re going to raise the arms up that direction of the hips.

Patrick Oancia: And then we’re going to activate the legs away from each other here as we hinge into that left hip.

Patrick Oancia: And the arms stay in one line, the piece together, together with the movement of the upper torso.

Patrick Oancia: So this is robot mode, right?

Patrick Oancia: It kind of becomes very robotic.

Patrick Oancia: This like this.

Patrick Oancia: And then we’re going to be actively pulling the legs away from each other as we come upright again.

Patrick Oancia: Continue to draw the shoulders down.

Patrick Oancia: We’re going to shift the weight to that left foot as we lower the arms, step forward with the right foot.

Patrick Oancia: Draw the shoulders down actively.

Patrick Oancia: Spread through the fingers.

Patrick Oancia: Okay

Patrick Oancia: Let’s continue to work with the transit.

Patrick Oancia: Draw the shoulders down again, spread through the fingers.

Patrick Oancia: You can stand wherever you want now.

Patrick Oancia: I just want to practice a little bit with this.

Patrick Oancia: this line sense thing and then we’ll we can shift later more to the straight foot later.

Patrick Oancia: Hinge to the hips.

Patrick Oancia: Weight goes over to that right leg, upper torso hinges forward.

Patrick Oancia: We’re stepping that left foot back long too.

Patrick Oancia: You can even practice with the line here.

Patrick Oancia: It’s kind of interesting because it allows you to keep that sense of the feet being hips width apart

Patrick Oancia: over that line.

Patrick Oancia: Actually these lines are good for that.

Asia Shcherbakova: Yeah.

Asia Shcherbakova: But you want to internalize that line.

Asia Shcherbakova: You want to first press it with the line and then be able to do it.

Asia Shcherbakova: without the line.

Patrick Oancia: You’re eventually internalizing it as exactly.

Patrick Oancia: So draw the shoulders down.

Patrick Oancia: As you move the arms forward and up, continue to draw the shoulders down, opposing the legs away from each other.

Patrick Oancia: You grip the legs away from each other

Patrick Oancia: Shoulders draw down, you feel the sc the scapula kind of draw downward, and the lats draw downward as well.

Patrick Oancia: And then we’re going to start to separate the sternum movement from the pelvis

Patrick Oancia: So you can even mobilize the rib cage here as the upper torso and chest to move in a circumlinear motion forward and up.

Patrick Oancia: Yeah, and then we’re gonna release that and we’re gonna let the arms go down, continue to draw the shoulders down, continue to spread through the fingers.

Patrick Oancia: Weight shifts over to that right leg

Patrick Oancia: And see that line, see if you can step forward again to the feet, hips width apart, really gracefully, so there’s quite an even transition forward again.

Patrick Oancia: So does everybody get what I mean when I say circumlinear?

Patrick Oancia: If we lift up, we can lift up.

Patrick Oancia: like this, right?

Patrick Oancia: Circumlinear motion would presuppose or deliver that the sternum leads the movement

Patrick Oancia: So look if you see my ribcage go forward and then it goes in this kind of like this.

Patrick Oancia: It’s a circumlinear motion forward up

Patrick Oancia: It’s like a half circle.

Patrick Oancia: I’m drawing a circle up rather than just lifting straight up.

Patrick Oancia: Because if I lift straight up, it goes right to my hip flexor.

Patrick Oancia: If we work in a circumlinear motion, the hip flexor stays neutral and we mobilize the rib cage as it goes up.

Patrick Oancia: Want to try that?

Patrick Oancia: Can take the feedback.

Patrick Oancia: Let’s just work on that for a second, and then we’ll try the opposite side.

Patrick Oancia: Hinge, step back into your lunge.

Patrick Oancia: Stay forward like this.

Patrick Oancia: Relax the arms just for the time being.

Patrick Oancia: Let’s just feel what the rib cage is like.

Patrick Oancia: Put the hands onto the ribcage.

Patrick Oancia: What we want to do here when we lift is to mobilize the ribcage forward.

Patrick Oancia: Okay, so forget about the circumlinear.

Patrick Oancia: Just mobilize the rib cage forward and as you mobilize it forward the chest lifts, right?

Patrick Oancia: And the middle part of the back arches.

Patrick Oancia: So you don’t feel so much into this extended leg hip flexor

Patrick Oancia: Now relax for a second.

Patrick Oancia: Put the hand come on back once again.

Patrick Oancia: I like you to feel the difference.

Patrick Oancia: I’m tired.

Patrick Oancia: Tired if I swam a kilometer this morning I feel normally I feel pretty good, but today I’m tired.

Asia Shcherbakova: Intensity modification next time.

Patrick Oancia: Exactly.

Patrick Oancia: No, it wasn’t intense this morning just that uh

Patrick Oancia: Uh the con no, I I worked I worked out, I did shoulder workout yesterday, which was it wasn’t intense, but uh just that in combination with the swim.

Patrick Oancia: After the swim, I came home and

Patrick Oancia: So hungry.

Asia Shcherbakova: Also, just one thing.

Patrick Oancia: With any croissant, I ate chia chia seeds and and like a bit like a

Patrick Oancia: Healthy idiot.

Patrick Oancia: Chia seeds and banana and blueberries and Greek yogurt.

Asia Shcherbakova: Just a reminder, we’re doing in this lunge, fixing-separating-isolating. Your back heel is high on the tip toe you pull away and from here so first we find this very very straight line we pull away and then as we wiggle see it’s only the ribcage that moves

Asia Shcherbakova: So this is the movement that we’re trying to do.

Asia Shcherbakova: What Patrick is talking about, the circumlinear motion.

Asia Shcherbakova: The legs become like a rock and the ribcage wants to go forward and up.

Asia Shcherbakova: That’s what we’re doing.

Asia Shcherbakova: But the back heel has to be really high up.

Asia Shcherbakova: If you are doing a smaller kind of like this more narrower stance, then it’s going to look like this.

Asia Shcherbakova: Forward and up.

Asia Shcherbakova: Forward and up.

Patrick Oancia: But you know what I’d like to I’d like you to feel right now is if we don’t isolate, I’d like you to feel what happens to the hip.

Patrick Oancia: So let’s do that once.

Patrick Oancia: I’d like if possible and James you do it according to your condition

Patrick Oancia: If possible, they can take the leg a little bit longer, longer back than you’re normally comfortable doing, just so that we can feel this for today.

Patrick Oancia: I’m going to demonstrate what we’re going to do first and then we’ll do it together.

Patrick Oancia: I’m going to take the leg longer back, so we’re here and we’re leaning forward.

Patrick Oancia: And then we’re just we’re going to keep the legs actively pulling away from each other.

Patrick Oancia: And then we’re just going to lift up.

Patrick Oancia: And when we lift up, I want you to feel the difference of what happens in this extended leg hip.

Patrick Oancia: Just so you can feel the difference.

Patrick Oancia: And then we’re going to try it.

Patrick Oancia: So hinge.

Patrick Oancia: Let’s take the opposite leg back from whatever it was before.

Patrick Oancia: Long back first.

Patrick Oancia: Stay forward because when we stay forward, there’s no no uh activity in this left tip.

Patrick Oancia: Now keep the center of gravity very low.

Patrick Oancia: And just lift the chest upright.

Patrick Oancia: When you lift the chest upright, you should feel an ex uh uh a stretch more into the top of the hip flexor.

Asia Shcherbakova: You’re falling into it, you’re like, (showing Caitlin how Caitlin brings the leg back into the lunge with momentum and no control)

Patrick Oancia: Okay, come on back up.

Patrick Oancia: Yeah

Asia Shcherbakova: Bend, extend, lower (demonsrtating teh correct lounge to Caitlin)

Patrick Oancia: Come on back up for a second, Caitlin.

Patrick Oancia: So what we’re gonna do is we’re not gonna we’re not gonna think so much about the transition.

Patrick Oancia: We’re gonna think more about the space.

Patrick Oancia: I’d like you to create as much space between the legs as possible to feel it, feel the difference, and then we’ll go back into tech

Patrick Oancia: So bend, come down very low, then take the opposite leg back far.

Patrick Oancia: You can even put the hand down on the floor for a second if you’d like to, or your hands go onto the knee like this for a second

Patrick Oancia: like that legs back really far.

Patrick Oancia: Now with the leg back far activate the legs away from each other and keep the center of gravity low, not high.

Patrick Oancia: And then just lift the chest.

Asia Shcherbakova: (to Marta )You tend to bring the front knee too much forward.

Patrick Oancia: Okay Asha, stop giving those a s adjustments for a second.

Patrick Oancia: I’m trying to just go through something completely different.

Patrick Oancia: Yeah, come on back up for a second, sorry.

Patrick Oancia: Asha’s trying to give you all great adjustments which per pertain to the end result.

Patrick Oancia: What I’d like you to do for this

Patrick Oancia: It doesn’t matter right now.

Patrick Oancia: The knee going over there doesn’t matter.

Patrick Oancia: I just want them to feel this.

Patrick Oancia: Sure.

Patrick Oancia: Okay.

Patrick Oancia: One more time.

Patrick Oancia: Bend the knees.

Patrick Oancia: Yeah.

Patrick Oancia: Take the opposite leg back far.

Patrick Oancia: Hands go to the knee or just like this.

Patrick Oancia: Stay down.

Patrick Oancia: Activate the legs away from each other.

Patrick Oancia: Keep the center of gravity low.

Patrick Oancia: Lift the chest up quickly.

Patrick Oancia: So you lift the chest up quickly.

Patrick Oancia: You should feel this uh tweak into that left hip lower

Patrick Oancia: Step forward.

Patrick Oancia: Now we’re going to try the same thing on the opposite side.

Patrick Oancia: Now with our technique dialed in with the rib cage circumlinear up.

Patrick Oancia: So you should feel no stretch into the extended leg hip.

Patrick Oancia: Bend the knees, shift the weight to the opposite leg.

Patrick Oancia: I don’t know what it is.

Patrick Oancia: Step the leg back.

Patrick Oancia: Far back.

Patrick Oancia: Oh, sorry?

Patrick Oancia: Uh long.

Patrick Oancia: Why not?

Patrick Oancia: Yeah, longer.

Patrick Oancia: Longer for today, thank you.

Patrick Oancia: Activate the legs away from each other now.

Patrick Oancia: Keep the center of gravity low.

Patrick Oancia: And as Ash was just demonstrating earlier, move the rib cage from side to side and try to sort of like you’re trying to loosen a knot, move it side to side, forward and up.

Patrick Oancia: You should feel no stretch into that back hip when you

Patrick Oancia: do that.

Patrick Oancia: It’s a very, very different approach.

Patrick Oancia: Okay, come back, relax, and come on back up.

Patrick Oancia: Did everybody feel the difference a little bit?

Patrick Oancia: Totally.

Patrick Oancia: Totally.

Patrick Oancia: Like zero action.

Patrick Oancia: Zero here, right?

Patrick Oancia: Yeah, so there’s two ways to approach the stretch.

Patrick Oancia: This lunge lunges and then and the knee on the floor lunge, like the um

Asia Shcherbakova: Z-Lunge.

Patrick Oancia: Z-lunge.

Patrick Oancia: They can be practiced for the purpose of elongating the hip flexor, which is this.

Patrick Oancia: Right, when you lift like this, because this tweaks the hip flexor.

Patrick Oancia: That means the hip flexor gets a stretch.

Patrick Oancia: Or we work on separating, which has nothing to do with the hip flexor itself.

Patrick Oancia: just of stability.

Patrick Oancia: It’s more working this separating, fixing isolating separating principles.

Patrick Oancia: Okay, we’re gonna do them again.

Patrick Oancia: You can help people.

Patrick Oancia: Oh really?

Patrick Oancia: Okay.

Asia Shcherbakova: James, in your case, I would say that’s because of your ankle right now.

Asia Shcherbakova: Observing you, you are not like your back heel is like like this.

Asia Shcherbakova: kind of hanging a little bit in order to really create the foundation you really need to activate both legs pull away and really engage the muscles i understand that right now it’s not fully

Asia Shcherbakova: possible for you because if you don’t do that then like the moment if this is hanging the moment you start going up the back starts kind of compensating and so you actually don’t feel it

Asia Shcherbakova: Yeah, so it makes sense.

Patrick Oancia: Yeah, sorry, I wasn’t uh watching.

Patrick Oancia: Okay, let’s try that transition one more time.

Patrick Oancia: Uh by the way, you don’t have to take your legs so far back this time if you don’t want to.

Patrick Oancia: You can take it wood

Patrick Oancia: Which you feel is more appropriate.

Patrick Oancia: Hinge at the hips, draw the shoulders down first, shift the weight to the left leg, step the right leg back as as far as you want you feel it’s appropriate.

Patrick Oancia: Activate both legs away from each other here

Patrick Oancia: And then we’re going to keep the center of gravity low and we’re just going to mobilize the rib cage as we draw the shoulders down and move the arms forward and up.

Patrick Oancia: So we can actually do that motion with the arms up or with the arms down and then raise the arms.

Patrick Oancia: Either one is okay.

Patrick Oancia: You can also move when you’re up to this point here, you continue to move the rib cage and float it upward.

Patrick Oancia: And then release the rib cage, lower the arms down as we shift the weight over to that left foot, step forward again.

Patrick Oancia: And then the feet step back exactly to the hips width apart.

Patrick Oancia: I’m gonna be on the line again too.

Patrick Oancia: So let’s try it one more time on the other side.

Patrick Oancia: Hinge.

Patrick Oancia: Shift the weight over to that right leg.

Patrick Oancia: What’s next in line, Asha, by the way?

Patrick Oancia: Shift the weight.

Asia Shcherbakova: Torsion.

Patrick Oancia: Torsion.

Patrick Oancia: Left goes.

Patrick Oancia: I know that, but after this.

Patrick Oancia: Step back.

Patrick Oancia: Activate the legs away from each other.

Patrick Oancia: Keep the center of gravity low.

Patrick Oancia: You can also keep the arms down initially first.

Patrick Oancia: You start to mobilize the rib cage forward, draw the shoulders down as you reach the arms forward and up.

Patrick Oancia: This is another opposition.

Patrick Oancia: The shoulders draw down.

Patrick Oancia: as the arms move forward and up.

Patrick Oancia: They’re opposing each other.

Patrick Oancia: And then you can continue to float the rib cage like this as you activate the legs away from each other and you’re floating upward here.

Patrick Oancia: So you get an arch more into the middle part of the back as opposed to the lower part of the back

Patrick Oancia: No stretch should be happening into the extended leg hip flexor.

Patrick Oancia: And then release.

Asia Shcherbakova: Release to straight line and then transit back.

Patrick Oancia: Come back.

Patrick Oancia: What was that?

Caitlin: I can feel the stretch at the beginning now.

Patrick Oancia: Yeah she can feel the stretch into hip flexor.

Patrick Oancia: Maybe you can watch Caitlyn on the next one.

Patrick Oancia: Let’s revisit that in um in a second.

Patrick Oancia: So um shorten the stance for the time being.

Patrick Oancia: Yeah, just for the time being.

Patrick Oancia: Okay, now we’re gonna do our torsion version of that.

Patrick Oancia: So hinge into the hips

Patrick Oancia: Shift the weight over to what is it?

Patrick Oancia: The left, is it?

Patrick Oancia: The left foot.

Patrick Oancia: Step the right foot back, upper torso leans forward.

Patrick Oancia: Activate the lay the legs away from each other here.

Patrick Oancia: Extend the arms out to the side, spread through the fingers.

Patrick Oancia: As we activate the legs away from each other here, as we spread through the fingers, turn from the center of the chest toward the inner part of that left thigh.

Patrick Oancia: Yeah.

Patrick Oancia: So James, you can just be like this, torsioning like this.

Patrick Oancia: Lean forward a bit and torsion.

Patrick Oancia: And then back to center, activate the legs away from each other.

Patrick Oancia: Lower the arms, step the weight over into that left foot as we step forward with the right foot.

Patrick Oancia: And then we come back up, and as we come back up, we draw the shoulders down again

Patrick Oancia: Extend the neck away from the spine.

Patrick Oancia: Again, we’re back to our standing form.

Patrick Oancia: And then we’re gonna hinge the hips again, continue to draw the shoulders down here, even.

Patrick Oancia: Shift the weight over to that right leg now, step that left leg back, whatever distance is it feels appropriate for you.

Patrick Oancia: Activate the legs away from each other here

Patrick Oancia: And then reach the arms out to the side.

Patrick Oancia: Spread through the fingers.

Patrick Oancia: Continually draw the shoulders down, extend through the back of the neck.

Patrick Oancia: Turn the sternum in toward that right leg as we turn in toward the right leg.

Patrick Oancia: And then come back center.

Patrick Oancia: Continue to draw the shoulders down, release the arms down.

Patrick Oancia: Shift the weight to that right leg.

Patrick Oancia: Come forward.

Asia Shcherbakova: (explain to James, who is doing the Torsion movements sitting in a chair). When you come out don’t come out directly here. You twist in, then twist out cleanly. Separate.

Asia Shcherbakova: shoulders draw down spread through the fingers.

Asia Shcherbakova: After that I take over and we do the transit.

Asia Shcherbakova: Yes, okay.

Asia Shcherbakova: Go ahead.

Asia Shcherbakova: So let’s uh we will do now the split form…

Patrick Oancia: We’ll we’ll come back to that at the end of the sssion.

Patrick Oancia: Okay.

Asia Shcherbakova: Okay.

Asia Shcherbakova: So the uh the split form inflection, this form (demonstrates), yeah, that you were doing in

Asia Shcherbakova: In in relation to the intensity modification for form, right?

Asia Shcherbakova: Everybody understands the form that I’m talking about, right?

Asia Shcherbakova: We you all completed the assignment, so you know the form I’m

Asia Shcherbakova: talking about.

Asia Shcherbakova: So just a quick review about this one because this is actually a very interesting one because for different people different aspects are complex.

Asia Shcherbakova: Your legs here are asymmetrical and the upper body is doing the same flexion extension

Asia Shcherbakova: Tension, flexion, as when we do the sitting.

Asia Shcherbakova: But the legs are asymmetrical, so the feeling of the midline is completely different.

Asia Shcherbakova: different here and plus it becomes more difficult to balance sometimes.

Asia Shcherbakova: So when we enter from now what we’re gonna do, what we’re gonna practice with watch me first, try to really, really work on the first inflect aspect of

Asia Shcherbakova: This form, which is you begin to round like from your head, you round, round, round, round, round.

Asia Shcherbakova: See my pelvis starts to tilt and try to go all the way to like where you can

Asia Shcherbakova: Okay, it shouldn’t and uh the limit is where the hamstring starts to stretch.

Asia Shcherbakova: So there shouldn’t be stretch here, but you go all the way to the point where it’s not still stretched.

Asia Shcherbakova: And then from here we extend

Asia Shcherbakova: And then we flex and then we come up.

Asia Shcherbakova: What sometimes happens, and this is what is the essential aspect of intensity modification.

Asia Shcherbakova: for form is that somebody goes like this, like this, like this, like this, like this, and then they’re like, ah, they begin to wobble.

Asia Shcherbakova: They don’t know how to uh keep the

Asia Shcherbakova: uh balance.

Asia Shcherbakova: In this case, even like the hamstring stops being the limitation.

Asia Shcherbakova: The limitation is where you lose control.

Asia Shcherbakova: Okay?

Asia Shcherbakova: So when we do this form, try to do it as cleanly as possible, but try to really go as deep as you can.

Asia Shcherbakova: Okay?

Asia Shcherbakova: Okay?

Asia Shcherbakova: Questions?

Asia Shcherbakova: Is it clear?

Asia Shcherbakova: Okay, let’s try.

Asia Shcherbakova: And let’s use for now the lines as the midline reference.

Asia Shcherbakova: Because without the midline reference, it’s also difficult sometimes to follow the midline.

Asia Shcherbakova: Caitlin, slightly more together feet.

Asia Shcherbakova: Yeah, okay.

Asia Shcherbakova: So from here we will first …

Asia Shcherbakova: Okay, so from here let’s bring the hands onto the hips and we will hinge

Asia Shcherbakova: transfer the weight let’s say to the right a little bit and bring the left foot with the heel down and extend both

Patrick Oancia: not so far

Patrick Oancia: Doesn’t have to be too far.

Asia Shcherbakova: Yeah.

Asia Shcherbakova: So here you don’t want to like if you bring the leg too far, your pelvis will be turned and you won’t be able to keep it forward.

Patrick Oancia: So it’s quite it’s a different uh a different idea from the uh star tilt

Patrick Oancia: Yeah.

Asia Shcherbakova: Yeah, so here feet are parallel and the pelvis is forward and you should be able to feel that.

Asia Shcherbakova: Especially by holding your pelvis.

Patrick Oancia: And then from here See the back foot went in.

Patrick Oancia: Your feet actually want to be parallel.

Asia Shcherbakova: Go and help.

Patrick Oancia: Um see that see the foot is in like this?

Patrick Oancia: You want your foot to actually be parallel?

Asia Shcherbakova: Yeah, feet are parallel.

Patrick Oancia: Oh you can’t feel it?

Asia Shcherbakova: Marta, and for you maybe the stance should be slightly narrower.

Patrick Oancia: This has to be parallel.

Patrick Oancia: So you can step forward more.

Patrick Oancia: Step forward a little bit more.

Patrick Oancia: Yes.

Patrick Oancia: So this, yeah.

Patrick Oancia: The the idea here is that we want the heel to be out more, this heel.

Patrick Oancia: Can it go out?

Asia Shcherbakova: What sometimes happens is that

Asia Shcherbakova: Because of the limitations in ankle mobility, if the back foot arrives like this at an angle, sometimes it’s actually impossible to bring it in because you feel like this starts to happen.

Patrick Oancia: This means that you need to narrow the unnatural feeling.

Asia Shcherbakova: And Natalie for you uh okay, like you I would just put the feet slightly away.

Patrick Oancia: Like you are too close to the line.

Patrick Oancia: We are not exactly heap widths apart, but almost heap widths apart.

Asia Shcherbakova: Yes.

Asia Shcherbakova: And so the pelvis is looking forward.

Patrick Oancia: Exactly.

Patrick Oancia: And try and try to that’s the uh that’s that’s really really important to keep the feet parallel as much as possible.

Asia Shcherbakova: Yeah, so this is the leg and pelvis positions here is called separate.

Asia Shcherbakova: Yeah, we will be pulling away because that really helps with stabilization.

Patrick Oancia: Yeah, especially as we start to go really low.

Patrick Oancia: So you’ll feel a little bit of a t a torque almost.

Patrick Oancia: torsion tor yeah but it shouldn’t be painful.

Patrick Oancia: Thigh and knee but it shouldn’t be painful.

Asia Shcherbakova: Okay.

Asia Shcherbakova: So the movement will start from the head as we round, but eventually your pelvis will start doing this hinging motion too

Asia Shcherbakova: Right?

Asia Shcherbakova: So this is kind of like the squat hinging, but the legs are asymmetrical, so it adds complexity.

Patrick Oancia: So starting from the head, what’s like Kodasha?

Asia Shcherbakova: Yeah.

Asia Shcherbakova: Bring the chin in and then start rolling forward towards the midline, towards the midline.

Asia Shcherbakova: Pull the legs away for stability and go all the way, like as far as you can go without losing balance or feeling the stretch in your hand.

Patrick Oancia: Yeah, and now go straight with the spine.

Patrick Oancia: I shall let me assist me.

Patrick Oancia: Okay.

Patrick Oancia: Straight with the spine.

Asia Shcherbakova: Rounding as you are rounding even in your lower back a little bit.

Asia Shcherbakova: Like seriously.

Patrick Oancia: Think about wanting to touch the floor with your nose.

Patrick Oancia: Exactly.

Patrick Oancia: But towards the activate the legs away from each other and work with just those.

Asia Shcherbakova: Okay, and from there focus on the lower back and begin to extend the spine from the lower back and up.

Asia Shcherbakova: Keep pulling the legs away.

Asia Shcherbakova: Lift your upper body, your spine just extends from the lower back.

Asia Shcherbakova: Yeah.

Asia Shcherbakova: Okay, and then round the spine one more time.

Asia Shcherbakova: So chin in, roll in towards the floor one more time.

Asia Shcherbakova: In in

Asia Shcherbakova: in flexible and then slowly roll up from the pelvis yeah slowly roll up all the way up pelvis unfolds the upper body unfolds okay

Patrick Oancia: Other side.

Asia Shcherbakova: Okay.

Asia Shcherbakova: And then from here we will bend the front knee, shift the weight.

Asia Shcherbakova: Return the feet to hip width apart.

Asia Shcherbakova: And let’s do the other side.

Patrick Oancia: So

Patrick Oancia: No, that’s good, no.

Patrick Oancia: Whenever we’re stepping and stepping back and stepping forward, we’re trying to do it with as much control as possible.

Patrick Oancia: And it doesn’t necessarily need to be too

Patrick Oancia: difficult either so you’re always thinking about the distribution of the weight so one leg will have to take a little bit more weight at certain points of time the upper torso is also shifting the weight over center of gravity and that’ll determine the speed at which you come back

Patrick Oancia: Whenever there’s any kind of momentum thrown into it, we start to lose the quality of the control.

Patrick Oancia: Momentum is good in certain dynamics.

Patrick Oancia: But we’re trying to break down the momentum-based ideology.

Asia Shcherbakova: When you do these movements, try to make them five times slower than you want.

Asia Shcherbakova: Like five times slower than you want.

Asia Shcherbakova: Because if it’s just like

Asia Shcherbakova: It’s very easy to just use momentum and just land here, right?

Asia Shcherbakova: But forward.. shift… (freezes in the transition while standing on one leg)

Asia Shcherbakova: I could spend a minute here, right, without falling.

Asia Shcherbakova: Like I slowly slowly slowly slowly slowly

Asia Shcherbakova: slowly slowly bring the leg back and from here slowly slowly slowly slowly I straighten so make it super super slow

Patrick Oancia: That’s it?

Asia Shcherbakova: Yes.

Asia Shcherbakova: Very good.

Asia Shcherbakova: Okay, let’s just return and all together we’ll so uh bring the feet to hip width apart and we will do the other side.

Patrick Oancia: How’s the ankle?

Asia Shcherbakova: What would that be?

Asia Shcherbakova: That would be the left leg back, right?

Patrick Oancia: Okay, you just be careful.

Patrick Oancia: I just I see you you’re doing really well.

Patrick Oancia: I just don’t want you to to force what feels good just to do the form.

Patrick Oancia: If you can’t do it, don’t do it.

Patrick Oancia: Okay.

Patrick Oancia: Okay.

Patrick Oancia: Yeah.

Patrick Oancia: Just no no no persevering with pain.

Patrick Oancia: Yeah, good.

Patrick Oancia: Good.

Patrick Oancia: Okay.

Asia Shcherbakova: Hands on the hips.

Asia Shcherbakova: Hinge in the hips and the knees.

Asia Shcherbakova: Shift the weight onto the right foot and then think about doing the movements five times slower than you want.

Asia Shcherbakova: The left foot really slowly goes back and you want to land where the feet are parallel.

Asia Shcherbakova: Shift and more or less he puts apart in relation to the line and then extend both knees.

Patrick Oancia: That’s much better.

Patrick Oancia: Even this one could still be adjusted outward a little bit more like that.

Patrick Oancia: Just think of your think you’re moving from the ball to the foot.

Asia Shcherbakova: to feel that the pelvis is looking forward.

Asia Shcherbakova: You can even hinge just a little bit forward.

Asia Shcherbakova: Like for example, find a straight line to your back leg.

Asia Shcherbakova: Feel how like come a bit up and then lean forward just to the point where the upper body is in line with your back leg.

Asia Shcherbakova: Find that position.

Asia Shcherbakova: So you’re kinda hinging in your right hip in order to find this position.

Asia Shcherbakova: From here we’ll start entering the spinal movements.

Asia Shcherbakova: From the head, start bringing the chin in as if somebody is pressing on your head

Asia Shcherbakova: And then really isolating the movement, begin to roll in, roll in, roll in.

Asia Shcherbakova: Your pelvis is looking forward, so you don’t

Asia Shcherbakova: move your pelvis at all and you go as low as possible for you without feeling stretch or pain and keep the chin in.

Patrick Oancia: That’s really really good.

Asia Shcherbakova: You can wiggle the spine here a little bit, keep pulling the legs away, wiggle the ribcage a little bit, try to feel the midline, but really slow movements.

Asia Shcherbakova: Keep pulling the legs away.

Asia Shcherbakova: Then from here, focus on your lower back and begin to extend the spine to a straight line without lifting the upper body.

Asia Shcherbakova: Add wiggling movements of the spine, keep pulling the legs away.

Asia Shcherbakova: And then to exit, we’re going to round one more time.

Asia Shcherbakova: So bring the chin in and roll in first towards the floor

Asia Shcherbakova: And then roll up.

Asia Shcherbakova: Slowly roll up, find the straight line again, back leg to the upper

Asia Shcherbakova: body and then bend the front knee step forward and slowly return both feet to heap width apart

Asia Shcherbakova: Okay, so we’ll let me just show you the spinal movement one once and then we will do it one more time.

Asia Shcherbakova: What I see right now is that especially the okay, so basically what’s good

Asia Shcherbakova: is up until here everybody’s doing kind of what I want to see.

Asia Shcherbakova: But then when we extend, what I want to see is that from the lower back, you just lift the rib cage

Asia Shcherbakova: See, like this part doesn’t move.

Asia Shcherbakova: What I see is that I see a lot of this.

Asia Shcherbakova: You lose like this movement completely.

Asia Shcherbakova: The pelvis moves.

Asia Shcherbakova: So we round, we really think about the spine.

Asia Shcherbakova: We just only bring the ribcage in line with the pelvis.

Asia Shcherbakova: Yeah?

Asia Shcherbakova: And then from here, again, the movement is, so this stays is round again.

Asia Shcherbakova: And then

Asia Shcherbakova: Roll up.

Asia Shcherbakova: Okay?

Asia Shcherbakova: What was missing a lot from here?

Asia Shcherbakova: Like okay, we came to the straight spine.

Asia Shcherbakova: And then when I said round the spine, it was like like this.

Asia Shcherbakova: And then roll up.

Asia Shcherbakova: up.

Asia Shcherbakova: So from the straight spine the second rounding was not happening.

Asia Shcherbakova: So try to dial it in more.

Asia Shcherbakova: Yes.

Natalie: What is the second rounding?

Asia Shcherbakova: The second rounding?

Asia Shcherbakova: Okay.

Asia Shcherbakova: Look.

Asia Shcherbakova: So first rounding.

Asia Shcherbakova: Around.

Asia Shcherbakova: This is rounded.

Asia Shcherbakova: Extend.

Asia Shcherbakova: Around.

Asia Shcherbakova: And then a roll up.

Asia Shcherbakova: Yeah?

Asia Shcherbakova: The first and second rounding are identical.

Asia Shcherbakova: Yes?

Asia Shcherbakova: Okay, they should at least be identical, but because we arrive into them from different starting points, this is why they actually don’t feel identical, but we want them to be

Asia Shcherbakova: identical.

Asia Shcherbakova: Let’s try one more time.

Asia Shcherbakova: So feet are about keep width apart around like this midline, hands on the hips.

Asia Shcherbakova: Hinge.

Asia Shcherbakova: Transfer the weight onto the left leg.

Asia Shcherbakova: Then five times slower than normal.

Asia Shcherbakova: The right foot goes back

Asia Shcherbakova: And land, feet are hip width apart and parallel.

Asia Shcherbakova: Extend both knees, look at your feet, make sure that they are parallel.

Asia Shcherbakova: Natalie, front knee extends.

Asia Shcherbakova: That’s James 2.

Asia Shcherbakova: Okay, so both and um Marta also front knee extends, both knees are extended, hands on the hips, feel the position

Asia Shcherbakova: of the pelvis then chin in and the first rounding we round in we roll in as deep as possible for us without feeling the stretch in the hamstring keep pulling the legs away

Asia Shcherbakova: Round, round, round, keep pulling the legs away, keep rounding, very, very good.

Asia Shcherbakova: Now focus on your lower back and begin to lift your rib cage to extend the spine into a completely straight line

Asia Shcherbakova: And feel the symmetry of the upper body.

Asia Shcherbakova: Your upper body is kind of doing a squat.

Asia Shcherbakova: Very good.

Asia Shcherbakova: And now from here, around again.

Asia Shcherbakova: The pelvis stays as is.

Asia Shcherbakova: You roll in round, round, round, round, round, round.

Asia Shcherbakova: And of the end roll up.

Asia Shcherbakova: Slowly roll up, slowly roll up, slowly roll up to straight line

Asia Shcherbakova: Okay, and then bend the front knee, shift the weight, very slow transfer, feed back to hip width apart, and straighten up.

Asia Shcherbakova: That was much better

Asia Shcherbakova: A little bit more attention to not moving the pelvis on the second rounding.

Asia Shcherbakova: Okay, let’s do the last one.

Asia Shcherbakova: Hinge.

Asia Shcherbakova: So hands on the hips, hinge.

Asia Shcherbakova: Shift the weight onto the right foot.

Asia Shcherbakova: Very slowly, left foot goes back, the left foot lowers, both feet are hip width apart.

Asia Shcherbakova: Extend both knees.

Asia Shcherbakova: Look at your feet, confirm the position.

Asia Shcherbakova: Both knees are extended.

Asia Shcherbakova: Hands on the hips.

Asia Shcherbakova: Then from here, chin in, and we begin rounding the spine towards the midline.

Asia Shcherbakova: Try to keep your shoulders and the pelvis symmetrical

Asia Shcherbakova: The pelvis is perpendicular to the midline.

Asia Shcherbakova: Go as low as possible for you without stretching your hamstring.

Asia Shcherbakova: Keep pulling the legs away for stability.

Asia Shcherbakova: And then focus on your lower back and begin to extend the upper spine.

Asia Shcherbakova: to find a completely straight line.

Asia Shcherbakova: Okay, this is great everyone.

Asia Shcherbakova: Keep pulling the legs away and wiggle the spine just a little bit to feel the spine a little bit

Asia Shcherbakova: better okay now keep thinking about your pelvis so that it doesn’t move from here begin to round the spine one more time so chin in and lower your upper body lower lower lower one more time trying to achieve the

Asia Shcherbakova: what’s possible for you and then to come out start unrolling from the pelvis the pelvis lifts and we roll up to a straight

Asia Shcherbakova: Line first, so finding the straight line to the back leg and then bringing the weight to the front leg as we bend the knee, slowly balancing out, returning both feet to here

Asia Shcherbakova: keep widths apart and lower the arms.

Asia Shcherbakova: That was great.

Asia Shcherbakova: Over these four times that we did it, the last one was almost perfect.

Asia Shcherbakova: That’s really, really great.

Asia Shcherbakova: Okay, uh what’s just a second, let me just check the time.

Asia Shcherbakova: Okay.

Asia Shcherbakova: We’re good for time.

Asia Shcherbakova: So now we are going to do the lunges.

Asia Shcherbakova: Okay, so we will do the the Z-Lunge and then we will do the

Asia Shcherbakova: This one.

Asia Shcherbakova: So here we have to watch our knees and our hips, right?

Asia Shcherbakova: So here we do the intensity verifications for safety.

Asia Shcherbakova: Yeah.

Asia Shcherbakova: Um in the Z-Lunge, very often when people think about this lunge, they think it’s a lot of pressure on Zun

Asia Shcherbakova: knee because very often they do something like this like they literally put weight on their knee and like like this when when the leg in the is in this position really all the weight goes into the kneecap but

Asia Shcherbakova: Because of this Z shape, the back leg almost has no weight, like seriously, see like it’s almost this much no weight on the back knee.

Asia Shcherbakova: And we keep pressing the back foot into

Asia Shcherbakova: the floor.

Asia Shcherbakova: We don’t really do it like this with the knee up.

Asia Shcherbakova: The knee is touching the floor for stability, but this movement is what’s protecting the back.

Asia Shcherbakova: knee.

Asia Shcherbakova: As you come up with the upper body, the tendency is to do this.

Asia Shcherbakova: This is where the weight goes into the back knee.

Asia Shcherbakova: Right?

Asia Shcherbakova: So here the form itself protects your back knee

Asia Shcherbakova: Here, the front hip may be a limitation.

Asia Shcherbakova: In this case, you just won’t do this.

Asia Shcherbakova: If at this point this hip becomes a problem, you just

Asia Shcherbakova: Stay here.

Asia Shcherbakova: Okay?

Asia Shcherbakova: And when we go into this position, again the knee or the hip may be the problem.

Asia Shcherbakova: In this case, you will be just adjusting the position of the front leg as much as you need

Asia Shcherbakova: so that the knee and the hip don’t bother you.

Asia Shcherbakova: Yeah?

Asia Shcherbakova: So let’s try.

Asia Shcherbakova: Let’s uh from the standing position bend the knees and bring the hands on the floor

Asia Shcherbakova: Like bend the knees as much as you can so that you can touch the floor.

Asia Shcherbakova: And then shift the weight onto the left leg.

Asia Shcherbakova: And bring the right leg far back, as far as you can, no momentum.

Asia Shcherbakova: Tiptoe, right knee down and top of the foot down.

Asia Shcherbakova: Make sure the front knee is above the front toe and adjust the legs if you need to.

Asia Shcherbakova: Caitlyn, back top of the foot on the floor, yes.

Asia Shcherbakova: And then with the back foot, press down, like lift your right foot.

Asia Shcherbakova: Slowly lower.

Asia Shcherbakova: Even though the knee now touches the floor, we still do this pressing movement.

Asia Shcherbakova: From here, pull the legs in.

Asia Shcherbakova: So as you pull the legs in, this should create stability around your hip.

Asia Shcherbakova: And from here as you pull the legs in, if you can lift the upper body, do so.

Asia Shcherbakova: And the back foot is keep pressing into the floor.

Patrick Oancia: It’s a bad foot, James.

Patrick Oancia: Uh I wouldn’t uh persevere with that.

Asia Shcherbakova: No, this I think this is

Asia Shcherbakova: a good foot.

Asia Shcherbakova: So you lift a little bit.

Asia Shcherbakova: Yeah, if you can, one arm goes onto the knee, another goes onto the hip.

Patrick Oancia: But James, if you had to do this, because that’s it’s not gonna happen.

Patrick Oancia: Yeah, stand up because all the way up, make sure that this didn’t happen.

Patrick Oancia: The front knee stays above the foot.

Patrick Oancia: This is fixing the floor.

Asia Shcherbakova: Also the hip doesn’t open like this.

Asia Shcherbakova: We pull the legs in so that the hips and shoulders are looking forward.

Asia Shcherbakova: This is exercise in symmetry.

Asia Shcherbakova: Lean forward, hands onto the floor, back on the tiptoe.

Asia Shcherbakova: Shift the weight onto the front foot.

Asia Shcherbakova: Return both feet to hip width apart.

Patrick Oancia: Slowly stand up.

Patrick Oancia: Yeah.

Asia Shcherbakova: Make sure you’re not dizzy.

Patrick Oancia: Anybody’s dizzy?

Patrick Oancia: I mean you observe what’s going on.

Patrick Oancia: Okay, if you’re dizzy just wait a little bit because it compresses the uh leg muscles, right?

Patrick Oancia: And when you come up a lot of blood kind of

Patrick Oancia: Don’t even worry about standing up first.

Patrick Oancia: Okay.

Patrick Oancia: It’s too intense for most people.

Patrick Oancia: Yeah.

Asia Shcherbakova: Yeah, and by the way, the bigger the muscles, the more difficult is to do the zone.

Asia Shcherbakova: Okay.

Patrick Oancia: Uh can you specifically help James while I explaining that he should just do every movement but this Yes.

Patrick Oancia: Yeah.

Asia Shcherbakova: Okay.

Asia Shcherbakova: So let’s do the other side.

Asia Shcherbakova: We hinge, we bring the hands onto the floor, shift the weight onto the right foot, left leg goes all the way back, tiptoe, knee down, top of the foot down.

Asia Shcherbakova: Press.

Asia Shcherbakova: Make sure that the back foot is pressing into the floor.

Asia Shcherbakova: The front knee is above the toe.

Asia Shcherbakova: We pull the legs in.

Asia Shcherbakova: Does everybody understand what I mean by pulling the legs in?

Patrick Oancia: Lower the back knee.

Asia Shcherbakova: So everybody look at me for a moment.

Asia Shcherbakova: You can even come out if it’s like

Asia Shcherbakova: like difficult or just look at me.

Asia Shcherbakova: What do I mean by pulling the legs in?

Asia Shcherbakova: If I just relax, look what happens to my pelvis.

Asia Shcherbakova: This is like a relaxed position

Asia Shcherbakova: I pull the legs in to straighten my pelvis.

Patrick Oancia: But more than just pulling the legs in, the point at which the legs draw towards each other are the sole of the front foot and the top of the back.

Patrick Oancia: back foot.

Patrick Oancia: And that’s when when Asha’s explaining that that back knee should feel light, it’s because the back foot is pressing down onto the ground as you pull through

Patrick Oancia: forward.

Asia Shcherbakova: Look, this is why we don’t practice wearing socks.

Asia Shcherbakova: Look what happens.

Asia Shcherbakova: So when I pull the legs in, this should happen.

Asia Shcherbakova: Right?

Asia Shcherbakova: But because generally I’m not wearing socks, this doesn’t happen.

Asia Shcherbakova: So we use the traction of the surface to make that movement.

Asia Shcherbakova: But essentially

Asia Shcherbakova: So think about it as two different things.

Asia Shcherbakova: One is that this foot wants to go here and the back leg is pressing there.

Asia Shcherbakova: And another one is that when the pelvis wants to do this

Asia Shcherbakova: We pull in.

Asia Shcherbakova: Yeah, and complete symmetry, shoulders, hips, complete symmetry.

Asia Shcherbakova: As we do this lunge, like as we do all this stuff, this is all about symmetry.

Asia Shcherbakova: Yeah?

Asia Shcherbakova: Okay, so bring the hands onto the floor.

Asia Shcherbakova: Let’s just try to lift up with the symmetry in mind.

Asia Shcherbakova: Pull the legs in.

Asia Shcherbakova: And uh Caitlin, what I see is this

Asia Shcherbakova: Lean forward so that you have the Z, knee above the foot.

Asia Shcherbakova: Yeah.

Asia Shcherbakova: Back foot pressing.

Asia Shcherbakova: You should be able to do this.

Asia Shcherbakova: Like look, I could do this thing without actually touching

Asia Shcherbakova: the floor.

Asia Shcherbakova: We don’t do this, but I could do this.

Asia Shcherbakova: The form is possible without touching the floor.

Asia Shcherbakova: So we do touch the floor because making it very difficult is not the point.

Asia Shcherbakova: But we don’t want this to okay everybody take a rest for a second.

Patrick Oancia: There’s a very important point that we want to make here.

Patrick Oancia: This is intense.

Patrick Oancia: It’s an intense

Patrick Oancia: form.

Patrick Oancia: When we’re leaning forward, there should be no weight on this knee.

Patrick Oancia: So in order to build that resilience, you have to press off the top of the back foot.

Patrick Oancia: and extend.

Patrick Oancia: And when we mean the feet are pulling towards each other, we don’t want there to be misunderstanding that the knee and the foot are sliding on the floor, but rather the top of that extended leg foot is

Patrick Oancia: pressing down and pulling forward.

Patrick Oancia: So in order for there to be that scissor-like feeling, if your knee is 90 degrees, it’s very difficult to get the feeling

Patrick Oancia: coming forward you have to first establish this sort of hang over the top of the foot and this top back leg when your hands are down like this the top back leg you can start to play a little bit with how it’s gonna feel to be putting more pressure.

Patrick Oancia: to the top of that right back foot and then when you lift your hands up this one should be pulling forward you can see like we’re just exaggerating with the knee lifting trying to show that there’s very little weight on that back

Patrick Oancia: as to where in a conventional lunge in fitness or yoga, for example, people are putting pads

Patrick Oancia: or a yoga mat under the knee for the pressure.

Patrick Oancia: What we’re trying to encourage is a lot of activity through the back leg so that you’re actually able to control this motion

Patrick Oancia: So we have to approach it, and this is where I think this particular form demands more attention and consideration than the other forms.

Patrick Oancia: Of course, Asha we’ve been doing it a lot, so it’s easier for us.

Patrick Oancia: But what I recommend for today is not lifting up.

Patrick Oancia: Let’s just work on the

Patrick Oancia: uh the position of the legs and the pulling together and the lifting of the back knee.

Patrick Oancia: Why don’t we try that?

Asia Shcherbakova: Yep.

Asia Shcherbakova: Okay.

Asia Shcherbakova: So but why don’t you lead this in

Asia Shcherbakova: I just look around and make sure that the knees are above the foot for everybody.

Patrick Oancia: Okay.

Patrick Oancia: So come on back up the standing.

Patrick Oancia: We’ll get into it together and then we’ll carry on.

Patrick Oancia: So with the feet hips width apart, why don’t you even go over the top of that line there?

Patrick Oancia: Because that gives us a good

Patrick Oancia: reference point where the legs would be you can hinge and then you can bring the hands down low like this.

Patrick Oancia: If you need to bend and scoot forward a little bit more you can step that right foot back

Patrick Oancia: quite long first and then with the right foot back long first when the leg is back here keep your hands down like this so that most of the weight is onto the arms and set this up first.

Patrick Oancia: Allow for the

Patrick Oancia: front knee to hang over the top of those toes.

Patrick Oancia: The top back leg extended top of the foot is is uh downward.

Patrick Oancia: Okay.

Patrick Oancia: Now without taking the hands off the floor

Patrick Oancia: Press to the top of that right back foot and lift the knee off the ground just a little bit like this.

Patrick Oancia: You can see what I’m doing here.

Patrick Oancia: I’m just trying to press on the top of the foot so that I can bring the knee off the off the ground and you’re feeling how much

Patrick Oancia: you know strength that takes to lift it off the ground.

Patrick Oancia: Now without taking the hands off the floor, let’s go ahead and press the sole of the right foot down and back

Patrick Oancia: And the top of the right foot down and forward.

Patrick Oancia: And as you do that, the knee wants to come off the ground a little bit here.

Patrick Oancia: And I’m exaggerating here, but just don’t even take the arms off the ground first.

Patrick Oancia: Let’s just.

Patrick Oancia: activate that scissoring feeling with the legs coming together.

Patrick Oancia: Now relax the activation once.

Patrick Oancia: Now the weight should go back to the knee when you relax the activation.

Patrick Oancia: So one more thing we’ll try again is to press through the top of the foot a little bit to take the weight off the knee.

Patrick Oancia: Then press to the sole of the left foot down and back and pull the feet toward each other.

Patrick Oancia: Now relax and come forward.

Patrick Oancia: You can bring both feet forward for a second and just kind of stay in this squatted position here.

Asia Shcherbakova: (to Natalie who’s just had a cramp in her hips after Z lunge). By the way that’s intensity modification. A cramp means that you’ve overdone it. it should not cramp.

Asia Shcherbakova: If it cramps, don’t lift up.

Asia Shcherbakova: Yes.

Patrick Oancia: And let’s come up to standing again because we want to get to the transitions to go back.

Patrick Oancia: So we’ll come up to standing, we’ll do the exact same thing on the opposite side.

Patrick Oancia: So the controlled approach to it will always be you’re squatting, hands come down, and then we’re tak we’re taking the leg back.

Patrick Oancia: So um

Patrick Oancia: Always remember that we want as much control going in and out initially as possible.

Patrick Oancia: The transition or the transit foci here is eventually allowing for us to do something like this.

Patrick Oancia: Okay, without even having to take the hands down to go down.

Patrick Oancia: But that comes with the ability to control and some level of uh foundation built in the actual thing itself.

Patrick Oancia: So today rather than do that really extreme transit let’s break it apart.

Patrick Oancia: Let’s just squat, bring the hands down, shift the weight over to that right leg, take this one back, just lower it down first.

Patrick Oancia: See that

Patrick Oancia: I’m just going back really easy.

Patrick Oancia: I’m taking it back.

Patrick Oancia: Now the top of that left foot goes down.

Patrick Oancia: Now go ahead and straighten this knee altogether.

Patrick Oancia: Let’s try a different approach.

Patrick Oancia: Straighten this knee.

Patrick Oancia: And come on up to here so both knees are down here once.

Patrick Oancia: So you’re sitting up here, one knee down, the other knee up.

Patrick Oancia: This is not where we want to be, but this is a good starting point.

Patrick Oancia: We have more control to get into it from here

Patrick Oancia: The feet are more or less hips width apart.

Patrick Oancia: It’s not perfect, it doesn’t matter.

Patrick Oancia: Let’s go ahead first and take the weight of this knee over the top, or sorry, the the position of this knee over the top of the

Patrick Oancia: the toes and then bring the hands down onto the ground again.

Patrick Oancia: Now with that back extended leg, I don’t even really need to move it that much.

Patrick Oancia: Just check to see the top

Patrick Oancia: Extended leg foot is down.

Patrick Oancia: Now press lightly on that foot so that the knee slightly comes up off the ground like this.

Patrick Oancia: You can see that, right?

Patrick Oancia: The knees lightly coming up the ground, their hands are still down.

Patrick Oancia: Keep the hands down now.

Patrick Oancia: Press the sole of the right foot down and pull back.

Patrick Oancia: Press the top of the left foot down and pull forward.

Patrick Oancia: So that you feel the legs actively pulling towards each other here.

Patrick Oancia: Legs are pulling towards now relax the pulling once

Patrick Oancia: Check one more time to see that that lat the back knee’s light press to the top of that back foot a little bit make the knee a little bit lighter

Patrick Oancia: Now go ahead, press the sole of the right foot down and pull back, press the top of the left foot down and pull forward, activating the legs toward each other, lifting upright.

Patrick Oancia: As the legs pull away.

Patrick Oancia: So we’re just taking it one step here.

Patrick Oancia: We’re not thinking about the the position of the chest, but the legs are pulling toward each other.

Patrick Oancia: This back knee is light, so there’s no pressure to the back leg.

Patrick Oancia: The legs are working, release the hands down

Patrick Oancia: Bring the knee down, sit onto the heels.

Patrick Oancia: Just tiring.

Asia Shcherbakova: It is tiring.

Patrick Oancia: It’s tiring

Asia Shcherbakova: By the way, when I started doing Baseworks, I could not do this lunge.

Asia Shcherbakova: It was too much.

Patrick Oancia: She really could be.

Patrick Oancia: Now she’s a pro.

Asia Shcherbakova: Um shall we do the the C-tuck version?

Asia Shcherbakova: Okay, so the next one, um it’s I think James can join us here, but please watch your ankle when we press back.

Asia Shcherbakova: We will do this form.

Asia Shcherbakova: Okay.

Asia Shcherbakova: So the key here actually is that maybe you can not this is our foundational form when we actually work on the hip mobility.

Asia Shcherbakova: So as Patrick was saying

Asia Shcherbakova: lunges in Baseworks there are not so much about this hip mobility stretch your pants because it’s very easy to for it to go in the lower back like it connects with the knee like

Asia Shcherbakova: complete loss of control but this form is actually good for working in this case this will be the left hip and the point is that we’re not doing it like kind of like this because

Asia Shcherbakova: Again, it will go into the lower back.

Asia Shcherbakova: What we do is we bring these arms here.

Asia Shcherbakova: We press forward.

Asia Shcherbakova: Yeah?

Asia Shcherbakova: Press forward like we do in other forms.

Asia Shcherbakova: And we round the spine and draw the shoulders down.

Asia Shcherbakova: And again, the back foot is pressing into the floor.

Asia Shcherbakova: When you feel this movement w when you do this full movement correctly, you should really feel how it opens here.

Asia Shcherbakova: And maybe you will even feel

Asia Shcherbakova: something here.

Asia Shcherbakova: So this is one of the forms and Baseworks which is more specifically focused on flexibility basically.

Asia Shcherbakova: Okay?

Asia Shcherbakova: And here, but it’s also very important that the pelvis is looking forward.

Asia Shcherbakova: Shoulders pelvis like we don’t want to see like this.

Asia Shcherbakova: This symmetry is still the priority.

Asia Shcherbakova: So this leg maybe for some people it will be more like this.

Asia Shcherbakova: Some people have really open hip may be able to do something like

Asia Shcherbakova: this like for example for me I could do this my but my hip will not lower I will not do this because this is complete loss of symmetry for me if the shin is in this position then the pelvis will be

Asia Shcherbakova: parallel to the floor.

Asia Shcherbakova: Yeah?

Asia Shcherbakova: But of course, because this is intense, this is very intense, and you can use your hands at any moment.

Asia Shcherbakova: moment and then when the hands go down you have support here so as long as you can find the position from the front leg which is manageable and then all we do here is press forward

Asia Shcherbakova: around the spine, press back and we create distributed activation kind of like all the way through.

Asia Shcherbakova: So press, press, shoulders down, connect all that, and then we will come

Asia Shcherbakova: out okay let’s try to do this so let’s come in from the lunch

Patrick Oancia: Come into a lunging position like this and okay so I don’t think James should be doing this this load.

Asia Shcherbakova: Okay, so come into the lunging position, back foot onto the tiptoe

Asia Shcherbakova: And lower your front shin on the floor.

Asia Shcherbakova: First just keep your weight on the hands.

Asia Shcherbakova: Lower the shin.

Asia Shcherbakova: In a way where you still stretch it.

Asia Shcherbakova: Then backing down front of the food down.

Asia Shcherbakova: So your weight is still on the hands.

Asia Shcherbakova: Make sure that your pelvis is parallel to the food.

Patrick Oancia: It doesn’t borrow at all from pigeons.

Patrick Oancia: the good as and press back foot is pressing into the floor.

Asia Shcherbakova: Okay.

Patrick Oancia: Lower your forearms.

Patrick Oancia: Farms parallel, the knees are just under the shoulders for the

Asia Shcherbakova: Back foot is still pressing.

Asia Shcherbakova: And then from here you will lower the head round the spine.

Asia Shcherbakova: Keep pressing the arms forward, keep pressing the back foot into the floor.

Asia Shcherbakova: You can try to really feel how it isolates your left hip.

Asia Shcherbakova: So keep drawing the shoulders down, spreading the fingers, pressing forward with your arms.

Asia Shcherbakova: Keep pressing the back foot into the floor and back and then slowly relax.

Asia Shcherbakova: Bring the hands under the shoulders.

Asia Shcherbakova: Lift the up

Patrick Oancia: Continue to press the outside edge of the right shin downward and continue to press the extended leg top of the foot downward so it’s similar.

Patrick Oancia: We’re still trying to oppose and lift.

Patrick Oancia: as we lift as we lift the upper torso upright.

Patrick Oancia: There’s never the point where the legs totally relax.

Patrick Oancia: They’re always pulling.

Asia Shcherbakova: Are the movements clear here?

Asia Shcherbakova: Yes?

Asia Shcherbakova: Everybody understands?

Asia Shcherbakova: Movements.

Asia Shcherbakova: Yeah, after the inflection.

Asia Shcherbakova: Actually here we don’t call it this inflection, we call it converge because it’s like a

Asia Shcherbakova: a tuck basically.

Asia Shcherbakova: Well we just do the tuck.

Asia Shcherbakova: It’s kind of the same movement as you would do here.

Asia Shcherbakova: Right?

Asia Shcherbakova: So we round like this, then we’ll just release, then we just come up.

Asia Shcherbakova: We just release it

Asia Shcherbakova: here it’s not an inflect form.

Patrick Oancia: There’s a tendency.

Patrick Oancia: So James, everybody can just come come up for a second and relax.

Patrick Oancia: So James just asked me a question and he’s going, okay, what makes this different than the pigeon?

Patrick Oancia: This is like in yoga or fitness you would say that this is “the pigeon”, but the pigeon, as I was explaining to James, is a glute stretch, a hip flexor extension, and a back arch.

Patrick Oancia: When people most do it in yoga.

Patrick Oancia: So what we’re actually trying to do here is the position itself may look similar to that of a pigeon, but the bottom leg foundation activation pressing down, even just marginally

Patrick Oancia: is um what what anchors in the same way that we anchor anywhere else and what other uh other forms we’re in when we’re anchoring

Patrick Oancia: anchoring, the anchor itself allows for us to divide the movements and separate effectively.

Asia Shcherbakova: Yeah it is a symmetry exercise

Asia Shcherbakova: more than anything.

Patrick Oancia: Yeah, there’s not we’re not trying to stretch or open here.

Patrick Oancia: We’re just trying to control.

Asia Shcherbakova: And what it essentially combines is that it combines kind of like this, basically you’re this is pressed down, but you’re also really, really arounding the spine.

Asia Shcherbakova: So it’s actually a very unusual position which very is is very difficult to achieve in any

Asia Shcherbakova: other way.

Asia Shcherbakova: And this is one of the best things you can do.

Asia Shcherbakova: Like if you have limited mobility here, this is really one of the things that you can do to open the hip.

Patrick Oancia: Um so the pressing is similar to that of what we did in our Z-Lunge here with the top of the

Patrick Oancia: foot.

Patrick Oancia: But the emphasis is not so much on bringing this up all the time, but more pressing down.

Patrick Oancia: And when we’re down to this point here and we flex the upper spine, we’re adding this pushing forward

Patrick Oancia: As the spine flexes with the legs pressing down to anchor.

Asia Shcherbakova: And also it should really feel like somebody’s pressing on you.

Patrick Oancia: You can sit on me.

Patrick Oancia: Just sit on me.

Patrick Oancia: So she… (Asia sits on top of Patrick’s rounded back and lifts off her legs)

Asia Shcherbakova: this is how it should feel

Patrick Oancia: This is I’m not feeling uncomfortable at all by her sitting there because of this activity.

Patrick Oancia: And I’m not trying to overactivate here either.

Patrick Oancia: Like she could sit on me, I’m feeling pretty comfortable.

Patrick Oancia: I’m stabilizing myself here by pressing the arms forward.

Patrick Oancia: Both legs are pressing down.

Patrick Oancia: So the outside of this shin presses down and the extended leg top of the foot.

Patrick Oancia: Presses downward as this presses forward, the shoulders draw down and I flex the spine.

Patrick Oancia: So there’s all these things that are on the leg pressing, the leg pressing, shoulder depression.

Patrick Oancia: Spinal flexion, arm movement forward.

Patrick Oancia: That makes sense.

Patrick Oancia: Should we try it again?

Patrick Oancia: I think so.

Asia Shcherbakova: Yeah, that the other side.

Asia Shcherbakova: Let’s do the other s.

Asia Shcherbakova: So actually from here how we usually would exit.

Asia Shcherbakova: Let’s just return where we were so that we practice the transition that you have in the

Asia Shcherbakova: uh practice videos.

Asia Shcherbakova: So we bring the hip down.

Asia Shcherbakova: Here we completely lose the symmetry.

Asia Shcherbakova: It’s okay because it’s a transition.

Asia Shcherbakova: The left leg completely extended comes Are we even doing that?

Asia Shcherbakova: Yeah we do that.

Asia Shcherbakova: Yes.

Asia Shcherbakova: Yeah somewhere we do that.

Asia Shcherbakova: Then we suspend and then we bring the left shin down in this case.

Asia Shcherbakova: The right leg completely straight.

Asia Shcherbakova: goes back and hands on the floor and this is where you need to make sure that your pelvis is parallel to the floor

Asia Shcherbakova: And the whatever the leg needs to do you just arrange it however way you like.

Asia Shcherbakova: But ideally if you can kind of press forward it’s good, but if it has to

Asia Shcherbakova: to be kind of more back it’s also fine and then bring forearms down elbows under the shoulders arms parallel back foot pressing down find your symmetry here

Asia Shcherbakova: Here, four arms pressing forward as you draw the shoulders down and rounding the spine.

Asia Shcherbakova: And really imagine that somebody is sitting on top of your

Asia Shcherbakova: upper back.

Patrick Oancia: That’s it.

Asia Shcherbakova: And you have to support their weight.

Patrick Oancia: So let the knee go down a little bit.

Patrick Oancia: Yeah.

Asia Shcherbakova: So the back foot is really really pressing down into the floor, really rounded upper spine.

Asia Shcherbakova: Forearms really pressing forward

Patrick Oancia: Yes a little bit.

Patrick Oancia: Very good.

Asia Shcherbakova: So pressing forward, back foot is pressing into the floor, drawing the shoulders down.

Patrick Oancia: Do you mind if I put it in the middle of the house?

Patrick Oancia: So like you know, you can imagine that if I’m giving you some weight here that your stability is able to support my little bit of weight that I’m pressing

Asia Shcherbakova: down there.

Asia Shcherbakova: Okay, and then let’s release the spine.

Patrick Oancia: So I’m like doing this right?

Patrick Oancia: And you can feel that even if I do this, you can feel like you can support a little bit of my hands going there, you know what I mean?

Patrick Oancia: With the legs and with the arms.

Patrick Oancia: and in the shoulder protection.

Patrick Oancia: That’s exactly it.

Patrick Oancia: You’re doing it perfectly.

Patrick Oancia: What’s my belly doing?

Patrick Oancia: Uh the belly tries to relax as much as possible.

Patrick Oancia: That’s a great question.

Patrick Oancia: So yes.

Patrick Oancia: The belly tries to relax as much as possible.

Asia Shcherbakova: Okay, and then let’s relax the upper body and bring the hands under the shoulders.

Asia Shcherbakova: Yeah.

Asia Shcherbakova: And then bring the left sidbone down.

Asia Shcherbakova: and right leg forward and we suspend and let’s just bring the feet onto the floor.

Patrick Oancia: Okay, carry on.

Asia Shcherbakova: Okay.

Patrick Oancia: We are at 13:36.

Asia Shcherbakova: 13:36.

Asia Shcherbakova: So we have 25 minutes.

Patrick Oancia: Do we?

Patrick Oancia: Yes.

Patrick Oancia: Okay.

Asia Shcherbakova: Okay, so then we will do now, and I think maybe here James

Asia Shcherbakova: can join us.

Asia Shcherbakova: We will practice the leg raises.

Asia Shcherbakova: Yeah.

Asia Shcherbakova: And basically the idea here is that well first of all the form

Asia Shcherbakova: So like in a these types of things shouldn’t be happening.

Asia Shcherbakova: The lower back should be completely grounded and we draw the shoulders down.

Asia Shcherbakova: And we are going to do so if the hamstrings are very tight, it’s possible

Asia Shcherbakova: to do it like this, but ankles stay extended and active.

Asia Shcherbakova: So legs are very, very active here.

Patrick Oancia: And what are we doing that right now?

Patrick Oancia: Because that we’re s we’re skipping seated wide inflection and seated inflection, those need to be covered.

Asia Shcherbakova: You wanna well those need to be covered.

Patrick Oancia: Everybody’s up to everybody’s here in the room is up to date.

Patrick Oancia: Let’s do those.

Patrick Oancia: Seated wide inflection, seated inflection.

Asia Shcherbakova: So we don’t do the

Asia Shcherbakova: the leg radius.

Patrick Oancia: Uh we can, but let’s do these two first.

Patrick Oancia: They transition into that.

Asia Shcherbakova: Okay.

Patrick Oancia: Yeah.

Asia Shcherbakova: Okay, then let’s do the inflections first.

Asia Shcherbakova: So let’s let let’s sit down.

Patrick Oancia: And and let’s forget about the transitions.

Patrick Oancia: We don’t have enough time

Asia Shcherbakova: Okay, so let’s sit down and we will do the the seated inflection forms.

Asia Shcherbakova: So again as we did in the split stance inflection.

Asia Shcherbakova: Like these movements.

Asia Shcherbakova: First rounding, extension, second rounding, and exit.

Asia Shcherbakova: Try to really make those roundings the same

Asia Shcherbakova: Okay, so we will be here, then we will round as much as we can.

Patrick Oancia: So we’ve never done this, right?

Patrick Oancia: Okay, so everybody just watch Asha first.

Patrick Oancia: You demonstrate completely.

Patrick Oancia: Yeah

Asia Shcherbakova: Yeah, so we will do with l wide legs and then with legs together with legs together you will have less mobility with legs wider you will have like more kind of range of

Asia Shcherbakova: of motion so it will look like this round then from here from the head you roll in as much as you can like as much as you can somebody will look like this somebody will look like this but the point is that you go as much as you can

Asia Shcherbakova: Yeah, it really yeah, yeah.

Asia Shcherbakova: So then from here we think about the lower back and we lift the rib cage to the point where we have a strain

Asia Shcherbakova: straight line.

Asia Shcherbakova: People who were like this, for them it’s gonna look like this.

Asia Shcherbakova: The hands will go here so that like look what what the hands do so that this doesn’t happen.

Asia Shcherbakova: The hands support the pelvis.

Asia Shcherbakova: So that we can have the straight line.

Patrick Oancia: Can you go into the flexion again for one second?

Patrick Oancia: Okay.

Patrick Oancia: So if she’s flexed here, the the uh technology is the same

Patrick Oancia: She should be able to resist that type of with her flexion she should feel stable with the legs pressing down.

Asia Shcherbakova: Yeah, because the legs are pressing down.

Asia Shcherbakova: Yes, by the way, we often say press the back of the leg down and I know it’s difficult to

Asia Shcherbakova: imagine like what is it what does it mean to press the back of the legs down but if you press again like think about this in order for like not completely collapse what I need to do essentially is that I need to keep pressing up

Asia Shcherbakova: And what does pressing out mean?

Asia Shcherbakova: It means that the leg from this position is trying to press down.

Patrick Oancia: And also forward.

Patrick Oancia: So you you’re also thinking that there’s a surface underneath the ball of the foot and you’re trying to press against that surface all the time underneath

Patrick Oancia: the ball to foot.

Asia Shcherbakova: So basically basically distributed activation absolutely all over as we do these movements, but in terms of the spinal movement.

Asia Shcherbakova: So we lean back, we roll in as much as we can, then from the lower back we extend

Asia Shcherbakova: And then from here we flex again, see?

Asia Shcherbakova: Extend, flex, extend, flex.

Asia Shcherbakova: This part doesn’t move

Asia Shcherbakova: Yeah, and then from here when we did our second flexion the arms will go forward and then we will exit.

Asia Shcherbakova: Yeah, this is the inflect focus.

Asia Shcherbakova: The intent focus is when let’s say for example I’m here

Asia Shcherbakova: And then I just try to really, really kind of focus on my muscles and I’m working on actually going lower from the point where I am straight, but it never happens

Asia Shcherbakova: Like this.

Asia Shcherbakova: In the straight spine version, we never collapse this.

Asia Shcherbakova: It always stays straight.

Asia Shcherbakova: But let’s focus on the inflect focus, the spinal movements.

Asia Shcherbakova: Very, very correctly done.

Asia Shcherbakova: Okay, let’s just do that.

Asia Shcherbakova: So let’s just start in this position with the legs a little bit wider than hip widths apart.

Asia Shcherbakova: Yeah, Natalie for you a bit more.

Asia Shcherbakova: Yeah, everybody else is okay.

Asia Shcherbakova: So for the legs we don’t let them fall like this (dorsiflexed).

Asia Shcherbakova: The top of the foot is up and we extend

Asia Shcherbakova: Extend the ankles.

Asia Shcherbakova: So we never want the ankles to be like this because this limits your flexibility here.

Asia Shcherbakova: So extend arms forward and lean back.

Patrick Oancia: I think they’re all closed.

Asia Shcherbakova: They’re all closed.

Asia Shcherbakova: Yeah, I think so.

Asia Shcherbakova: So lean back here and uh push the balls of the feet and tiptoes.

Asia Shcherbakova: Yeah, so from here, as if somebody is pressing on your head, you begin to roll in rounding the spine and keep extending the ankles and activating the legs

Asia Shcherbakova: Really around the upper spine.

Asia Shcherbakova: Neck is relaxed.

Asia Shcherbakova: You draw the shoulders down.

Asia Shcherbakova: You create a completely turtle shell like back.

Asia Shcherbakova: Draw the shoulders down, hands gently touching the floor and wiggle the ribcage from side to side.

Asia Shcherbakova: Relax the neck, keep drawing the shoulders down, and keep doing these wiggling movements with your spine.

Asia Shcherbakova: Then from here, focus on your lower back and as you wiggle the spine, begin to extend the spine to a position where the lower back and your upper spine are the extension of each other.

Asia Shcherbakova: But also as you do this, you never want to just like come up.

Asia Shcherbakova: So when we’re here the flexion of the pelvis stays, we just extend.

Asia Shcherbakova: That’s very important.

Asia Shcherbakova: You’re trying to bounce back.

Asia Shcherbakova: And so James, if you feel like you’re almost falling backwards, you can use your hands to the floor.

Asia Shcherbakova: The hands don’t really

Asia Shcherbakova: So ankles extended, pushing the balls of the feet.

Asia Shcherbakova: Try to press with the legs with the back of the legs into the floor.

Asia Shcherbakova: You can imagine that pressing of the legs into the floor wants to do this movement.

Asia Shcherbakova: Right?

Asia Shcherbakova: If you were explosively to press the floor, it will just kinda throw you back.

Asia Shcherbakova: But you resist.

Patrick Oancia: Also really open the chest here.

Patrick Oancia: So look, see here?

Asia Shcherbakova: Okay, and then we’ll around the spine one more time from here.

Asia Shcherbakova: So the s lower back stays like this, we just round the upper spine, go as deep as we can.

Asia Shcherbakova: Draw the shoulders down and then begin to lean back while you bring the arms forward to offset the weight.

Asia Shcherbakova: So back, back, back, back, back, back, back.

Patrick Oancia: Active legs.

Patrick Oancia: And lean all the way back.

Asia Shcherbakova: Shoulders down.

Patrick Oancia: Okay.

Patrick Oancia: Keep the legs active.

Asia Shcherbakova: So normally we’ll go into reclining transition, but now let’s just not do reclining transition.

Asia Shcherbakova: Let’s just bring the legs together.

Asia Shcherbakova: We’ll do the same thing with the legs together.

Asia Shcherbakova: It will reduce your mobility.

Asia Shcherbakova: You will not be able to go as low with legs together.

Asia Shcherbakova: So lean back, shoulders down, chin in from the head like a spiral.

Asia Shcherbakova: Begin to roll in.

Asia Shcherbakova: Keep the legs active, keep drawing the shoulders down, relax the neck, hands just gently touching the floor, and wiggling the spine from side to side.

Asia Shcherbakova: So this is not a hamstring stretch here, right?

Asia Shcherbakova: So you don’t go like to the point.

Asia Shcherbakova: Where your hamstrings are burning.

Patrick Oancia: Just one uh one thing here everybody can see.

Patrick Oancia: Is you can make a little space between the heels.

Patrick Oancia: So inward rotation of the acetabulum.

Patrick Oancia: As Marta just explained to me, the inward rotation of the big femur here.

Patrick Oancia: Inward rotation allows the toes to come in, the heels go out.

Patrick Oancia: This gives us our parallel feet type of thing.

Asia Shcherbakova: Because if the heels are together, it means that your feet are actually looking in opposite directions, right?

Asia Shcherbakova: If we want to get the foot to actually look up, we have to create some

Patrick Oancia: space between see the space between my heels there right you can see the space between my my heels are not together but this they’re out like that.

Patrick Oancia: We’re trying to almost exaggerate that little bit of space between the heels there.

Asia Shcherbakova: Yeah.

Patrick Oancia: You can try it again like that.

Asia Shcherbakova: Okay, so let’s lean back one more time.

Asia Shcherbakova: So lean back, activate the legs, toes touching, roll in, rounding the spine

Asia Shcherbakova: Keep activating the legs, keep extending the knees, extending the ankles, pressing the floor with the legs as you wiggle the spine from side to side and draw the shoulders down.

Asia Shcherbakova: And then from there focusing on your lower back and while you wiggle the spine, begin to extend the spine, finding the straight line from the lower back to the head doesn’t move, Marta.

Asia Shcherbakova: The back

Asia Shcherbakova: of your neck finding a completely straight line and if you need to bring your hands back to support your pelvis do so so straight line Natalie and Caitlyn

Asia Shcherbakova: Exactly.

Asia Shcherbakova: If you just look at me for a second, your straight line right now looked like this.

Asia Shcherbakova: This is not a straight line.

Asia Shcherbakova: The straight line is completely flat upper body.

Asia Shcherbakova: So your chest will be open.

Asia Shcherbakova: James, you look great.

Asia Shcherbakova: Yes, and you can use the

Asia Shcherbakova: hands to support yourself back towards your hand and but also like don’t just like rest yeah actively you use this to lift your pelvis can you feel that even go back more okay go back more

Patrick Oancia: That’s your straight line right there.

Patrick Oancia: So when we’re here, this looks good, open the chest.

Asia Shcherbakova: Like not like back arch, but just completely flat upper back.

Asia Shcherbakova: And you try to go as far as you can without losing the flatness.

Asia Shcherbakova: Push the balls of the feet, extend the spine, the back of the legs are pressing into the floor.

Asia Shcherbakova: Yes, and then shin in one more time and roll in our second rounding.

Asia Shcherbakova: Roll in completely

Asia Shcherbakova: And then begin to lean back.

Asia Shcherbakova: You lean back, the pelvis leans back, arms come forward, offset the waist so that we can back even more, keep extending the legs.

Asia Shcherbakova: And then let’s just cross our legs here.

Asia Shcherbakova: Yes, one.

Patrick Oancia: It’s okay.

Patrick Oancia: I’ll bring it up after at the end.

Patrick Oancia: Um I was just telling Martin, I’m also telling Caden, Caitlin right now too.

Patrick Oancia: There’s still the tendency for the head

Patrick Oancia: to become independent from the movement.

Patrick Oancia: Like what we’re trying to do is the head and neck only move as a byproduct of the upper spine flexion.

Patrick Oancia: Does that make sense?

Asia Shcherbakova: Your neck is part of your spine.

Asia Shcherbakova: So when we do the spinal

Asia Shcherbakova: movements the neck and the rest of the spine they are participating in one movement together.

Patrick Oancia: So we’re not mobilizing the neck when we’re flexing and extending.

Patrick Oancia: It just moves as a bip moves as a byproduct of the extension of the spine

Patrick Oancia: Like this.

Patrick Oancia: So again it’s kind of locked.

Patrick Oancia: Fixing separating isolating concept.

Patrick Oancia: What’s next?

Asia Shcherbakova: How much time do we have?

Patrick Oancia: And not much.

Patrick Oancia: Ten is 1350

Asia Shcherbakova: So how many minutes do we have?

Patrick Oancia: Extra extra?

Asia Shcherbakova: Extra is until two o’clock, so what what what is the extra so that we can go to two.

Asia Shcherbakova: No, but what is the time now?

Patrick Oancia: Right now it’s ten to two.

Asia Shcherbakova: Two two?

Patrick Oancia: Yeah, ten to two two.

Asia Shcherbakova: Ten to two.

Patrick Oancia: Yeah, fifty one fifty.

Asia Shcherbakova: Okay, thank you.

Asia Shcherbakova: Okay.

Asia Shcherbakova: Okay, so then we don’t

Asia Shcherbakova: really have very much time.

Asia Shcherbakova: Let’s just do the leg raises and then we will just uh do the simulation after that.

Natalie: Okay.

Asia Shcherbakova: So in the leg raises we will do six leg raises.

Asia Shcherbakova: Okay, so this thing we’ll do it six times.

Asia Shcherbakova: And

Asia Shcherbakova: Intensity modification is you should be able to do six times with your breathing completely calm.

Asia Shcherbakova: Okay, so this means that depending on your flexibility, strength, how you feel today, and so on and so forth

Asia Shcherbakova: so on maybe you will be just doing like like this much right because heels well yes heels because because if you go like all the way here you you’re like yes I can do that and you do it one time

Asia Shcherbakova: And then on the second and the third time your breathing gets kind of off.

Asia Shcherbakova: This means that you could not properly do intensity modification.

Patrick Oancia: Uh heels stay the same all the time, like we had the feet parallel, heel the heels are away from each other here like this

Patrick Oancia: When we’re doing this, the heels are also away from each other.

Patrick Oancia: When we’re doing the leg raises, the heels are also away from each other.

Patrick Oancia: So this inward rotation

Patrick Oancia: as Marta put it, which is a good way of the acetabulum, moving the acetabulum, is always dialed in, even the leg raises.

Patrick Oancia: Yeah.

Patrick Oancia: Just want to make sure because you’re always putting the heels together.

Asia Shcherbakova: Okay.

Asia Shcherbakova: Okay, so let’s try to do that.

Asia Shcherbakova: Let’s line the back.

Asia Shcherbakova: So line your back.

Asia Shcherbakova: First bring the knees to the chest and roll your pelvis from side to side.

Asia Shcherbakova: Make sure that the lower back is flat.

Asia Shcherbakova: Extend the legs up.

Asia Shcherbakova: So toes together, maybe a little bit space between your heels

Asia Shcherbakova: Arms away from the body, V-shape, draw the shoulders down.

Asia Shcherbakova: If you feel like this is already challenging, you can keep your knees lightly bent.

Asia Shcherbakova: So find your starting position where you feel kind of alright.

Asia Shcherbakova: Make sure to extend the ankles.

Asia Shcherbakova: Natalie, extend the ankles.

Asia Shcherbakova: Yes.

Asia Shcherbakova: So everybody, join the shoulders down.

Asia Shcherbakova: So arms a little bit away from the body.

Asia Shcherbakova: So Natalie, bring your arms a bit wider.

Asia Shcherbakova: Spread the fingers.

Asia Shcherbakova: Arms are kind of pressing into the floor.

Patrick Oancia: Just think about rotating the upper part of the thigh.

Patrick Oancia: Oh, cramping.

Patrick Oancia: Okay, bend the knees a bit.

Asia Shcherbakova: Okay, and from here, exactly.

Asia Shcherbakova: Focus on six times, have it in mind.

Asia Shcherbakova: Imagine that somebody is pulling on your legs away from your hip and slowly lower the legs to the point where you feel comfortable, maybe 10 or 30 degrees or less.

Patrick Oancia: That’s not

Asia Shcherbakova: And then slowly extend the leg away and bring back above the pelvis.

Asia Shcherbakova: And also you can skip whenever you feel like doing that.

Asia Shcherbakova: So extend and really slowly lower the legs down

Asia Shcherbakova: Yes.

Asia Shcherbakova: And then extend and return to above the hips.

Asia Shcherbakova: Should no momentum, very slow movement.

Asia Shcherbakova: Extend and slowly lower.

Patrick Oancia: That’s it.

Patrick Oancia: For now even the biggest.

Patrick Oancia: Extend and return back the key width apart.

Asia Shcherbakova: You can skip whenever you like.

Asia Shcherbakova: Just make sure that the breathing is relaxed three more times.

Asia Shcherbakova: Extend and That’s it, James.

Patrick Oancia: That’s it.

Asia Shcherbakova: And then extend and up above the hips two more times.

Asia Shcherbakova: Keep if you need to.

Asia Shcherbakova: Extend and down.

Asia Shcherbakova: Keep pushing the balls of the feet.

Asia Shcherbakova: And then extend and up.

Asia Shcherbakova: And the last one.

Asia Shcherbakova: Extend and down.

Asia Shcherbakova: And then relaxed breathing.

Asia Shcherbakova: And then extend and bending in.

Asia Shcherbakova: And then bend the knees.

Asia Shcherbakova: And then lift.

Patrick Oancia: (assisting Natalie) So you think only the thighs are lifting and moving away from you, right?

Patrick Oancia: The thighs move away from you.

Patrick Oancia: Like that.

Patrick Oancia: Exactly.

Patrick Oancia: Can I bend the knees in, hug on, hug onto the knees.

Asia Shcherbakova: Massage your lower back.

Asia Shcherbakova: Okay.

Asia Shcherbakova: And then let’s practice the transition we usually do when we come out of this position.

Asia Shcherbakova: So bring your legs up one more time.

Asia Shcherbakova: Then lift your head and press the hands forward.

Asia Shcherbakova: So push the balls of the feet, really around the upper spine.

Asia Shcherbakova: And then begin to lower your legs and we’re waiting for the moment where you can just kinda come up.

Patrick Oancia: Yeah, good.

Patrick Oancia: You didn’t break your back there, did you?

Patrick Oancia: No, no, no.

Asia Shcherbakova: Yes.

Patrick Oancia: Oh Jesus.

Asia Shcherbakova: Very good.

Asia Shcherbakova: Okay.

Asia Shcherbakova: And I think that’s it.

Asia Shcherbakova: Let’s do the do we do an assimilation?

Patrick Oancia: I think uh just I think we just we should have a key

Patrick Oancia: Some questions.

Asia Shcherbakova: Yeah, okay.

Patrick Oancia: So there’s a lot covered today

Context: (Natalie expresses regret that there is no assimilation and Patrick and Asia say that theu are glad that she apprecieates the Assimilation, but…)

Asia Shcherbakova: There’s a whole segment about when whether or not and when

Asia Shcherbakova: to do it and how it affects you and so on.

Asia Shcherbakova: But yes, but I I’m glad that you feel the positive effect of this emotion.

Asia Shcherbakova: Questions?

Asia Shcherbakova: Okay.

Natalie: So when we’re here and we’re doing (showing the Supine Leg Raise) this

Natalie: Should the lower back be totally flat?

Asia Shcherbakova: Yeah.

Asia Shcherbakova: Yes, ideally you shouldn’t be able to like put anything under here.

Asia Shcherbakova: This is why we start here, like this (knees bent first), and then we extend.

Asia Shcherbakova: We we already show me what’s the problem.

Patrick Oancia: So it’s just can I comment on one thing?

Asia Shcherbakova: Okay, yes, yes.

Patrick Oancia: We already start with this Natalie.

Patrick Oancia: We’re already starting with this in the very first in the ignition in the pi position of the pelvis.

Patrick Oancia: The rib cage itself should never lift.

Patrick Oancia: So as Asha mentioned, it’s difficult to take the hand underneath the lower back.

Asia Shcherbakova: But essentialy

Asia Shcherbakova: Arms onto the floor, the V shape.

Asia Shcherbakova: So we draw the shoulders down and we press into the floor.

Asia Shcherbakova: All those movements, they should

Asia Shcherbakova: create the feeling that like your upper body is completely fixed.

Asia Shcherbakova: So start doing the leg raises. (saying to Patrick who is demonstrating - and Asia physically holds his ribcage nad pelvis down to demonstrate the stabilzing effect)

Asia Shcherbakova: This is how it should feel.

Asia Shcherbakova: Right?

Asia Shcherbakova: This is how it should feel

Asia Shcherbakova: And if your rib cage starts coming up the floor, it means that you’re not drawing the shoulders down, you’re not pressing down, or you just don’t have enough control when you lower it.

Patrick Oancia: My ribcage doesn’t move (demonstrating Leg raises now without Asia’s assistance)

Patrick Oancia: Nothing is moving other than my legs.

Patrick Oancia: That’s why we encourage just very small movements in the beginning so you can isolate the movements of the leg while keeping this upper torso completely rigid.

Asia Shcherbakova: And

Asia Shcherbakova: Yes.

Patrick Oancia: Yes.

Patrick Oancia: The shoulders continue to depress irrespective of the position that you’re in.

Patrick Oancia: If you’re lying, also no momentum.

Asia Shcherbakova: Try to also try to always like when when you do the movement, imagine away and down.

Asia Shcherbakova: Away and up.

Asia Shcherbakova: This is how it should feel.

Asia Shcherbakova: Very controlled movement.

Patrick Oancia: So hey, that’s another good point.

Patrick Oancia: Take a look at this guys.

Patrick Oancia: So this circumlinear motion that we talked about with the rib cage.

Patrick Oancia: it also brings itself into the movement of the leg.

Patrick Oancia: The leg, the ball of the foot is pressing away as Asha just mentioned and down

Patrick Oancia: Okay, so this is also a circumlinear motion because it’s not just up and down, but it extends away from you and down, and when you’re lifting, extends away from you and lifts up.

Patrick Oancia: In a similar way that um

Patrick Oancia: The movement of the limb away from the body also reveals itself when we’re in these transitions.

Patrick Oancia: Like these types of transitions.

Patrick Oancia: You can think that the movement is actually starting from the shoulder.

Patrick Oancia: This is part of the beginning of the circumlinear dynamic

Patrick Oancia: And the circumlinear means there should be a way that you’re drawing this semicircle rather than just lifting.

Patrick Oancia: So it’s a it’s an extension forward and down with the legs.

Patrick Oancia: That’s why it’s not like a conventional abdominal leg lift

Patrick Oancia: in the sense, but it’s more about controlling the movement through the direction of the movement and through the rigidity of the upper spine.

Patrick Oancia: So this is pushing away, if I’m exaggerating it, and down.

Patrick Oancia: And then when I lift, I push away

Patrick Oancia: And then lift up.

Patrick Oancia: If I move mobilize my rib cage or add momentum, this doesn’t

Patrick Oancia: happen anymore.

Patrick Oancia: We’re not working with that micro adjustment of the legs coming out of the acetabulum, which is what we want to feel like.

Patrick Oancia: Ah

Patrick Oancia: A great example is if you’ve ever been to an osteopath.

Patrick Oancia: Has anybody ever been to an osteopath?

Patrick Oancia: So Asha come here.

Patrick Oancia: You can sit down.

Patrick Oancia: I’ll do it on Asha.

Patrick Oancia: She’s lying down.

Patrick Oancia: Osteopaths will do stuff like this sometimes, right? (holding Asia’s leg and pulling on it)

Patrick Oancia: They’ll get here, you know, and they might do something like this, you know.

Patrick Oancia: They might sort of they’re they’re moving this thing

Patrick Oancia: So they’re trying to create space, particularly if you have arthritis and they want you to get they want you to have a feeling of space in the arthritic joint

Patrick Oancia: So for me, for example, my arthritis is in my hips.

Patrick Oancia: That’s where the osteophytes are.

Patrick Oancia: So when when when the leg is compressed into the joint and it moves.

Patrick Oancia: it scrapes around the osteophytes, like those uh calcifications, I can feel it.

Patrick Oancia: But if if the osteo is pulling my leg away and moving, oh it feels very comfortable, right?

Patrick Oancia: So we’re trying to actually encourage that through this movement just on your own without having the osteo there pulling your leg or pulling the limb or tractioning the neck like they do in cranial sacral.

Patrick Oancia: orthobiony or one of those other

Asia Shcherbakova: actually that also translates like for example the transit, you know, when we you lean forward and then when you go back it’s like your leg wants to go away from the circuit socket and then you just

Asia Shcherbakova: control and lower.

Patrick Oancia: Same thing when we’re doing this lunge.

Patrick Oancia: We’re here in the beginning first.

Patrick Oancia: We’re pressing down and this is kind of pressing down and forward, but at the same time the scissoring to the legs together helps move this leg away from the

Patrick Oancia: the joint.

Patrick Oancia: So there’s no compression into the lunge.

Patrick Oancia: So there’s no, that’s the last thing I want to talk about because you were saying you were still feeling a stretch into that.

Patrick Oancia: thing so there’s less of a feeling of this becoming a hip flexor stretch and more of there being a space created through the activation that pulls the femur out of the joint

Patrick Oancia: And this is just, it’s not that we want to give you a self-osteo session.

Patrick Oancia: It’s more about understanding how the control mechanism, as a byproduct of the control mechanism, the femur will come away from the joint.

Patrick Oancia: The femur will come away from the joint.

Patrick Oancia: Extend the arms forward.

Patrick Oancia: If you draw the shoulders down, you create space into the vertebrae.

Patrick Oancia: With the neck extending upward, you’re creating space to the vertebrae.

Patrick Oancia: In a simulation,

Patrick Oancia: When we flex the upper spine and we mobilize the shoulders going forward like this and we mobilize the legs, we’re creating space into the vertebrae.

Patrick Oancia: But we’re not for the purpose of creating space to the vertebrae, for the purpose of mobilizing each of the joints to the position whereby the tract the spine is tractioned and the head can go down.

Patrick Oancia: Now

Patrick Oancia: The spinal traction has its place in osteopathy for healing

Patrick Oancia: And this is something we’re trying to prove, I guess, over time with the research.

Patrick Oancia: In my experience, spinal traction somehow is helping uh

Patrick Oancia: This uh process of the assimilation of the information that may have come up from the different movements that we’re doing.

Patrick Oancia: So it has um it echoes

Patrick Oancia: Some sort of a processing at the level of the central nervous system.

Patrick Oancia: I can’t talk too much about the nervous system.

Patrick Oancia: I can only talk about my experience, but not from the perspective of natural science.

Patrick Oancia: But this is where I asked her to help out because I was like, why is it that uh that that feeling of adjusting, the adjusting of the nervous system on the basis of the types of movements that have been approached?

Patrick Oancia: and the effect that it has on his body while I’m in this supine position after traction the spine, why does it why does it make me feel clearer or more resilient around the ideas of the movement itself?

Patrick Oancia: I don’t know.

Patrick Oancia: I’m trying to figure out

Patrick Oancia: figure that out.

Patrick Oancia: But it just so happened that this is kind of very interesting.

Patrick Oancia: In a similar way to that, if you have been to a session with a cranial sacral therapist or uh

Patrick Oancia: Somebody that’s doing something along the lines of osteopathia, even a chiropractor.

Patrick Oancia: When people crack or do things or release tension that’s musculoskeletal,

Patrick Oancia: People generally feel better, right?

Patrick Oancia: So they feel more loose, they feel more relaxed, but that can cascade across to thinking more clearly.

Patrick Oancia: or you know having more tactile control over your movement or something like that.

Patrick Oancia: So that’s also kind of an interesting part of what we’re trying to explore here.

Patrick Oancia: Yeah.

Patrick Oancia: So all these movements with the limbs extending, activating, pulling, um, the flexion extension, they’re all being performed in various different positions in gravity.

Patrick Oancia: And the byproduct of those movements will be different for each and every one of us.

Patrick Oancia: So we can’t define what it will be for you now as it will what it will be for you five years from now with the continuity of the practice.

Patrick Oancia: But breaking apart these movements is doing something very similar to doing something very interesting to information processing.

Patrick Oancia: And that’s what we’re interested in.

Patrick Oancia: Okay.

Patrick Oancia: Any other questions?

Patrick Oancia: Yeah, one thing about Caitlin.

Patrick Oancia: Caitlin was saying you were still saying you were feeling this stretch, right, when we were lifting.

Caitlin: Yeah.

Patrick Oancia: Uh can you stand up for a second just before we

Patrick Oancia: You take off.

Patrick Oancia: Take the leg back.

Patrick Oancia: I just like to try to help you to feel what that doesn’t feel like.

Patrick Oancia: Take one of the legs back.

Patrick Oancia: Okay.

Patrick Oancia: So even at this point when you’re high under the tiptoe there, do you feel that hip flexor stretching

Caitlin: (unclear)

Patrick Oancia: Okay, so come higher to the tiptoe of the back foot.

Patrick Oancia: Even higher like this.

Patrick Oancia: See?

Patrick Oancia: Your foot is hanging here.

Patrick Oancia: Yeah, so you can come like high tiptoe like this.

Patrick Oancia: Lean forward to the point where you don’t feel any flex on the hip flexor

Patrick Oancia: So so you don’t feel anything.

Patrick Oancia: Now from that point, just lift straight up.

Patrick Oancia: Lift.

Patrick Oancia: Straight up.

Patrick Oancia: You feel the hip lexer stretch a bit there, right?

Patrick Oancia: When you lift straight up

Patrick Oancia: straight up?

Patrick Oancia: With this.

Patrick Oancia: Oh you don’t?

Caitlin: No.

Patrick Oancia: Oh really?

Patrick Oancia: Okay.

Patrick Oancia: So maybe take the legs apart a little bit more.

Patrick Oancia: Where were you feeling it before?

Caitlin: Trying to feel it… here?

Patrick Oancia: Okay, so now with the legs apart this much, come forward here.

Patrick Oancia: Activate the legs away from each other.

Patrick Oancia: Now move the ribcage that way, only the ribcage

Patrick Oancia: Ah yeah, so see move the rib cage that way, lead with the chest, leave with the chest and lift.

Patrick Oancia: You want to feel how

Patrick Oancia: even with the chest moving this way that this is not being ex like extended.

Patrick Oancia: No?

Patrick Oancia: No, no, no.

Patrick Oancia: You see the difference.

Patrick Oancia: Now rather than doing that, just lift straight up and stretch it, hip flexible

Caitlin: Oh yeah.

Patrick Oancia: So the point that we’re trying to make here with the movements of the ribtage.

Patrick Oancia: is that when we mobilize look you can see here from can everybody see how much I can mobilize the upper part of my body in the lower part of my body here so my rib cage moves away

Patrick Oancia: And I don’t move this in the bottom here whatsoever.

Patrick Oancia: If I lift upright like this, that stretches this.

Patrick Oancia: and there’s a compacting with the femur into the joint.

Patrick Oancia: What we’re trying to do is keep this as open as possible and only mobilize the ribcage moving forward.

Patrick Oancia: So this motion again is this circumlinear motion forwards

Patrick Oancia: So the rib cage you can think first presses forward and then lifts.

Patrick Oancia: That’s the interesting part about it.

Asia Shcherbakova: So it really depends on whether you are separating because the habitual movement is like you do the lunge and when

Asia Shcherbakova: people think about coming up, they start coming up actually like basically the entire body.

Asia Shcherbakova: And if my pelvis starts coming up, this is where this starts stretching.

Asia Shcherbakova: See, because like in this position (straight line) the uh the hip is extended (= 180 degrees), but if I were to come like this (lifting the pelvis, so the hip-thigh angle exceeds 180), then it goes more than stretch

Asia Shcherbakova: straight, this is where you will feel the stretch.

Asia Shcherbakova: But if you are isolating the movement here (leg-pelvis), then this doesn’t move.

Asia Shcherbakova: It stays

Asia Shcherbakova: Straight.

Patrick Oancia: Similarly if we’re in the Z-Lunge like what we were doing today, and this is actually more intense because this hip flexor stretch is is it feels more prominent here for most people when when they first start to practice

Patrick Oancia: With the legs pulling together you do feel a little bit of a hip flexor stretch here, but we’re still trying to do the same thing.

Patrick Oancia: We’re trying to push the ribcage forward.

Patrick Oancia: I don’t feel any stretch from my hip flexor here.

Patrick Oancia: I’m just moving the ribcage forward and lifting the chest in a circumlinear motion forward and up.

Patrick Oancia: So here, this does not get stretched anymore.

Patrick Oancia: But if I do this, it gets stretched.

Patrick Oancia: Then I do a hip flexor stretch.

Patrick Oancia: Which is the common thing that people do a lot of these lunges for is to stretch the hip flexor.

Asia Shcherbakova: So generally speaking, if we think the logic of progression and Baseworks, control and awareness, they always are prerequisites for everything

Asia Shcherbakova: So for example, when we work with lunges, like let’s say for example, this is all about control, right?

Asia Shcherbakova: So this is really not about flexibility

Asia Shcherbakova: But if we wanted to challenge flexibility, if we just think about the anatomy, then what we will do is that we will kind of like start doing this type of stuff.

Asia Shcherbakova: This is what

Asia Shcherbakova: where it starts working with flexibility or will start like turning or something like that.

Asia Shcherbakova: But that’s when we have the prerequisite.

Asia Shcherbakova: And like for example, even here

Asia Shcherbakova: So we don’t do this in this study group, but for example, one of the more or less basic movements that we practice is this one.

Asia Shcherbakova: Being able to lift the knee without changing the

Asia Shcherbakova: position of this leg because that’s not the trip when you be able to do that.

Patrick Oancia: And the same thing is when you lift that knee here, we’re trying to control to the point where you’re actually not on the knee, it rolls off.

Asia Shcherbakova: Yeah.

Patrick Oancia: And even though the hip flexor is a little bit of a stretch here, with this pulling back, you take the stretch out of that hip flexor.

Patrick Oancia: And we’ll go deeper.

Patrick Oancia: We’ll even get to this point where when we when we have built the prerequisites for movement.

Patrick Oancia: As a byproduct of flexibility and mobility will change.

Patrick Oancia: Then we can start to challenge the mobility because we have to challenge after some period of time, and then we can work into torsions and other variations.

Patrick Oancia: We have uh

Patrick Oancia: Over 130 variations of all these forms that we’re doing.

Patrick Oancia: So, and it goes deeper and deeper and deeper the more we build the prerequisites.

Patrick Oancia: So the prerequisites mean that

Patrick Oancia: Mobility, we see we see that mobility and flexibility have happened as a byproduct of refining the control.

Patrick Oancia: Then

Patrick Oancia: If we look at the three phases of learning: cognitive, associative, and autonomous, when we get to the autonomous phase of learning in the initial prerequisite stage,

Patrick Oancia: We have to complete we have to go back and start the cycle over again with new movements added to that, it makes sense.

Patrick Oancia: That’s what stimulates neuroplasticity in the way that we were excited about stimulating neuroplasticity

Patrick Oancia: plasticity and learning.

Patrick Oancia: Yeah, okay, I think that’s it for today, right?

Patrick Oancia: Thank you very much for coming.

Patrick Oancia: Yes.

James: When we’re doing plank press ups, if I were to do them on my knees, where should teh straight line be.

Patrick Oancia: Yeah, we didn’t do plants and press ups today.

Asia Shcherbakova: Yeah, we yeah, we didn’t do yes, I remember your question.

Patrick Oancia: We’ll come back to that next week, James.

Patrick Oancia: Yeah.

Patrick Oancia: We’ll make sure we get that in next week.

Patrick Oancia: By the way, everybody uh everybody uh everybody’s everybody’s up to up to speed.

Patrick Oancia: Everybody completed the assignment.

Asia Shcherbakova: Actually, we really see the progress. We’re very happy about it.

Asia Shcherbakova: Yeah.

Patrick Oancia: It’s great that everybody caught up, so we’re we’re kind of on on track.

Patrick Oancia: We went a little bit behind today because there was a lot of explanations, but let’s try and catch up next week.

Patrick Oancia: Yeah

Natalie: But is there an app?

Natalie: There’s no iPhone app, right?

Natalie: We have to go to the website through the browser to get to the Baseworks.

Patrick Oancia: No app.

Asia Shcherbakova: Yeah, not yet, sorry.

Patrick Oancia: Not currently.

Context: (conversation between Natalie, Patrick and Asia about the app interface and how to find the messages)