Session 5 Transcript

So let’s stand up and we’re gonna start with uh an overview of the sequence.

the set.

Let’s call it a set again.

So you can stand again.

Uh we we encourage you to stand and move again wherever you’d like to throughout

the the duration of the practice.

Asha can come closer to me and move around as we go through the the set.

This is a recap standing with the feet a little bit wider than hips width apart.

Again, feel free whenever you want to change where you are.

can I might even change sometimes.

Ashra might change.

If you don’t feel comfortable where you are, you’d like to get a different perspective onto what’s going on, you can move over there or there.

We encourage a lot of movement throughout the session, if it makes sense to you.

So the feet about a little bit wider than hips width apart and the the toes can be slightly pointing away from each other and we’re sitting back onto the the edge of that imaginary

stool, right?

That sort of bar stool type of thing.

We feel a little bit of activity come into the quadriceps.

And check to see that we’re not flaring here, that the chest is not flaring out like this, nor do we overtly draw the pelvis down like this.

We just find that neutral position.

Relax the arms first

Um Asha.

Yeah.

Just as a quick check, can you make sure that we the red dots on record there for the camera?

Sorry, you can see from the bottom.

I think you should be able to see or just stand on the chair.

And then as we um as we keep the arms quite relaxed.

We can raise the arms up again as if someone is raising them up.

A good analogy would be the marionette master or another good analogy would be sort of strings tied and somebody’s very gently pulling the arms up

with the strings and you’re not really doing any work.

They get up to this point here and then we’re gonna torsion

The hands forward.

So I might just ask that Asha goes around and takes a look at everybody with this one particularly.

We’re we’re just noticing on the video when we’re watching it at home throughout the week that

a there’s a bit of confusion with this movement.

So the hands don’t go outward like this, but rather torsion in.

It’s uh it’s not meant to be comfortable.

So we don’t want you to feel like it hurts, but the wrists are

twisting and pointing forward.

And you’re you’re thinking you’ve you’ve got these balls that you’re pointing forward the sort of forward in front of you like this.

And here we’re not doing any of the patterns like shoulders drawing down or anything like that.

We’re just trying to keep the arms up shoulders height.

And the most active thing we do here is the torsioning of the wrists.

Of course, anybody can drop the arms whenever you’d like

to.

So this torsioning and trying to push the palms forward makes the the forearms feel quite active and the little sort of a nice gentle squeeze to that ball.

and keep the knees slightly bent and weight to the heels.

You can keep the neck relaxed, the facial muscles relaxed.

The breath should be quite calm here.

It’s

not sort of activating the breath.

If it feels a little bit tiring, then you should just straighten the legs and drop the arms, take a rest and then come back in to the point where you know you’re not going to get tired or hot or

You’re gonna need to breathe more deeply to persevere through it.

The belly should also be completely relaxed here.

Let’s let the belly hang

Occasionally just keep checking in to make sure that the wrists haven’t gone soft that you’re torsioning in as such.

In this the heels are pushing inside or no at this point everything is just quite relaxed.

Yeah.

Other than the forearms, the forearms, this is the most dynamic action we’re introducing here.

Okay, now we’re trying to synchronize the movement here to unpack this dynamic.

So as we straighten the knees, we lower the arms and we release the torsion from the wrists.

So we’re trying to synchronize those three release actions

And by the times the arm by the time the arms are down, the knees go straight and the wrists go soft

And then you we try to think of that dropping, you know, any kind of residual tension that might have come up through that.

We just let we have that feeling that everything kind of drops downward.

Toward the heels.

I’ll let the belly can be completely soft here.

You can close the eyes if you’d like to.

You can keep the eyes just gradually open looking down to the floor.

The idea here is we don’t want to really um

Um the eyes aren’t closed necessarily to try to withdraw or to become a little bit cosmic in the feeling of

maybe the challenge, but much more just to sense internally any fluctuations that might have come up physically or maybe

what your thought patterns were.

Again, this is our ignition.

It’s an introductory calibration tool to allow for you to sense

what may be most appropriate for you in terms of how you approach the session today.

Okay.

Now we’re gonna bring the feet hips width apart.

So as we kind of get through this, there’s going to be marginally less explanation, more practical application.

The session summaries that we post are quite detailed.

So if you miss a session or you don’t understand something, just for the last few sessions, we ask that you return to those session summaries and read through them.

They take maybe about five minutes to read through.

And hopefully that’ll clear us some of the ambiguity about what we’re going to be doing.

So we’re looking from above.

The outside edges of the feet are parallel to each other, feet hips width apart.

And as we bend into the knees, we’re offsetting that weight over center of gravity by bringing the arms forward like this.

And then you’re taking whatever variation of the squat

you feel is appropriate for you today, like see I’m not bending so much here.

I’m just feeling comfortable like this.

Just dialing in the fingers, spreading, the shoulders drawing back down towards the hips

The weight distributed over the top of the heels.

Now let’s calibrate a little bit, move through the neck.

Mobilize the rib cage.

Continue to spread the fingers.

Continue to draw the shoulders down.

Weight continues to get distributed right over the top of the heels

Shoulders draw down, spread through the fingers, opposing that movement.

Weight goes into the heels, mobilize the rib cage

Mobilize the neck.

Now as we straighten the knees.

We lower the arms.

So we’re just unpacking the movement that we went in with.

I’m trying to think of just reverse reversing that process of entering the form.

You can get back up to the top again.

You can use a second or two there just to calibrate

Now the feet go a little bit wider than hips width apart.

And with the feet wider than hips width apart, I’ll periodically change my position too just for the help just to piss everybody off, right?

The toes can be slightly pointing away, right?

Because this would be a little bit harder on the knees.

And then again, we’re bringing the arms forward.

We’re shifting the weight to the heels as we lower down.

And again, find the point where you think you can lower that the legs don’t get tired.

And then connect the elbows to the inside of the knees.

And when we connect the elbows to the inside of the knees, draw the shoulders back down towards the hips and push the elbows into the inside of the legs, pull the legs into the elbows, opposing that movement.

So when you do that with the shoulders drawing down, you’re gonna feel the scapula and the whole area down the side of the back of the body become active.

You don’t actually have to flex any of those muscles.

They just become active with this motion.

Also, you feel the hips become quite stable.

So we’re posing, elbows to knees, knees to elbows, shoulders draw down, back of the neck extends.

You can also here mobilize the rib cage a little bit while there is a lock with the arms.

You can mobilize the neck a little bit

Those who want to go deeper can go deeper.

Continuing to oppose the movement.

Don’t not at the expense of the lower back though.

So again, this just all depends on hip mobility.

and straight spine.

So as we release, we’re gonna unpack the same way we went in.

So as we come up, the weight goes to the heels, the arms go forward.

To stabilize as you lift, and then you can slowly lower the arms.

As the center of gravity equalizes, you can lower the arms again where the legs become straight.

Check in there to see whether the breath got heavy, whether you feel hot.

If you feel a little bit hot or like uh

out of breath, maybe the depth wasn’t appropriate.

So that’s an indicator as well to remember we’re trying to

uh acknowledge that the the progress will be coming more from noticing where it became challenging for you and trying to dial that back

Now let’s say with the feet the same width apart, let’s bring the outside edges of the feet parallel to each other now.

So the toes were slightly pointing out before

The same width apart or it could be a little bit wider if you’d like to or it could be a little bit narrower but they’re wider than hips width apart.

So again look from the top.

See the outside edges of the feet are parallel.

The belly here is relaxed.

You can start with the hands onto the waist first.

Move through the neck once.

And we’re going to bring the arms up to the side.

So as the arms come up to the side here, we’re going to be spreading through the fingers.

As they get to shoulders height, the palms are facing forward, the shoulders draw down.

Yeah, you remember that opposing movement from the heels feeling pretty grounded as they press into the floor, the back of the neck extends upward.

So there’s this kind of elongation going opposing that movement from the feet grounded.

The shoulders oppose the movement of the neck extension as it goes up.

The fingers continue to spread.

And you can also hear grip the legs slightly away from each other

Check in here to make sure that your belly doesn’t become active and that you draw the navel in towards the spine.

Try to keep the belly relaxed.

You spread through the fingers, shoulders draw down, extend through the back of the neck.

You can also move through the neck, mobilize the rib cage.

See as I mobilize the rib cage too, I’m exaggerating a little bit by letting my belly protrude and push out.

By doing that too, you create a little bit more space around the diaphragm.

And it allows for this rib cage area to mobilize more freely and the spine itself.

And then again, once you’ve mobilized a bit, you can come back, spread through the fingers, draw the shoulders down, extend through the back of the neck.

So it’s a kind of combination of dynamic, stacked, static to active, static to active.

active.

Of course, any point in time you feel tired, you can drop the arms down and return in to join us whenever you feel it’s appropriate.

They continue to draw the shoulders down as we spread through the fingers, draw the activate the legs away from each other, extend through the back of the neck as you draw the shoulders down.

and spread through the fingers.

Continually act the feet activate the feet away from each other.

Move through the back of the neck.

Mobilize the rib cage.

And then we’re going to lower the hands slowly

And then we’re going to put the hands onto the waist.

And again, we’ll try just one foot at a time now as we go into star tilt.

So we’re gonna start with the right foot.

So let’s just go with the right foot forward once and as we turn the right foot well the right foot to the side, okay?

So it’s not gonna be forward for you, just to be correct

Your right foot is going to turn to the right side, and again, at any point in time you can turn towards facing me if you’d like to.

And then the left heel will drop back.

Now when that happens,

When the right foot turns forward, the left heel drops back.

My upper torso just turns a bit.

You can see here.

The line is that way.

You see my feet here, right?

The right foot is pointing forward, the left foot is pointing that way.

My upper body’s here, it’s not here.

Okay, so I’m not turning towards that front leg.

What happens is automatically this foot makes me turn a bit, the back heel makes me turn a bit more, but I’m not turning more than that.

And then you take the arms up and the arms should be facing that way between both legs.

As they come up to this position here, as you spread through the fingers, actively grip the legs away from each other onto the floor, stabilizing to the hips.

Draw the shoulders down, extend through the back of the neck.

Now we just draw that right hip back a little bit and tilt just a bit for today.

Now the arms move in line with the tilt, right?

So the arms are not separating from each other.

Everybody take a look here for a second.

This back arm is not going back like this, nor are the arms going forward.

The arms stay in line with the shoulder girdle and they just move with the upper torso.

A little bit robotic the movement, but that’s what we want.

So the right hip governs the movement of the upper torso and arms.

Don’t even think about moving the arms on their own.

Spread through the fingertips, draw the shoulders down, activate through the back of the neck.

Continue to spread through the fingers, draw the feet away from each other so you feel the legs become stable

Draw the shoulders down, extend through the back of the neck, mobilize the rib cage, mobilize the shoulder girdle even.

Mobilize the neck, draw the shoulders down, extend through the fingers, activate the legs away from each other.

And then first, as you have the legs actively pulling away, lift the upper torso upright

The opposite way, we’re gonna turn the right foot in, the left heel in, and we’re back to star form.

That makes sense, right?

Drop the arms down for a second.

So we’ll go into the second side here.

And again, if you want to change your position or move, you can absolutely do so.

With the hands onto the waist first, right?

So we’ll lift the arms up last just so we can get the position of the body moving with the movement of the feet.

So the first thing to do here is just to turn that left foot out like this.

So when you turn the left foot out, look what happens.

My upper torso goes just moves with that

that.

So my hips are kind of moving with the movement of my leg.

And then that right heel drops back and my hips calibrate a little bit more.

Now the hands are facing that way between the legs as they raise up.

Spread through the fingers, draw the shoulders down, extend through the back of the neck

Activate the legs away from each other now.

You can pivot by dropping that left hip down a little bit.

Don’t start mobilizing each arm individually.

Just keep the arms locked with the shoulder girdle.

And go down a little bit like this.

Now as you draw the left hip back, this front of this right hip just automatically also drops forward a bit.

But not too much.

Just activate the legs away from each other as you draw the shoulders down, spread through the fingers.

Then you can mobilize the ribcage once.

Then you can mobilize each shoulder once

Stabilize again.

Draw the shoulders down again.

Spread through the fingers.

Extend through the back of the neck.

Spread through the fingers.

Draw the shoulders down.

Activate the legs away from each other.

Extend the back of the neck upwards.

Now we’re gonna unpack it in the opposite way that what we went in.

We’re gonna turn that left foot forward.

See that right foot is still pointing in.

And then the left right heel turns in.

And then we’re going to lower the arms down.

Place the hands onto the hips because that’s how we started.

And then we’re gonna let the arms go down.

Asha, can you take over suspended star inflection for now?

I’ll come back and I’ll come back in Z-Lunge from suspended star inflection.

Uh let’s do this sequence first and then you can do that entire thing after.

Just to keep the continuity going.

From here.

From suspended.

From this one.

Suspended star inflection.

There’s the order, right?

Just follow that order.

Yeah, exactly.

Turn the legs to keep what’s apart.

Outside ages to the feet apparently.

Okay.

Now from here we want to be very aware of all the transition

remember so very very controlled movements so let’s prepare so the shoulders don’t spread the fingers keep arms active from here don’t ever let them go

So we will bring the arms diagonally forward.

Sorry, no.

Let’s do another one.

Sorry.

And from here we want to grip the legs away.

So when you grip the legs away, the legs become like the active here.

Then bring the hands onto the hips.

Make sure that your ribcage is above the pelvis.

So we don’t do this.

We try to bring the pelvis back and the rib cage back as much as possible.

The weight is on the heels.

So you are on

falling back.

So pull the legs away.

Keep that hands on the hips.

Try to bring the elbows back without flaring the repeat.

Your elbows are pointing back a little bit

but don’t swear.

Close with the wreckage.

And then as we’re doing squat, the matter will be folded at your hip.

The pelvis goes back.

And the torso tilts forward with a straight spine.

Go as long as deep as you can without feeling anything in the hamstrings.

When you begin

it feels like you’re getting hamstrings, bend the knees just a little bit.

But the spine is completely straight at this point.

Draw the shoulders down.

Keep pulling the laterally

And then bring the chin in and start rounding the upper spine.

Round in, round in, round in.

Pulling the leg away.

The knees stay with

the upper spine.

So here as you draw the shoulders down, wiggle the rotation.

You have broadened shoulder blades.

So as you wiggle the rotation.

each you have the muscles of your back becoming a little bit more relaxed.

From here we will go from spinal flexion to spinal extension.

So from

where the lower back is, we begin to extend the upper spine to find the straight line once again.

The neck is in line with the rest of the spine

So your upper body is flat.

You keep drawing the shoulders down towards the hips and keep pulling the legs away from each other.

And again, micro movements of the spine.

wiggle the spine a little bit, try to strengt straighten it into completely straight line.

And then we will bring the chin in

In one more time, around the upper spine, again as much as you feel comfortable.

Relax the neck, let the head just hang here, but keep drawing the shoulders down.

And as

As you press the feet into the floor, begin to roll up from the pelvis.

So the pelvis starts to go up, up, up, the rest of the body follows.

slowly rolling up and the head and the neck on the hole at the very very end.

Just some observations there.

We’re doing flexions to extensions here.

So

um remember that.

Not you.

I’m talking to everybody else.

So you remember we’re doing flexion to extension dynamic?

here so some people were still straight spine as we went down.

We’re doing actually flexion in extension flexion in up.

You’re fine, other people.

Okay.

Watch me just for a second.

So basically this is straight spine, right?

This is extension of the spine.

Flexion looks like this.

This is flexion.

This is extension.

Flexion.

Extension.

Right?

And then when we roll up at the very end from flexion, it is the pelvis.

that starts to unroll and roll I’m still flexing in the upper spine.

See what I can’t hear and this is where I’m standing.

The the chin down is an exaggeration.

Extension sorry, not extension, but continuation of the spine.

Yeah.

Okay, carry on.

Extension.

Okay.

Now bring the feet back to it.

Outside the use of the feet are parallel.

So draw the shoulders down, spread the fingers.

And arms go diagonally forward.

Make sure the weight is on the heels.

Let’s confirm here.

The weight is on the heels.

Shoulders down

Now hinge a little bit in the knees and hips and shift the weight onto the right foot.

The left leg

Goes back and it’s uh tiptoe goes on to the floor.

Tiptoe, high up.

Don’t let the heel drop

The ankle is extended.

Lean forward and find where the upper torso is aligned with the back leg.

Nope.

Don’t have to move the foot.

Just the heel.

You’re here.

Yeah.

Higher yep.

Don’t lift the head so much.

Just allow that to be more neutral.

Yeah.

Oh yeah.

Like this.

Look like that.

Forward, press a little bit.

And then bring the weight from the front.

Forward a bit more.

And slowly the left leg back to keep the part of the front.

Evenly

Lean forward and even lean forward a little bit more and stay more upright so you can control the leaning forward so it’s not so tiring.

You know what I mean?

I know you want to look at her, but uh

Smaller.

Yeah, so exactly what Ash was just saying.

Make it make the stance a bit smaller.

Uh remember to make it manageable the stance doesn’t have to be so wide, right?

It can be just just micropositioning.

Are you doing baby?

I I’m gonna do a baby version of that was the

Or we opposite side.

Right towards back.

So draw the shoulders down, spread the fingers.

Arms dragging on forward.

Spread the fingers and pending the hips.

So bend the knees, bend the hips.

The weight is on the heels here.

Then shift the weight onto your

left foot, right?

And then the right foot goes back on the tiptoe and find the position where you feel like you could spend like five minutes here.

Okay

Not too wide, but keep the back so really, really high on the tiptoe and pull the legs away.

Like as you pull the legs away, the legs are very strong.

It helps you to keep the balance

So draw the shoulders down.

Position upper body in line with the back leg.

Find that straight line.

Wiggle the spine from side to side and really look for that straight line.

Where the upper torso is in line with the back foot.

It’s like standing on the tiptoe with the right foot.

As you draw the shoulders down, we go through teach and lift your

Ribbage a little bit forward in the up.

Make sure there is no compression in the lower back.

Keep drawing the shoulders down.

The legs feel very strong.

We’re pulling the legs away

And then lean a little bit forward, find the straight line one more time, shift the weight onto the front foot, and return the right foot back to the

apart and then slowly an inch between the opposite.

Carry on.

One question.

No, it’s not a question.

Okay, keep going.

I just want to see I don’t know if I’m gonna be able to go through

I’m sorry.

I don’t know if I’m gonna be able to go through physically the glass.

There’s up to you have to stop and then stop and watch.

And then join back and then stop and watch.

Done back, whenever you want.

Right foot.

And then the left heel goes back.

Heel down.

And extend both knees.

Both feet are roughly double.

In order to take feet, make sure they’re not on the same line, but they are two-quarts apart.

Feet are two-quarts apart.

And we’re pulling the legs away and the hips are looking forward.

So we don’t want the hips to be sideways like this.

Felder is going to be forward.

So we need forward

Okay?

And then bring the arms to the shoulder hand.

Draw the shoulders down.

Upper body is in line with your back leg.

Make sure that the upper leg is not upper, but in line with your back leg.

And as you pull the legs away from the center of the chest, we’ll twist

To the right without breaking to the arm much.

Make sure especially that the right arm doesn’t go back.

Don’t push the chest.

Exactly.

Yeah.

Just the heel only.

Just the heel.

Not put down.

Put down the heel.

Exactly.

Stay forward.

Okay.

One more time.

Will the shoulders down spread the fingers?

Um pro tip.

Uh sometimes when she’s demonstrating she has her hands down, put your hands down.

Everybody can put their hands down, it’s gonna be less tiring because this is tiring to keep the hands up when you’re watching.

Okay, yeah, yeah, that’s true.

So e if this is really tiring again, even just watching having your hands up the hips.

because it helps concentration and doesn’t target arms.

Okay, so that’s what you have to sign.

Shoulders down to the fingers.

And uh

Arms forward.

Don’t have to be here, maybe just in front of you.

Bend the knees.

Shift the weight into the left foot.

The right heel back.

Heel down.

Extend the front knee.

Look at your knee shorter, parallel.

Pull the legs away.

Pull the legs away, the pelvis is looking forward.

Mm-hmm.

And lean forward so that up to marks.

Wait.

Mm-hmm.

This one further that way.

The whole foot.

Exactly.

But don’t point it away.

Yeah, exactly.

Like that.

There.

That’s your starting point.

You can join back in whatever you want.

Feet a little bit wider than

hips width apart like you’re here.

Something more like that.

Yeah exactly yeah that’s it.

So you have a bigger bit base of support.

Yeah

Yeah, it’s a weird and then this one.

You can heel go slightly out.

It’s weird, but it’s a bigger piece of support.

Forward.

And start forward.

Yeah, it’s okay.

No, it’s fine.

Yeah.

That’s pretty good though.

You’re doing great

Yeah.

Okay.

Shall we do it with the colour?

Continue.

Yeah, continue.

Yeah.

Everything.

Exactly.

Everything.

Yeah.

Okay.

Okay, and let’s bring the hands on the knees.

Yeah, if you want your uh like uh your uh

Because we’re going to use the case.

But cushion, all right?

Yeah.

If you want your butt cushions or something like that, then you can get it.

Yeah.

The butt cushion is like what uh

What Annie has, right?

She has a butt cushion or like a towel or something.

She the X look at Annie’s butt cushion.

Pro pro tip.

Pro tip.

But could we have some butt cushions what it is?

Um you know.

Yeah.

Yeah.

Yeah.

Okay.

Um how do

Said it hertz in French.

Is it uh dolor?

Is Kilan Dolore?

Okay, okay.

Okay, fai to fonction.

Okay.

Okay, one minutes.

One and one, another and another.

feet on the floor, lean back.

Until your elbows are straight.

See straight.

You’re hanging from your knees.

Just hang from your knees.

Like hang

Feet here and hands.

If it feels difficult, move the feet forward more a little bit.

The feet stand more.

Yes, feet stand the forward.

And you’re being hungry down.

What you’re doing is perfect.

But if I were to release my hands, this is how it feels.

Don’t try this now.

So from here.

So press the rolls of the feet on the floor.

And then push the wall.

with the extend.

Extend like tiptoes.

Yeah?

Activate the legs.

From here, slowly release the hands.

The knee state is

And the first fold with the knee and draw the shoulders.

Push the bottom.

That’s it, Genevieve.

That’s it, c’est ça?

Mais faites faites un pause comme vous voulez, ok?

So let’s try and do one more step from here.

We’re trying to get into the reclining transition from here.

So hand.

It’s tiring, right?

So it’s tiring.

So you have to be mindful, like you think what’s good, what isn’t good.

I’m sorry

I’m gonna say I sense it.

Let the feet come onto the floor.

Push the ball to the feet.

Release the hands.

Push the ball to the feet.

And then bring the foreign down under the shoulders.

My elbows are under the shoulders.

Push the balls of the key.

And the hands are

Pressing forward.

Drop the feet once, yeah.

And join back in when you’re ready.

Yeah, exactly.

This is more or less hard, so it’s only your best friend.

No, it’s not mostly hard, so it’s really hard.

It is it it it’s more than

Yeah.

It it it’s it’s hard for Clementine because of uh the dynamics.

So anybody that finds this hard, you can drop the feed in between when Asha’s doing this, you know, or when we’re doing this.

You can

Clementine, you know what?

Don’t go to the forearms for now.

Just keep the hands.

Let’s modify.

Keep the hands further back.

Keep the hands further back.

And let’s just do like this.

Is that a bit easier?

Well, it looks a bit easier.

Keep your feet down then.

Yeah.

And just try to understand the dynamics just by watching don’t lift and get tired.

Okay?

Also, from here when you’re forming the overview control.

this it can be completely romantic requires absolutely non-muscle reactivation right no i’m fully fully absolutely

Well, it is flexed, but it’s not like it’s kind of you can you can relax and hold.

So it’s right

It’s because it it’s coming from the neck ash, are we done?

Okay, Clementine, come on up.

Come on up like this for a second and hook on like this.

And just observe for a second, I’ll come back at the end of the class to you.

Yeah at the end of the session because here what I’m showing here is that in this position, if I completely relax, I’m relax and just I’m not using anything, no muscle

I’m in this position just because the elbows are under the shoulders, right?

And there are some tractions here and I’m like I’m completely relaxing.

Currently, nothing works.

It may feel uncomfortable.

because it’s very un look if it’s uncomfortable just don’t do it seriously.

Just don’t do it.

To everybody in show like this is completely relaxed.

See like I’m not using any

So but Clementine, is it possible for you to stay a little bit longer today?

If they don’t kick us out?

Yeah, so in that at that point we’ll explain a bit more.

But look, uh here’s another one in Climatine, you can also try this.

Rather than bend the knees, do this.

Have you ever watched TV like this?

No.

No?

I mean has anybody ever done this and uh is this is this okay is this better, Clementine?

A little bit better?

Yeah, back to

The beach.

The beach.

The beach.

The beach.

B beach but no sand.

Um so what okay everybody come on back up.

Yeah come on back up just sit hook onto here for a second.

Uh I uh

Of course, I I can understand why it feels difficult.

And for certain people with the knees bent, it might feel difficult.

So the idea is that we’re trying to find a way to

Make it be like the beach.

So if yeah, if it if it works to to straighten the legs, straighten the legs first and just try to understand the dynamic of going back with the legs straight and then join back in each one like this

Okay.

So this does require abdominal strength eventually.

I mean this like heart limits.

This is pretty easy for me to do.

Okay.

But this is extremely hard.

Like I’m actually with this weird thing.

Okay.

Shoulders.

It’s like really bad.

You know what we can do for now?

Don’t go down when everybody goes down.

Come up in between.

Keep it because it’s making the balls.

Not even the hands.

Put your feet down.

And like when when everybody’s here, Clementine, down here, you come up to here for now and just hold on and wait.

And then you can do this and we’ll go into the forums together.

Is that okay?

Yeah, all right, let’s try that.

And then at the extra bit at the end of the class, if they don’t kick us out, right, then we’ll talk about this more in person.

Okay?

Great.

Let’s do it again.

Okay, so let’s try

Once you do the reclamation transition from here to extend the legs, bring the foreign floor.

So apply first in each position.

And what I want you to do is spread your fingers and spread forward with your arms.

So it seems like if I exaggerate, see

like this much and use this movement to help your abdominal muscles right feel it as you press forward this helps your abdominal muscles

From here, walk your feet closer to you.

Press forward, activate this.

And then just try to lift your legs a little bit, push the bolt up with me and see

See how this supports your building muscle.

And either stay here or see.

That’s that’s that’s fucking hard.

That’s hard, but you’re so either

Higher lower here, you can try to strengthen the legs to the point where you feel comfortable.

Okay, like it can be completely or not completely and then we’ll handle that.

Okay, let’s move into the forums.

V Cid or you’re missing the cross?

Missing all the crosses?

Okay.

So once again, can I something need?

Uh Sarah, maybe one says.

Uh DMA.

And watching Clementine, I think maybe it’s a similar similar thing.

Because in this position, everything’s in the middle of the case.

So it’s good it’s a good observation here, just so everybody’s in the loop, right?

So my my observation for Clementine and what Sarah’s talking about here because Sarah has a fucked up neck.

She’s not fucked up.

She’s lovely.

Do you know do you know that Sarah and I have known each other since we were 14 or 13 years old?

We’ve we’ve been friends since we were 14 years old

She knew me when I was a badass punk rocker in Eastern Canada.

The neck, tense neck, like this, can send tension to the entire body

Okay, so that what may be making things feel difficult for people with tense neck, including Clem Clementine Sarah.

So when you’re trying to s uh empathize, uh

If you if you’ve never had a dodgy neck, maybe you wouldn’t know.

But um this is just another thing to add to the list of the canonical list of of things to reference when it comes to like

the appropriateness of movement, right?

If you’re ever sharing this with somebody else.

So let’s carry on.

Any point in time anybody can come here and chill.

Okay?

Good.

Go ahead.

Push the bottom at release push the ball.

Either stays here or even feel

Doable without changing the position of the knees.

Start extending the legs only to the point where you can do it without extra revertion and without changing

And then this control slowly wall.

Okay, that’s it.

And that’s the uh

We’re crossed, yeah.

Okay, um let’s just bring the hands back and swallow the wall back until we can bring them down a little bit

So hands forward, we’ll briefly lift the legs and then we will cross them.

In the middle, ankles 90 degrees.

Right over left?

Right over left.

Shins are parallel.

And make sure that they move

It’s so weird this thing.

It’s so weird to get it.

It’s so weird to get it.

Yes, like a square.

That’s it.

And your uh front foot can go forward.

That’s exactly a moderation.

That’s it, Sarah.

Flex it.

Yeah.

Yvonne.

Maybe even see remember I was telling you last time I think to adjust that one a little bit further forward.

This one leave it.

Okay.

Just don’t leave that.

So don’t try to make it parallel.

In the perfect world later, yes.

But but this m i it it amplifies the feeling we want in the hips when you press forward, okay?

Yeah, so you’re just gonna bring this one a little bit further forward and gonna flex that and then press forward.

Yeah.

So roll in, roll in, roll as well as the complicated.

And still continue to press the edges of the edge forward.

Well that’s kind of

Don’t look at her.

And we’ll spine side to side.

But it should feel like you’re relaxed having all the muscles

Draw the shoulders.

Then from here we’ll start extending the spine and think about your lower back.

Your lower back stays as is and from here you begin to extend on her air.

Okay, come that way c’est ça.

And the hands even can go a little bit further out to the side.

As you adjust back, you can take the hands around to adjust a little bit more to make it comfortable.

So we’re going to rip it from side to side and the ripple is trying to move away from the pelvis and you try to draw the shoulders down and you will go to the side.

Exactly.

Everybody seems to look different.

Somebody may be much lower, maybe somebody’s fugher, but if the spine is completely flat,

And keep pressing forward with the foot.

Now roll around one more time.

Shoot in.

Around the upper spine, roll in, roll in, roll in.

And then start leaning back if somebody pushes you in the stomach.

So back, back, back, arms come forward, back, back, back, legs become light.

And for the nine extended.

Close the opposite.

Left.

Ankle and right.

Slowly lower.

So Yvonne, the other foot goes a bit further forward this time.

That exactly.

So the knees and the ankles are

Walk that one that way.

Yeah.

Stay there.

And then just press the feet into the ground and forward as you flex.

That’s it.

Put the hands up right back to here.

Find where the neck is.

for relax towards the neck okay.

So just go like this towards the neck okay.

And just press with the feet only.

So we’ll just try to do some of the movements.

And even though we’re not flexing, at least you’re doing this with the feet.

From the lower butt and up.

Don’t make the neck hurt.

And then you’re in extension now, so that’s cool.

From the lower butt and up, and your extension can be

be back like this rather than forward or if you can come forward like this can you press and extend like this you can even take your hands off the floor like this just press this sustain

It’s almost like you’re like trying to push yourself up like that.

Exactly.

But relax the neck.

You relax, your neck how you do it, yeah.

Yeah, so I think just sitting like this for a second place the hands wherever you want.

Let’s just go like this, flex, even with the don’t drop your head though, because that’s what’s making your next

And don’t don’t think about the neck because a lot of the emphasis on the neck for let’s just forget about the neck for the time being with this fucking doing

uh Clementine and Sarah’s heads in literally.

So let’s just think the spine flex, extend baby flexion, baby extension.

Don’t move the neck.

Just keep the neck neutral.

You don’t have to lift the head either.

Just flex the upper spine, extend, flex, extend, just so you can feel the baby flexion, baby extension.

An option for that when you want to.

Yeah.

Yeah, so if you feel like for example this movement as you start from the head it might generate a lot of tension here.

If this happens, try to keep the head and like the

neck more or less in one chunk.

Then just as you move the movement will happen in the chest and the neck will stay more or less in line

So Clementine, what Sarah was just doing there too occasionally, if you want, you were doing it before.

You can just lie down on the funk and floor and just completely relax and try to let your whole neck and head relax.

and come back up whenever you want to.

That might help your the neck chill a little bit.

Okay, sorry.

Okay, next.

I need to come out.

Sorry.

So let’s uh round one more time.

Round.

And then as you start leaning back, so you lean back, you’re around if you lean back.

That’s it, Clementine.

That’s exactly it.

And for our strength and the legs.

And bring the legs down for a moment?

Come ça, regard.

What we call it.

Some of you finish the lesson, some of you

Or if you haven’t, it’s the next time’s assignment, but the reclining transition should be like this whole movement of flexion, extension, flexion should be really fluid.

I’ll just before we move and just

watching how fluid it is.

So from here, from here, from here, round, expand

around and what I want you want you to watch is the exit.

See then back, back, back, back, back, arms come forward, legs come up and extend.

Yeah, so this exit, I’ll show one more time.

Imagine someone is pushing in the stomach.

Someone is pushing, pushing, pushing.

See, it is as if I move forward.

And my body just follows the forces.

So it’s just lean back.

At this point it becomes possible to lift the legs, so I lift them.

And this is where I come into the

transition.

So when we do this movement, we will do a couple of more forms with this dynamic.

Try to feel how from here you unfold like in a water like explode

in slow motion and then you come here.

Just try to focus on that as we do this.

Okay?

So let’s do it one more time.

Not this one but before I’m done.

Another pro tip

Uh you can even do this um standing like this with the feet hips with apart to practice the dynamics in this position of gravity, right?

So it’s different, it’s easier somehow because you’re not leaning back

There’s no load.

So mobilizing the spine like this, you can practice like this, particularly when we do

This form and go forward and you mobilize the spine like this and then extend forward.

We start to already work with the gravitational load.

If it’s too much even for that, just stand here with less gravitational load, flex, extend, flex, extend at home.

You can practice.

And then that’ll transfer to this.

Flexing and extending, flexing and extending forward.

Okay.

Sorry.

Go ahead.

Okay.

Forums done.

Let’s come one more time.

Extending the legs up, push the balls of the feet, bring the legs a bit wider than he puts apart, and really extend the ankles.

And then slow lower.

Here make sure your feet don’t go out like this.

The top of the foot is looking up.

So extend

ankles and then one arm forward another arm forward so come up first push the balls with your feet and then lean back to a position which is comfortable shoulder

down you’re really rounding the spine and then from here so if your neck is stiff then we won’t do this movement but everybody else if you feel comfortable bring the chin in

And then we will start rolling forward rounding the spine.

Keep the legs active.

Keep pushing the balls of the feet.

Draw the shoulders down.

And we’re going

the spine from side to side.

Keep the legs actively engaged.

You can imagine that you’re pressing the floor with the back of your leg.

This movement

want to throw your pelvis back but you are resisting it.

So push the balls on the feet.

And then as you continue with pulling the repeat, we begin to extend the spine and again on the lower back

to the back of the neck completely straight line.

It is possible that if somebody was like this then extension will result in them leaning back.

If you’re here, hands back and use

them to help your pelvis.

Okay, here we don’t want the pelvis to work.

This is not an abdominal exercise.

But if you are past 90 degrees with the straight

spine hands can be here just make sure you are not like this right full extension of the spine from the lower back shoulders down push the balls of the feet don’t let them fall

To the side, don’t forget your legs.

Very active.

Hands actively touching the floor, shoulders down.

Okay, let’s go round an exit.

So round the spine.

Bring the arms a little bit forward to offset the weight and begin to unroll back really slowly, slow, slow motion.

Back, back, back.

When the legs become wide, bend themselves

Forearms down.

Great.

And then connect the toes and slowly lower the legs.

Yes.

Good.

One more time.

Stay in the ankles.

Sarah.

Like this.

Get the one arm forward.

Stay there.

Exactly.

Lean back.

Don’t lean back so far.

Just there.

And then start rolling in round in the spine.

And don’t flex the spine so much, hands down.

Uh yeah, good question.

The toes are touching, the heels are slightly away from each other because you want the top of the foot to be looking up.

This means that the heels will

be slightly away from each other and the toes are tight.

A good analogy that if your if your feet are like this, you can’t walk or stand very well.

right you know what I mean so you you have to imagine that the balls of the feet are tiptoeing on the floor

The feet open so that they’re flat.

We don’t walk like this, right?

It’s a bit funny, isn’t it?

No, we don’t buck like that.

So but we walk like this and if we tiptoed, we’d walk like this

So think about that type of dynamic.

Okay.

Okay.

So let’s we’ll find one more time.

And um what time what time

We have 1318.

1318?

Okay.

Well show what you’re going to do is you lunch.

Uh well let’s finish this one first.

How about that?

Fine, let’s exit.

First, so draw the shoulder stand, relax the neck, keep the legs active, and then to exit we’ll start to unroll.

Leaning back, arms come forward, leaning back, back, back, back, back, legs become light, and we’ll lift them, arms down, and lower.

Why not?

Um yeah.

Okay.

I think it’s I think it’s so you you need your cushioning here, like a towel or something.

Yeah.

I would have it just next to you because it’s it’s challenging.

It’s gonna be challenging for people to do this.

So you need your something under this knee in case you need it.

Yeah, so essentially what we’ll try and do we didn’t really do it very much.

Wait till everybody’s back.

Just wait till everybody’s back.

They can’t hear you.

And everybody won’t just think about

Done like this before uh base work or bit out but like this kind of uh very tight cross position on this?

I mean this may be

Well it definitely became much better with these ones.

Okay.

Yeah, much better.

Um when I was a student, there was a teacher who was sitting like this all the time.

during various assessments.

She would just sit like this with her computer here.

And for me like I would be all only like this and seeing somebody cognitively working in

this position with a computer I could not believe it right now.

Here I am now in Russia.

No, it was Shinobu.

Shinobu was Shin.

Yeah so we you know we uh from our for from our extended tenure in Japan

In Japan everybody’s on the floor all the time.

Nobody sits on sofas or chairs.

They sit on sofas and chairs in restaurants, but when they’re at home they sit cross-legged like this always of watching TV.

So when I first oh, also the toilets.

The toilets are squat toilets.

There’s no there’s nothing to sit on.

You have to squat.

This is the toilet situation in Japan and uh you get very good at this after a while, other otherwise you can’t go and shit.

Right?

So it’s impossible.

When I first went to Japan when I was 20 years old, I walked into a toilet like that and I said, how fucking how am I gonna even do this?

There was a pole here on the wall.

I grabbed the pole.

And I was trying to aim for the toilet, it didn’t work.

So after some extended time, you know, you just get very good at this type of

squatting position.

So the thing is that this we start in Japan they start from a young age.

They sit like this on the floor.

Everybody sits on tatami mats at home.

There’s no sofas.

So they sit on the floor like this, they’re talking all the time.

So but this is very healthy.

You see people that are 105 years old sitting cross-legged or squatting down on the side of the road.

And uh

In in the West, in Western countries, we have sofas, chairs, so the hip flexors become tight and it feels very difficult.

Um so yeah.

But that’s not what our practice is driven by.

The byproduct of what we do helps this mobility, but we’re trying to get you to understand the limitations first.

Yeah.

So are we gonna go into the lunges now?

Yeah.

Let’s do it.

At least Z-Lunge.

Yeah, yeah.

So the Z name comes from this shape.

The knee is above the shoe, so it’s not like this.

And it’s not like this.

It’s like

Literally the knee is above the toe.

And the idea here is we want to feel the grid lines between the right leg and the back leg.

And the back

is pressing into the floor so that there’s almost no weight on the knee.

Okay, this the back knee is just a little bit touching.

And so we will enter like this.

We’ll bring the leather back.

We’ll bring the knee back

knee down top of the foot down we will press establish this foundation pull the legs in and then we’ll try to come up and then just kind of just

This is about symmetry and also the strength of the legs.

So we want to isolate the movement of the upper torso and the back leg.

Of course it’s

you do the shoulders down and on the spine but it may be very challenging on your right hip and the front knee so if you feel a lot of compression in the right hip you will not be

going all the way up you will be just maybe here in doing this movement okay so let’s um extend it up

If you have any problems with your knees, like seriously pain, you may choose to put something under the knee, but

Generally speaking, it should be solved by pressing the foot into the floor.

Much smaller.

you know, and becoming comfortable with this or to keep the arms up for a long period of time.

This dynamic of

pushing the foot into the floor to lift the leg like that that requires a little bit of development.

So I’m exaggerating here.

So even if today you can just do for a little bit and then you stop and watch

So we just do as we can.

Stop and watch, do a little bit, stop and watch.

The continuity of understanding the limitation first.

and stopping that’s the that’s what we’re looking for right now the continuity of doing the practice will allow for you to do this or to go to deeper

lunging variations over time.

But who gives a fuck about the deep lunge?

It doesn’t matter, right?

It’s about what’s appropriate for you.

Okay.

Go ahead, Tasha.

And then play walking back.

And then bring the right knee down and right top of the foot down.

And look at your front leg and make sure that the knee is about

the toe so you might have to adjust here.

Keep the hands on the floor and now with the back foot press it into the floor.

So try to lift your right leg.

That’s the feeling.

You don’t have to keep the knee off the floor, but you want to keep pressing on the top of the floor.

Now from here pull the legs in.

You need to feel how we’re doing this move.

Pulling the legs in.

Keep the hand on the floor, but keep trying to do this more.

I’m trying to let me pull back on the skin.

So the back that is presses, this leg is trying to go back.

So as we do this, try to lift your upper

body by doing this just a little bit and if it’s like already too much just keep the hands on the floor and just practice like lifting and going down but if it is a

Available, try to bring your torso up to the point where you can bring the right hand onto the hip and left arm onto the knee.

And try, okay, so what happened to Clementine?

Everybody just go down for a moment.

You’re gonna be very tiring.

Sit sit right down.

Yeah, just sit down, just relax because it’s impossible to watch it while you’re in this position.

Um this is about

Fixing, separating, isolating, and the ascent focus.

When this foundation is created, just watch me.

See, it’s only my upper body moving.

See?

My upper body can do like whatever

but my legs don’t move.

What often happens is that as you start to come up, you do this.

Right?

The legs move, the legs

lift you up.

We want to prevent this.

So this is challenging because it’s it’s really requiring a lot of strength and it’s very difficult to focus.

So it’s it’s really difficult

difficult to if it happen doesn’t happen immediately it is difficult to do it.

So when you’re here pull the legs in like activate.

When you’re doing this movement the legs are very very active just lift

Lift down, lift down, lift down.

Feel like you’re using the legs.

And then from here, just try to lift the upper body without moving the legs.

Yeah.

Arms down, lift, arms down, lift.

The purpose is being able to control the legs separately from the upper body.

Okay, let’s do one more time.

Let’s try this

the other leg because we’ve spent some time already.

So come up, hands onto the floor, bend the knees, and then the left

leg will go back.

So left leg goes back, tiptoe, knee down, front of the foot down.

Your front knee should be above the toe.

The back foot is pressing into the floor.

Yeah?

Then bring the knee down and pull the legs in.

Pull the legs in.

Yes, yes, towards each other like this.

The right heel wants to go back and the toe wants to go forward.

And let’s see if you can keep that engagement.

Lift your hands off the floor.

Come up, go down.

Come up, go down.

See if you can full control in your legs without moving your legs.

Do it a couple of times.

Can you repeat out

This foot wants to do this movement.

Yeah.

So actually Actually it wants to do this movement.

Yeah.

Okay.

The feet are supposed to be pulling toward each other.

Yeah.

So pull the legs in, try to come up.

Um, climb it nice.

Your back knee is a bit too close

Yeah.

You need to try to walk like on the tiptoe and back back back as much as you can and let me know if there’s any pain

Anywhere Patrick, please watch Clement.

Yeah, we’ll I will I’ll watch yeah yeah.

Yeah.

Yeah, you’ve got him right there for now.

Tip top.

And this this is the main right?

Okay, so relax for a second, chill back.

Go back.

Sit up down your butt.

Sit on your butt for a second.

Just watch.

Just watch for a second now.

Because you don’t want torture.

No torture.

Bring the heel down

And then walk your own.

The position looks good.

Do you feel the difference?

I don’t know.

Shall we stop this?

Was it enough?

Uh sh do you want to try it one more time?

I I’m just curious how you come out of it.

Well, I mean if we were to do the form

Then we would come here.

We will find the straight line to the leg.

We wiggle, wiggle, wiggle.

We come into the form.

We exit like this.

And there are various ways to

to come out but I think in the sequences we come out like this.

And then the transitions we’re going to work on are also similar thing.

We can go down like this at one point.

Yeah.

So it it works the the most important thing is to get this thing going on here, like this light knee and the legs pulling toward each other.

It’s difficult.

So we have to do very small bursts.

Okay, so when you’re at home practicing, just do a little bit stop.

A little bit stop.

Like when Asha’s demonstrating, she talks a lot.

At any point in time, you can stop and then come back in and try it again.

Because otherwise it just becomes torturous.

Yeah, it is what is torturous.

But you know, these these go these go to another area of our practice where we’re exploring different things like

hip mobility and stuff like that.

So and that is only happening once we understand the dynamics of the opposition of forces.

So that comes after some time.

It’s not the goal, it’s just we have to continue to progress beyond what we what we build our capacity to do.

That makes sense.

I think let’s try one more time each side, right?

Because this really is your with my size.

Okay.

Okay.

Why not?

Yeah.

Yeah.

I’ll I’ll comment on that later.

But yes, for up if it works for you with your socks now, use your socks.

Perfect.

One more time.

So let’s do it one more time.

And try to do it quickly without spending too much time on it.

She uh she’s asking how to get out of the form without forcing too much

Okay.

Um straighten the front knee, go back and come out.

So we have actually

an exit I’ll show you.

Basically what we would do is that we would bring it back like this.

That’s another thing, yeah.

And then

Like this.

You can try to lower the leg down.

Also you can do this for here.

You can straighten like that.

Okay.

Yeah.

Or you can go

Like what Asha did and like this out.

Okay, so legs keep with the button

Bend the knees, hands on the floor, weight onto the right leg, left tiptoe.

As far back as you can.

So left leg back, knee down, under the foot down.

Watch your front knee in the toe.

Press the back foot in the

to the floor, pull the legs in, create foundation.

Activate the legs toward each other.

Let me just narrate because you take too long.

Activate the legs toward towards each other.

Traction.

Yeah.

And then try to lift the upper body without

changing the position of the legs.

No no no.

No yeah, don’t let this happen.

Okay, hey come on down for a second everybody.

Okay everybody calm down

Can I take over for a second?

Yes, sure.

How about you?

Let me let me instruct this one because Asha is like uh fucking scientist mode today

right so she wants she wants it yeah she wants to explain a lot let’s try again together let’s try again together stand up

We’re gonna go through it more quickly this time.

Uh rapidement.

Okay?

So bend the knees, hands come down to the floor, take the right leg long back

Take the knee down.

Top of the right foot presses down.

Legs pulled toward each other.

Take the hands off.

Keep the hips low.

Pull.

Lower.

Tiptoe.

Up.

Right foot forward.

Come to stand.

It’s a bit easier, right?

Bend, hands come down, don’t transition.

Left leg long back.

Top of the left foot down.

Legs pull toward each other.

Take the hands off the floor.

See?

Legs pull.

That’s all we do for today.

Hands come down.

Tiptoe, lift, step forward.

Come on back up

So to move on because we have no idea whether they kick us out of here at uh at two o’clock or not yet, we don’t know

To move on.

Splits, stance, inflection.

Yeah.

Just the explanations first.

Yeah, okay, so let’s do another form.

This one is is really, really.

Oh wait, wait a second.

Uh anybody experiencing physical pain?

Pain?

Tired?

A little bit?

Pain?

Tired?

Okay, great.

So great?

Great!

As anyone needs to, sit down, take it easy, observe.

You can do that whenever you want to.

It’s absolutely fine.

That’s okay.

Okay.

So whenever you feel like it, please go ahead.

Yes, so the split form inflection.

Split form is basically this.

Our legs are in this position.

Don’t do yet, just watch me.

Here the idea is that you want to know what is the maximal stance for you where you can do this without

opening the hip because if your legs are too wide like for example for me I cannot possibly bring my legs into this position and keep the symmetry see what I have to do right in

In order to keep my pelvis straight, this is my mobility.

So this is too short, it’s difficult to pull away.

This is, for example, for me, this is my mobility, this is where I can keep my pelvis straight and I pull away.

So this is the split stance in Baseworks.

So the split stance inflection is where we from this position

We do the flexion and extension flexion dynamic.

So when we hinge, we hinge towards midline.

Let me just stand here.

Imagine this is my midline, which is separating my

body into halves so when I hinge I hinge on top of this midline I don’t do it on top of the the

leg and I don’t do it kind of like in the middle even though see how much more I can go if I can go here.

Actually we we’ll all try that in a second but that’s not your midline.

Everybody can at some point find a line on the floor, right?

There’s three lines.

There’s four lines, so everybody can have a line, right?

Everybody can be in line.

Yeah.

Try that?

Take take a look here though.

Take a look.

See my feet where they are in in position to the line, right?

So when you take your foot back

It should be the same position.

Asha was a bit too close to the line last time.

It should be here.

You see that?

See the feet are here to start?

The feet can be here when they go back.

So think about it.

Exactly.

Exactly.

Okay, so go ahead and take over.

So you can stay on the line, everybody.

Go ahead.

Basically from here, just quickly watch me.

Watch

What we will do is that we will Ashad, take a look at your back foot.

Your back foot is turned in and it’s not the line.

It’s not a great demonstration.

Yeah, a little bit away from the line.

Yeah.

What away from the line in the back.

Yes.

So from here we will

Tilt, round, extend, round, and roll up.

Just four movements, yeah?

But uh let’s try to do it while being aware of

the meatline.

So it’s uh Sarah, s Asha’s off.

So um your y Asha your back foot is too close to the the to the line.

Take it a little bit further away, exactly, and then straighten it out.

That’s a bit better.

I see my feet.

You were too you were too close to the line, like this.

Exactly.

Okay, so pull the legs away and make sure that your pelvis is looking forward.

If you’re not sure

Like if your pelvis is a little bit off, then you might have to narrow your stance a little bit.

And Patrick.

Your back foot is here, right?

Just take it a little bit further away.

The line is there on the ground.

Exactly.

That’s perfect.

You can watch me too.

I I’m I’m gonna be more accurate than Asha today.

Okay.

So what’s not to not to humiliate her.

She sometimes has d problems with perception.

So the thing is it’s actually different

to see what you are doing.

This is why sometimes just checking is good.

But anyway, so we’re trying anyway.

So focus on your pelvis.

Bring the hands on the hips.

And then just first tilt just a little

bit forward to make sure that you are tilting over the midline.

And really try to feel it as you pull the legs away.

Try to make sure that as you tilt and try to hinge a little bit forward, go up

A little bit forward, a little bit up.

Try to find this position where you really are hinging over the midline.

Okay?

As you continue to pull the legs away around the upper spine

So chin in and roll in.

Your knees are extended here.

We don’t bend them, so don’t go too low if you feel unstable or hamstrings are burning.

So you go in and wiggle the spine from side to side.

side if you feel it’s difficult to balance pull the legs away more this helps to find the balance so you wiggle the spine from side to side draw the shoulders down and then from here we’ll extend

the spine again from the lower back to the back of the neck completely straight line maybe you will be almost parallel to the floor maybe you will be much more upright but you just want to have

this again completely straight line with your spine drawing the shoulders down pulling the legs away being aware of the midline and then one more time rounding the spine

rolling in over the midline and then to come out to unhinge we press the feet into the floor and you are rolling up from the pelvis end

up so it’s pelvis the lower back upper spine and then the head in the very end come up and then we lightly bend the front knee we step forward feet hip width apart

Great.

And we will do the other side.

So microbend the knees, shift the weight onto the right foot, bring the back foot back so that the feet are parallel.

Adjust them in relation.

to the midline.

Pull the legs away.

Make sure the pelvis is looking forward.

Front knee extended.

So both knees are extended.

Pull the legs away

Hinge forward just a little bit to make sure that you’re hinging over the midline from the pelvis.

And then round the spine.

Round in, round in, round in.

Keep pulling the legs away from for balance.

Wiggle the spine from side to side, draw the shoulders down.

Relax the neck here

Broaden the shoulder blades and then extend the spine from the lower back end up.

Find a completely straight line.

The pelvis, the lower back.

The upper spine, the neck, straighten up into a completely, completely straight line.

And again, wiggle the rib cage here, try to really feel the straightness of your spine

And then round again.

So rolling in, rounding the upper spine.

And then pressing into the floor with your feet, rolling up

From the pelvis, torso in line with the back leg, bend the front knee step forward, feet heap width apart, and relax

Yeah.

Can we do it one time fast?

Fast?

Okay, sure.

So bend transition

Leg back, extend, come to center, hinge just to check.

That’s it.

Roll in, extend, roll in.

And when I roll out,

out I unroll from the pelvis and up, bend and exit.

f um focusing a lot on the flexion and extension.

If you draw the shoulders down a little bit as you do the flexion and extension, it helps to um

Stabilize the dynamic of the flexion and extension.

If it’s too loose, it feels a little bit.

And also flexion and extension.

There is flexion in this direction, right?

The spine flexing forward and backward, but there’s also this movement, right?

When I’m completely flexed, like watch my shoulders.

It’s not that I’m like this.

My shoulders

shoulders are not away from each other.

My shoulders also go a little bit in and it’s really really rounded here.

So and when I extend the shoulders go away from each other.

So rounding the spine

it’s also going in with the shoulders and when we extend it’s the spine extends and also the shoulders extend.

Yeah

Thank you.

Was there anything else in there?

Well, I mean I think we’ve done most today because equate is next time, so we don’t

Do I need prepositional force?

What time is it?

It’s a uh 43 right now.

So I guess what we could do is

In the anticipation that somebody might show up here and kick us out, do you have any questions for us over the last after the last supposed seven minutes before we might have to be kicked out?

I’ll just move so everybody sees me.

It’s a question, but at the same time it’s a personal share.

Sure.

I’ll start with the personal share.

Today was very difficult for me.

I almost canceled my presence because yesterday I danced.

I do traditional dancing.

Asian dance, it’s all about the spine.

And yesterday we had a session from 10 to 4 and it was hypersomatic.

It has affected the vocal

I feel like I’m still recovering from that.

So my body kind of there’s things that I should be able to do today and my body just shut down.

So my body

My question about that is how you go or deal with this or process with this because I think this is also somatic in a way for me

Yeah, so I I’d like to say that that’s a good example.

You’ve done something else, another type of activity in your situation is dance.

Yesterday, you came into the practice today.

We’re going through some details about the dynamics of of the practice today.

Like we say to anybody, irrespective of that being a practice that you did yesterday, I mean we also work with bodybuilders, we work with martial artists, we work with different types of people.

people.

So when those people come in after a heavy practice or when somebody comes in after having a bad night’s sleep.

or when somebody shows up at the session right after having a gigantic brunch with ex Benedict.

The quality of the practice is going to change for that person.

So how to calibrate in relation to whatever the experience is?

The biggest advice we can give is rather than just completely stopping, reduce the intensity or the angle of the movement altogether and

try to find a way that you’re you’re able to manage.

So you had to walk here today, right?

Did you walk at all or subway?

You took a car.

Okay, so do you have to go to the grocery store later and walk or do you have to walk

You’re gonna go take a walk.

So you have to walk, right?

So you had the dance practice last night and you’re gonna go walk, right?

But you can still find a way to walk.

Why is that?

Right

Why can you still find a way to walk?

But I suppose what I’m getting at here is that walking is something we’ve been doing our whole life.

And then the continuity of doing the walking may help you to understand today I’m not gonna walk so fast, uh I’m not gonna go up the hill, you know, something to that effect.

When we it’s particularly in all of the modification uh

uh recommendations we make in the practice.

What we really encourage is to take a look at anything in relation to modifications that we’ve explored so far to this point in in the uh

in the on the on the online platform.

And if there’s something that’s missing there, take a s take a moment, pose a form

f uh a forum post and we’ll answer in detail.

So this is the best advice we can give you right now in in relation to trying to match the practice to your condition so that because by doing nothing it doesn’t it’s not bad.

It’s better than her

r not knowing what’s going on to hurt yourself, that by doing nothing you’re not giving your body a chance to understand the dynamics.

But look at there’s no judgment.

There’s no judgment.

What the only thing I’m trying to highlight here is that um

We have to get up and walk to go to work.

So we have to find a way to do that.

Unless you’re very ill, right?

You have to do that, right?

So

That’s a good example.

Another example is we have to moderate the amount of intensity we put into anything we do in our life, whether that’s working, thinking about something, or doing tasks around the house or whatever

In order to survive, we have to do those things and there’s always a way to calibrate that stuff.

Rest is very important, but what we believe in Baseworks is any level of application to the movement, any level, even just this

this much moving the foot like this or just a little bit drawing the shoulders right down that’s sending information to the body in a way that your body’s gonna right so

I would say you need to if you don’t understand and you’re not able to review the material, then you have to sit and watch, right?

What what we’re doing.

If you have a little bit more time to review the material when you come to the session next time, and this is for everybody, the same thing, because we don’t know how much everybody goes through the material.

We’re not scolding anybody.

We’re not saying you haven’t studied.

It’s about the reality of trying to find a way to navigate the difficulties of the practice, right?

So

As you just understood from that, if we say take a short stance, draw the shoulders down a bit, then stop, take a rest, then join back in again, stop, take a rest.

then you’re providing your body some level of information and even though you had a really wild and I understand what you mean the the practice the the dance experience that you had yesterday may have crossed over into some

Something which is well now your nervous system.

Of course.

Any type of dynamic physical practice is gonna do something to the nervous system, particularly when it’s expressive like dance.

What it does is it, and I don’t want to load this right now, but I’m a big believer in transferring physical education to

embodied experience.

So my perception of movement is informing my motivations.

Does that make sense?

If I scream or get angry, um, and I understand what the source of that anger is,

Then I’m I’m able to feed that back into what I’m doing with movement and vice versa.

So I’m giving you an example, screaming.

But if I’m feeling sad,

I can also attribute that to my movement practice in a way.

And that sounds ambiguous, but dancers can resonate with it, and some athletes can resonate with it.

it because when we start to work with the body in a specific way, it does something to the nervous system which crosses over into something which might be

make you feel vulnerable, you know?

And that vulnerability is where we can play with the edge.

So when we’re feeling vulnerable, we like to have a nice hot chocolate.

Put on Gone with the Wind, recessives as a j like a nice old movie and just warm the

The hills are alive with the sound of music and just watch something that makes us feel very warm and friendly.

We can do the same with bass ricks.

So this in Baseworks is one of the lunges where we can go quite deep and I can really manipulate my spinal flexion.

I this doesn’t really feel that appropriate for me today, so I could do a version like this.

Hills are alive with this.

I’m still the same thing, and I come back, I’m relaxed.

So basically it’s like if I was

watch a video of the hunterman emotion, it’s when it’s a micro pause in the process of it.

So I don’t fully link

Can I respond?

Yeah.

One thing about the videos is you can always go back to the k to the uh key points.

Key points.

Yeah.

Yeah.

So um very specifically

It’s your question is essentially about intensity modification, right?

Intensity modification in principle is very simple.

If it’s too much, just back up the intensity, don’t do it.

And for some people it seems

like it’s common sense why are you teaching that but the thing is that in practice it’s not that easy.

This is where your question is coming from, right?

Today it’s too much for me and I don’t know what to do about it.

How exact

Exactly do I modify right?

So uh terminologically we call it uh modification for intensity, modification for form.

Essentially, look, when you’re just standing, you can probably stand

Right?

What is a squat?

A squat is like this and like this, and your arms forward.

This is in terms of effort is not very much different from this.

Right?

So

You can just you kind of go back and then you see okay I can bend this much, this is still fine, my arms are helping me to offset the weight, I’m washing my spine, I’m investigating the hinging

dynamics out in terms of effort or like it’s not intense right all this like for example the spinal work maybe you won’t go into you know all the range of motion maybe you’re like okay

So I’m here hinging with just one leg.

I’m here.

Okay, that’s kind of that’s working.

I round the spine and then I extend the spine and I just feel my

my midline, I round again, I extend, I return, done.

So in terms of intensity, it really can’t be done like this, right?

of modification and grid lines are being respected at the same time.

Yes, so Baseworks is about the six principles, right?

So grid lines in symmetry, the fixing, separating, isolating

distributed activation micro movements and intensity modification and natural breathing right so if you do everything within the constraints of intensity modification and natural breathing and within that

You move according to the logic of movement.

Being aware of the grid lines.

You don’t even have to do Baseworks forms.

Like many people say, I’m waiting for the butt mean at the bus stop and I’m like, hmm, okay, I am aware

of my midline when I’m here.

Oh here is my bus.

Okay I’m gonna go.

Right.

So it’s really not so much about doing something which is intense like what I was talking about.

Z line just pretty intense like

When you’re here, if your leg doesn’t like it, it’s just stay staying here even for ten seconds is too intense.

In this case, maybe for a sea lunch, maybe you just skip it.

But especially for all the seated form

or the standing forms, it’s just you do the smallest possible version of that movement which still makes sense from the perspective of what the movement is about.

Thank you so much.

I hope they help everybody here too.

Another thing I’d like to add is that uh

We mean it when we say we know that not everybody’s able to dive into the online material as deep as we’d like them to throughout the week.

We know that people have constraints.

Of course, there’s always the opportunity for us to try to make the online material more concise for this type of programming.

But what we want people to understand is that you can do what you did today.

If you feel it’s absolutely appropriate for you not to participate, don’t participate.

But I’d still say if you can do the modified light version

Irrespective of what happened yesterday, try that.

And try to leave yesterday behind.

You can just say or aside.

You can process that one later and then you can be here and do these movements.

You might be surprised that it may it may shift something or may calibrate something about yesterday’s experience.

It may do that.

Okay, so it’s just because I only speak from experience and from working with thousands of students, and they they give me reports back on this stuff.

In a lot of health education, depending on the angle of health education, particularly in wellness,

Okay, when we look at wellness.

And some people look at Baseworks and they think it’s a wellness practice.

Actually it’s not.

What we want people to do is not understand how to um

Uh give yourself the s the space and the time only to process, but it’s about how to understand what that edge is.

That you can continue to actively be engaged.

That makes sense?

So that we’re wellness is great, but what wellness emphasizes a lot is just like

Are you burnt out?

Take it easy, have a hot chocolate, watch gone with the wind, right?

And I like to do that sometimes, and but I don’t consider that a wellness practice.

I just consider it, drink a hot chocolate, watch gone with the wind and chill out, right?

But that’s um that’s a different task that we’re trying to approach here with the

practice.

So I can’t we can’t overemphasize on modifications being um the best informer.

of what the outcome can mean for you, right?

And we’re not you, right?

So you’ve got your dentist practice, we have no idea what that looks like.

And only you can report that back to us after

um you know a longer application to the practice.

So I don’t want you to leave here thinking, Jesus Pat, you know, Pat fucking said mod you know, I shouldn’t

Take a break.

No, you can take a break because you have to take into consideration how much you’ve been able to adapt or understand what we’re doing here

And if you don’t, like anybody, if you don’t understand what’s going on, don’t do anything which you’re not sure of that’s going to hurt yourself.

Step back, watch.

But I would recommend joining back in when whereby possible, if that makes sense.

I don’t see anybody out there yet.

Yes, please.

Yeah, there’s more questions.

I don’t see anybody here.

I’m checking.

We watched competitions in the gymnastics, you have the the one performing the thing, and all the other ones are on the side doing the thing.

So I was wondering with that.

Yeah, I know.

Okay, I know.

Like marking.

Marking, yes, marking is so yeah, okay.

In dance there is a term marking.

Like instead of doing like

some kind of like like like like full routine which may require full out that’s what we say you don’t do it full out which is yeah yes you do yeah and you do like you’re just okay my leg will do that and then and then I do the turn and then like

that but this is not what we do in Baseworks because if like let’s say if I needed to I don’t know like perform a movement where I needed to lift my leg all the way up and then for example

do something like that.

In Baseworks we our way of not doing it will be like this and and like this.

We will just not perform the whole movement because marking is

automaticity you have somewhere in the muscle memory the full motion and you are like okay I’m gonna give on this full motion and this full motion and this full motion but in the base

works what we are saying is that your full motion it’s too automatic we need to break it down right so this is like a diametrically different idea yeah that’s

Does it make sense?

Okay.

We’re trying to d we’re trying to decon deconstruct a lot of the education around physical education.

So it’s it it’s not easy to understand that first.

Yeah, and and a lot of your comments we you know we love them.

We love everybody’s comments.

But sometimes you know people have this uh have this doubt, this really hurts or you know something’s going on, and it’s normal to feel that.

So you have to be responsible for how you approach it, but there’s always a mild modification for everything.

Yeah.

And also on the practical side, for example, uh

One of the advice that I received very early on in Baseworks, which seemed very counterintuitive for me, but it actually worked, is don’t drink during practice.

Because if you think

That oh, I have my water bottle available and I can drink anytime and it will cool you down, it will reduce all the sympathetic activation, you will overdo it.

But if you come with a mindset that knowledge

water is not available as an external something that will help me to calm down, then I will just approach everything at a slightly lower income.

I mean look if you’re thirsty drink.

Yeah we’re not saying don’t drink but I’m saying

sort of fitness class or something with the with with a bottle of water.

They say, everybody you should hydrate in the yoga and like uh y yoga websites they’ll say things to bring to class, a yoga mat, um a um a yoga blanket, uh

So socks, you know, like uh comfortable clothes, water, hydrate.

They say hydrate.

So for us, unless you’re thirsty, you need to wet your mouth.

There’s no necessity to hydrate or to eat.

because there shouldn’t ever be the point in time, there shouldn’t ever be the point in time that that you are exerting yourself so much that you feel physically like

physically thirsty or dehydrated from the experience.

If you’re dehydrated, that’s another indicator.

Hot

Dehydration, muscle fatigue, all those things are messages to tell you to moderate.

If that makes sense.

Sorry, just wanted to go in order, Mana.

time I find that I’m a standing up position I struggle like when there’s a stance I struggle with balance so like I mean I um you probably get

tell me to moderate making sure I don’t want to really struggle like it’s a constant attention on not falling everything.

You uh I actually don’t correct you very much.

I think you are following the instructions very close to what we’re asking you to do.

And the fact that you are saying that you are

struggling with this.

I think it’s your metacognitive awareness.

You are just really trying to perform the tasks as close as we can.

If you really feel like it’s difficult to balance, my suggestion

would be before modifying really focus on pulling the legs away or like because this is what stabilizes especially and this is by the way for everybody because I do see a lot of

lunges which are like kind of wobbly like this they are wobbly if you don’t activate the legs because when you pull the legs away when this foot is trying to do this movement and this toe is kind of trying to

to go back.

If you really lock it and you keep doing it, the leg become very, very, very stable.

Of course it can also be like like I have a question.

Like on your feet.

Like is the whole under your feet is like is it distributed all over like on the heel and in the front?

Well you know if you were to wear socks, this movement will result in your like

on ice imagine if you were on ice wearing skating uh uh sky skating like boots right you will just your legs will just go apart right so you’re trying to do that but the traction of the floor

prevents it.

Like see if I relax, okay, I’m completely relaxed, but if I pull the legs away, the one pushes my pelvis in a certain position.

So just if when you keep doing it, it helps with

with balance especially when we start doing like this stuff.

Many people in this position they like oh my god like I I don’t understand what’s going on here and they they lose uh control but pulling the legs away helps

Okay.

Uh there were questions or Okay.

Sorry, Sarah.

Yeah.

Makali.

I was wondering if I tend to have

to know if I’m straight or not.

I’m often not straight.

But I can then see if I straight my head and I’m not straight anymore.

And but if I’m practicing over and over, like that’s very

Have a nice weekend.

So that

problem is that you don’t get enough sensory feedback from your body just because your body never needed it.

So even if you keep doing

It and it’s not straight, if you keep focusing on it, this is when the sensory information will start going up to your consciousness more.

So just by doing it, even if you’re not completely

straight just by training your attention to pay attention to what’s going on that will eventually improve the quality of the signal that is available for your head.

But sometimes you can also what you can do is let’s say for example I don’t know if I’m like doing it right.

Touch yourself.

Just like touch your pelvis, like what’s going on, just try to move around and try to undo

understand the dynamics, what’s going on when I move myself in different positions.

Also sometimes you can just do it in the in front of the mirror and just try to understand.

Okay, this kind of looks straight.

like this it’s not straight and like what does it feel?

Yeah but try not to depend on the mirror but occasionally doing something in the mirror is also yeah it’s possible so um

Maybe Sarah and then Clementine, okay?

Sarah.

Just a quick question.

So um with an exercise like one row where you go back with this, and my next is gonna be messed up all day.

If if you can’t, if I’m looking at an exercise and I can’t creatively figure out how to bypass that because the whole thing seems to be around a pose like that, is it better at that point

to just skip it and do something else rather than try to figure out what the key elements are in order to do like I explained yeah like I explained earlier on anything

Anything hurts, come to the point where um so there are various different things we do.

You can draw the shoulders down, you can press the feet into the floor, you can

Maybe flex the spine a little bit.

Do anything else that would not aggravate the neck.

Yeah, no, I understand that I just and thank you.

Um but in general if if I or somebody else comes across

series of movements where you haven’t been there to explain, okay, that’s how we can do this, and we don’t have the the sort of creative

to figure out an appropriate quantification?

Do we just do it or do we skip it and you do whatever doesn’t irritate that condition.

So

Any movement any movement is going to inform whatever’s the problem.

So um we can’t say it fixes it, that uh

Whatever you can do, like if you can push the feet into the floor or mildly flex the spine, whatever you can do to not irritate this

Do it.

Any of the movements we do in any position of gravity, which you can find a way not to become more creative about how to do it with your neck problem, but but more just about to do the things that don’t cause the problem in the neck

There’s a very good chance that the combination of those movements within different positions of gravity might fix the next problem.

I had neck problems my whole life from doing yoga.

Satubandan said anybody knows what yoga is.

I did advanced yoga for years.

And I fucked my neck.

I went to the the and I thought I was feeling very good.

For years I couldn’t move my neck because I had a herniation in the C6, C7 vertebrae.

I was like stiff like this for ten years.

I fixed it with Baseworks

I can attribute to that.

People have whiplash and accidents.

They fix it with Baseworks.

But I can’t promise you’ll fix it

All that I can say is that whatever doesn’t irritate this, do the other movements.

Yeah.

So you want to add for example on a practical uh from a practical uh position

If you for example have a neck brace, you can try to wear it and you try to do these movements while wearing the neck brace.

Neck brace will just prevent a part

of movement which is impossible with the neck fixed and then that will help you to understand how to modify the movement so that you can do it because essentially you just want to keep this upper part

Kind of you you will be moving here instead of moving in this part.

Um I’m saying net brace because even without the neck brace you can potentially control the

movement but if you don’t have the skill to control the movement you cannot do that.

So the neck brace can be a step which teaches you what kind of how to do the movement

without moving the neck.

Sarah, was it from an accident or uh you don’t know, okay.

Um do you did you ever have a neck brace?

No.

Okay.

So she doesn’t have a neck brace.

And I’m not gonna go by

Seems counterintuitive, but it’s not a good thing.

Use our coupon code.

I another thing I want to say for Sarah and for Clementine is that, you know, for example, if you’re s we’re when we’re standing up and we’re doing the shoulders drawing down and the feet, if that doesn’t hurt the neck?

No, what really hurts my neck in the hair is all

I don’t want to waste your time, but it’s it’s it’s this kind of thing where I’m pushing it down for out, so everything is so

Try to spend a little bit of time with the thing that bothers the neck and more time.

Exactly.

So s so stand up.

So stand up.

So I’m seeing that you can say that that’s relaxed.

Like like if what I’m talking about

Can you show me a little bit in my bar select?

Can you Asha, wait a second.

Stand stand up.

Stand up, Clementine.

Stand up, Sarah.

Everybody, everybody stand up.

Stand up.

I I’d just like to show you um I I’d just like to show you something here that that might help.

Okay.

Of course, if you have to leave, you can go ahead and leave.

It looks like we’ve got the room, so if you want to stay, you can stay.

We’re going to continue to talk

Uh just for another twenty minutes and then we’re gonna leave, right?

So twenty minutes. Oh sorry, it seems like we have to go. So that is it for today, thank you and see you next6 week.