Session 7 Transcript

Patrick Oancia 00:00 Rolling. All right, let’s stand up. Remember you can move if you’d like to anytime. Let’s see how this long this goes. Asha. So, effort one, you can remember, right? Transit.

Asia Shcherbakova 00:31 I think this is all by group, you just need to do this, just this entire thing and just…

Patrick Oancia 00:36 So, yes, square cross, but where’s the, there’s no plank in present.

Asia Shcherbakova 00:41 Maybe we do it around the peak.

Patrick Oancia 00:46 After peak?

Asia Shcherbakova 00:47 Yeah.

Patrick Oancia 00:47 Where?

Asia Shcherbakova 00:48 Well, just after peak.

Patrick Oancia 00:49 After peak old? Yeah. Okay, so then I’m going to let you take over down here, all right? all right a little bit wider than hips width apart I’m gonna stand this way first why not last team we guys stood that way feet hips width apart a little bit wider than hips width apart slightly pointing away bend the knees so you can sit back onto the edge of that barstool relax the arms first make sure the neck is relaxed before we start as well. And then the same idea with the arms. They go up. No overt movement with that. We get to shoulders height. We torsion, right? So that torsioning is the most important part. This is the only real active part. And, you know, of course, at any point in time, you’re tired, your arms get tired, you feel tired, you can drop them. continue to turn the wrists forward. It’s a very awkward movement, but they shouldn’t be facing away. They should be turning forward so that you feel inside the forearm become a little bit tight. I’m exaggerating the movement a little bit, so it doesn’t have to be so strong, but just try to keep them forward as such. And when your knees are bent, you want to be moving the weight to the heels. So don’t bend the knees and sit over the top of the toes like this, but sit back like you’re going to go into a squat. And the weight is more distributed over the heels. So you can remember that distribution of the weight to the heels as you sit, torsion. If the knees bend too much and start coming over the toes, move the weight back to the heels and straighten the legs a bit more so you can feel how the weight goes to the heels and you don’t have to bend the knees so much. periodically as we’re standing here you can check particularly if your shoulders get tight or tired you can move the neck a little bit like this to see if maybe that relaxes the shoulders a bit also we let the belly be really soft here Don’t draw the navel back to the spine. Don’t grip the abdominal muscles. Just allow for the belly to hang. And of course, keep the eyes open here or closed. But if you close the eyes, remember, we don’t get cosmic when we close the eyes. We’re not trying to phase out. We’re trying to stay as aware as possible. So if you start to drift like this is not this is not some sort of a deep Introspective thing that we’re doing here. We want to be completely aware of everything that’s happening all the time. So Sometimes with the eyes closed it can become a little bit passive or we become unaware Maybe that we’re tired or we become unaware that of the movements. So, it helps keep the eyes open, but I recommend if you do keep the eyes open, rather than look around the room or let the eyes wander, just pick a spot diagonally down to the floor in front of you and just look at that one spot on the floor and just stay focused on that spot. And continually just checking in, torsioning the hands in. Remember here, we’re not applying any the patterns here other than maybe just some micro movements through the neck we’re not drawing the shoulders down the only activity here is the torsioning of the wrists the movement of the head occasionally movement of the neck I almost forgot to add the part about the slight gripping of that imaginary physio ball. Remember that. So as the wrists torsion forward, you’re also kind of squeezing that foam ball a little bit to activate the fingers. Again, it’s not too much activity, just a little bit. Remember, the shoulders get tired, you can drop the arms and join back in. Okay, so remember we’re synchronizing the movement of the knees straightening as the arms lower. So it’s a very slow movement. So as the arms start to lower, slowly straighten the knees. Don’t do one or the other before the other. Try to synchronize the knees becoming straight with the arms going down. So as the arms start to get closer to the hips, the knees go a little bit straighter. And as the arms get down to the point where you can let go of the activity, the knees are straight, but don’t lock out the knees. The knees will just be straight. When the legs are straight you can just check in to see if you’re still gripping with the quadriceps Maybe your thighs are still active if they are you can move around a little bit to try and let the quads go soft and And make sure the arms are soft And then you stay here just for a second with eyes closed or eyes open doesn’t really matter And you’re thinking okay. Well was any part of that process interesting in some way and you take a mental note of whatever it was maybe some thoughts came into your mind maybe there was tension god knows whatever it is you can just take that mental interpersonal note as a kind of data set that you can carry forward into the day and into the future practice sessions. If we’ve made a good enough impression. Okay, I’m going to bring the feet hips width apart. Outside edges of the feet are parallel to each other. No wider than hips width apart. Let’s start by a little grip of the heels in toward each other. Draw the shoulders down towards the floor, spread through the fingers. You can oppose this downward movement with the extension of the neck. So it’s an opposition here. The feet feel quite grounded. The shoulders draw down against that groundedness. and the crown of the head moves up so that you feel a little bit of an elongation through the top of the shoulders through the back of the neck and spread the fingers you can move a little bit from side to side as you do that you’re spreading through the fingers extend through the back of the neck and then we’re going to shift the weight to the heels and we’re going to bring the arms forward to offset that weight and we’re going to find our squat right so whatever that means for you today the squat may be here you may want to go a little bit deeper but the weight stays over the top of the heels as you come down if your shoulders feel a little bit tight you can open the arms more as we go back into the squat. The spine and the arms more or less stay the same line. The neck doesn’t move independently from the squat down. If you’re looking up at me, that’s fine. Occasionally just let your head drop down and be in line with the top of the spine. The weight stays over the top of the heels. Now spread through the fingers and draw the shoulders down. And then we’re going to accordion back up. So the same way we went in, we’re going to release it down. So try to remember the movements that you did to get in, and we’re just reversing that. So we unpack every movement the way that we went in. And there we go. A little battery. Piece of shit. That iPad. I was always, I’m always low battery. My battery’s always low, but that battery’s particularly low. It’s 10 years old. Spread through the fingers. Okay, we’re going to take the feet a little bit wider than his width apart this time. And the toes are pointing, you can maybe say forward or slightly inward. And we’re trying to find that position of the pelvis neutral over the midline here. So remember the back doesn’t arch, but nor do we tuck the tailbone down and press the pelvis forward. We’re just trying to do a little bit of that to find the natural position of where the pelvis can sit. The spine will be in its natural S curve, which means the lower spine is a little bit curved, and the upper spine is a little bit curved. And then from here, we’re going to raise the arms up. And as we raise the arms up, we’re going to face the palms forward, and we’re going to draw the shoulders down. And as we spread the fingers and draw the shoulders down, extend the back of the neck up. We can even try to move the feet slightly away from each other. So that you feel the hips become a little bit more active. So let’s dial all these movements in together a few times. So the shoulders continuously draw down, the fingers continue to spread away, the feet kind of pull away, the back of the neck extends against the depression of The neck also moves a little bit here. Let’s go in and throw a micro movement in. You can float the ribcage around the top of the pelvis remembering not to move the hips. We’re separating the movement of the ribcage floating from the movement of the hips. Spread through the fingers, continually draw the shoulders down and then once lower the hands and then the hands come to the waist for a Now we’re going to be doing one foot at a time here and eventually in the future if we know each other for that long. We’ll be doing a synchronization between both feet. Just to make it more manageable and to break it down, we’re going to be turning the left foot out first. Keep the right foot where it is and you see when the left foot turns, my upper torso follows that. Then as we draw the right heel back, the upper torso turns a bit more. So the upper body is not independent from that movement. It just follows that movement. Hi, Sarah. So activate the legs away from each other here. Okay, and your upper torso is facing that way, right? Not forward, but out. And then with that, you can raise the arms up again. See that? The arms go up in the same line as the upper torso. You can spread the fingers. Draw the shoulders down, extend through the back of the neck, actively pull the feet away from each other, and then we’re just doing a little baby hinge here. We’re gonna draw that left hip slightly back, not sideways, but the left hip you can see it just draws back. You can see that right? My left just draws back and we’re going down about this far. The legs continue to activate away, you continue to spread through the fingers, draw the shoulders down, back of the neck extends, even float the ribcage, micro movement over the top of the pelvis. Continually activate the legs away from each other as we draw the shoulders down, spread the fingers, raise yourself back up. Now we’re going to do the opposite from the way that we went in. We’re going to turn that left foot forward first. You can see the right foot is still pointing inward. And then we’re going to bring that left heel in. So now the feet are in the same position as when we started. You continue to spread through fingers draw the shoulders down move through the neck activate the legs away from each other reach the hands down onto the waist for a second and just collect yourself let’s try this next one with the arms up going in so we’re going to bring the arms up spread the fingers draw the shoulders down now let’s start with the heel we’re going to drop the heel back first, the right foot doesn’t move, but the upper torso moves a bit. And then we’re going to turn that right foot forward and the body follows. Continue to spread the fingers, draw the shoulders down, activate the legs away from each other and draw the right hip slightly back. Don’t lead with the chest here, okay? Don’t lead with the chest, just allow for the right hip to initiate the movement of the upper torso going down. Continue to spread the fingers, shoulders draw down, actively pull the feet away from each other move through the back of the neck even float the ribcage a bit around now go ahead activate the legs as you lift up now the opposite way we’re going to come in the right foot turns forward see the back foot is still like this and then the left heel comes in and then the hands go down to the waist draw the shoulders down again one time extend through the the back of the neck. Release the hands down. Bring the feet hips width apart. Outside edges the feet are parallel to each other. Fuck I forgot one. That’s okay. Do it later. Hands come on to the waist. Hinge into the hips. Take the weight over to the left foot so you can feel that left quadricep become active and then this becomes kind of like slidable. Slide it back just about only 60, 70 centimeters back. Remember we were practicing the line on the floor. We’re trying to keep the line of the hips forward. That right hip doesn’t open. The center midline comes right through both feet. It slices the body in half as you can see that. Now the hands come onto the waist. Actually let’s go into lunges first. Bending that left knee only to the point where it’s the top over the top of that ankle. then we’re going to bring the hands forward and as we bring the hands forward pull the legs away from each other on the floor but don’t open the hip bring the hands forward more or less in line with the spine if the arms don’t go up so much it doesn’t matter if you got tight shoulders and you want your arms to go higher move the arms away from each other a bit so that there’s no compression in the shoulders as you lift the arms of course if you can put them straight and you can do it with no compression, that’s okay. Otherwise keep them apart, actively pull the legs away from each other, spread through the fingers, draw the shoulders down. Now straighten through that knee, hands come down to the waist, continually activate the legs away from each other, shoulders continue to draw down, flex the upper spine like somebody’s poking in here, flex the upper spine like this, remember the midline, right down the center, and the upper spine flexion goes right down the center in between both of those legs. Now with that flexion you’re going to draw the shoulders down towards the hips. As you pull the legs away from each other we go from flexion to extension. So the sternum is leading the movement flexion to extension. It’s very fluid. Shoulders continue to draw down. Extend through the back of the neck. Activate the legs away from each shoulder again as you flex again and roll up and as we roll up we bend the left knee shift the weight to that left leg and we’re going to step that right foot forward remember how much of a support that left foot is legs come straight release the arms down for a second Okay, hands come to the waist again. Hinge. Weight comes over to that right leg. Take it back. Both legs go straight. Hips width. Check the line. This heel shouldn’t be in, it should be out. Check the line down the center. Hands come into the waist. Bend that right knee over the top of that right ankle, not over the toes, over the top of the right ankle. Activate the legs away from each other here. Make sure the pelvis is pointing forward and then you can raise the arms up. As you raise the arms up, retract the shoulders. Pull the shoulders back into the body. Feel it into the lower part of the armpits and the back as you do that. Continue to draw the shoulders down. Move through the neck here and we’re going to do a little bit of a lift here, which we didn’t do last time. We’re going to start to move the sternum in a circunlinear motion forward as we and activate the legs away from each other. So the arms can even come a little bit more out here as we do that. But the arms don’t move out on their own. They’ll just come out with the movement of the sternum, if that makes sense. And then release the sternum. Place the hands onto the waist. Straighten the right leg. Draw the shoulders down. Continually activate the legs away from each other. Check to see that you haven’t gone over the front of that right leg. Pull yourself back into the midline. Hands stay down onto the waist. Upper spine flexes from this point, upper spine can flex. Upper spine flexion goes down the center of both legs, continually activating the legs away from each other as we flex down in between both legs here. Continue to draw the shoulders back. Now we’re gonna go from our flexion to extension. Use the feet as an anchor, pull them apart to allow for the spine to extend forward. And then we come to that straight spine forward. And then we’re going to do our flexion again. Continue to anchor the legs away from each other as we flex and roll up. Then we’re going to bend that knee. I’m going to shift the weight to that right leg. And then that’s the stability. That’s the anchor for this foot to come forward, right? And we come up. Release the arms down for a second. Hinge into the hips. Shift the weight to that left leg. We’re going to take this right foot back however far you want to. I’m going to go a little bit deeper today. High to that back tip toe. The left knee stays over the top of that left ankle. Arms come forward, activate the legs away from each other, draw the shoulders down. The sternum moves in a circunlinear motion forward and lifts. So the movement is coming from the center of the chest as the legs continue to draw away, the shoulders continue to draw down, spread the fingers, move through the neck, float the ribcage. release the sternum movement hands come back down to the waist we’re going to shift the weight back to that left leg as we whoops as we find our way forward lost a bit of balancer and come back up release the arms down for a second can you

Asia Shcherbakova 21:23 just add one thing sure i just i observe a lot that a lot people don’t break down the transition. Think about your pelvis. You bend, you hinge, the pelvis is parallel to the floor. The leg goes back and when you come back you return first to one leg, you return the leg back and then the pelvis shifts. Try to really break down those movements and keep the pelvis parallel to the floor at all times. Yeah.

Patrick Oancia 21:50 Weight leans to the heels, we’re shifting the the way to that right leg now and that left leg transition back in the same line right hips width slide it back to the point where you feel comfortable the left right knee stays over the top of that right heel and the upper torso is in the midline activate the legs away from each other here with the back heel nice and high raise the arms forward open through the chest or don’t open through the chest. Just raise the arms forward, draw the shoulders down, spread the fingers. Now we start to move the sternum, the middle of the chest, in a circumlinear linear motion forward. So the sternum is what moves here and lifts. The arms just move with the sternum. Now you can draw the shoulders down, spread through the fingers, float through the ribcage, move through the neck. Release the sternum movement back down. Hands can come down. Shift the weight to that right foot and then find your way forward in that same controlled motion as it comes forward stand up shoulders draw down once say ouch spread through the fingers and just elbow they operated my elbow five years ago they with arthroscopic surgery and sometimes i feel the bone touching skateboarding although so here’s a skateboarding how many times i fell on that elbow grip the thing heels in toward each other draw the shoulders down spread through the fingers let’s try that twist shift the weight to the heels we’re going to go to that left leg take this one back same length or less it doesn’t really matter find the midline again find the down. Activate the legs away from each other, spread through the fingers. The sternum is the pivot. The sternum turns to the left. You try not to move the upper torso to the left, just turn the sternum only as you twist. So the upper torso turns toward the left inner thigh. Spread through the fingers, draw the shoulders down. Turn the sternum back to center. Release the arms down. Shift the weight over to that left leg and then find your way back to standing in the most controlled manner the reverse of what we did when we went in and get back up to there Okay, as they say, allez-y, shift, right, control, midline. When you’re taking it back initially you might go over the top of the right leg so find the midline again. Arms go out, activate the legs away from each other. Shoulders draw down, spread the fingers, move through the back of the neck, float through the ribcage a little bit and then from the center of the chest turn toward the inner right thigh that direction. Spread the fingers, the arms move with the upper torso, they don’t move independently. Continue to draw the shoulders down, activate the legs away, turn the sternum back to the center, lower the arms, unpack the same way, go Go into this foot first, and then we’re stepping forward and back up. Feet come wider than his width apart. The toes point slightly, actually the toes are pointing inward or outside edges of the feet are parallel. the legs away from each other once place the hands onto the waist upper torso flexes draw the shoulder down see the upper torso here it flexes shoulders draw down with that flexion activate the legs away from each other as we start to flex forward you can bend the knees a little bit here if you’d like on that flexion as we come forward if you want to play a little bit more with the upper spine flexion. The legs stay straight that means you have a stronger stretch to the hamstring. So we don’t want to burn the back of the hamstrings. If you’re confident you can keep them straight. The outcome shouldn’t be a burn. Flexion. And then from here we’re going from our flexion to extension. So with the knees bent with the legs straight we’re finding our flexion to extension movement. The legs still pull away. The legs even though they’re bent are still active as we pull legs away from each other. See the neck is just the same as the spine. It stays in the same line. Actively pulling the legs away then we’re going to reverse it with flexion again. As we flex, we’re rolling up away from that movement. As we roll up and away, pull the legs away from each other. As we roll up, draw the shoulders down. So as we unpack it, we’re trying to pack it again. The shoulders draw down. I’m being overtly visceral here in my demonstrations just because I want you see what it means to oppose it’s like an op like a gentle opposition and relax if you come together come down to the floor for a second so is it from here Asha that we go in let’s get let’s get it over with I say let’s get it over with. I like it but you know people, yes, that people you know think oh fuck this is a hard one. So we’re going from our plank to our press-up. Everybody remembers what those are. The plank to press-up you have to moderate what feels appropriate for you today as we go through it. It could be a baby press-up, it could be the full press-up. Actually, we’ll start with the peak. Peak hold first. Peak hold, press up. So anytime, lower the knees if you want to. We’ll go through it a couple of times. Just because we’ll catch up from last week. So, as you know, the hands will go down to the floor in front of you. Go ahead. Yeah. And then you’ll be on your tiptoes, right? To start. And you can keep up on your tiptoes. Remember that. You don’t have to put the feet flat. And then you’re lifting the pelvis up into the air. And you’re finding that point where the back is straight. Asha, check everybody’s backs.

Asia Shcherbakova 28:52 Yeah.

Patrick Oancia 28:53 Draw the shoulders now down to the hips again, even though we’re upside down. Continue to draw the shoulders down to the hips. Move the neck, make sure the neck is relaxed. Spread through the fingers, grip the tips of the fingers into the floor, pull away with the toes of the feet backward, press the palms into the floor pressing forward, pull the ribcage in closer to the top of the thighs and bend the knees if you need to do that. Relax the neck. Ah ha ha ha! Bend the knees, lowering down. But I can do that always. I like it, it’s formidable. Wonderful! Right? Go forward. Go forward.

Asia Shcherbakova 29:44 Yes, that’s it. And higher. Yes, that’s it.

Patrick Oancia 29:49 Hands directly under the wrists, right? Hands directly under the wrists. And we’re going to step the right foot back, see? Step the left foot back. And we’re going to press the palms into the floor and push forward. As we draw the shoulders down to the hips, grip the toes into the floor, pressing against the palm movement, pressing forward. So the toes are trying to push you forward. As the palms are trying to push you back, draw the shoulders down.

Asia Shcherbakova 30:19 drop the knees okay before we go into the next one which will be a couple of

Patrick Oancia 30:28 press-ups we’re gonna start with the plank so you remember your variations

Speaker 2 30:34 plank or baby press-up or if you go to the full press-up it should be 90

Patrick Oancia 30:39 degrees with the elbows and your motion is forward and back so we’re not lowering down to the press-up. We’re pivoting forward and lowering. That’s why it should be just a baby press-up. That’s it. Ah, we forgot one thing though and I’m gonna and I’m just gonna give you this too. We forgot one thing. As we lower, remember, and I didn’t do it myself, to draw the shoulders in. Hug the armpits into the side of the chest. Try to press the top of the arms into the chest. So squeeze, lower, the arms are hugging and then pivot tilt back straight. Let’s do a couple more, squeeze, bend, lower or sit down, squeeze, bend, press and back. Let’s go to the peak, tiptoes forward, bend the knees, spread through the palms, shoulders draw down towards the hips fingertips grip to the floor press the or try to get the rib cage to meet the thighs relax the head and then lower down all right so sit like this onto the heels for a second if that’s possible just sit tiptoes onto the heels uh this we just use our shoulders a lot so let’s do all the shoulder forms right now and then asha you’ll take over so just what i noticed i was watching in the um big brother i was watching the big brother right and big brother spoke to me he said hey you missed something. People’s heels, if you remember, are going apart when we drop the feet. So the heels shouldn’t go out like this and we’re not sitting down in between our heels. That’s hard to do, right? So the most important thing is before we start the heels connect. See that? They connect and then we sit back and this is really uncomfortable for some. They’re trying to sit, they’re trying to push the heels in between the sit bones. Now from that motion you’re trying to a pose flex the ankle so what i mean by flex the ankle is this motion so when you’re sitting onto your heels you’re pulling your ankle in towards the top of your foot or the top of your leg so that it activates all the muscles around the ankle joint complex so it’s a movement that looks like this but you are but you’re sitting so the heels are together you lower down the ankles are pulling and that’s what prevents some compression. Okay now remember if you have compression come on up for a second if you have compression do we have a prop? Did you bring? Also something you can do at home just initially to get used to it. You know we didn’t bring. You can roll up the towel remember that and the towels can go underneath your ankle. It’s okay Asha, Don’t unwrap that. No, it’s gonna just be a hassle You can roll up the towel and you can put it here if you’re practicing at home and that prevents the compression But as we sit and do this if it feels to be too much for you You can always just swap around and sit cross-legged like this if it’s better for you Okay, so you don’t have to persevere because this one that we’re doing with the ankles it takes more time to do this and not feel like What the fuck are these people talking about? That vibe like what’s going on here? This is really intense that it’s very good for the ankles and as we get older the ankles should be stronger It’s just the general rule of thumb

Asia Shcherbakova 34:39 By the way just one word this also connects to being able to really comfortably extend the ankle when we do lunges Right because I see a lot of ankles which are kind of like this See and we want the ankle to be really extended and this connects

Patrick Oancia 34:56 So another point that relates to what Ash is talking about. In some of the other ignition practices, we’re also going to the tiptoes here and doing movements like this. And when we’re down on the ground, we’re extending the ankles, sometimes flexing. So we’re moving a lot, mobilizing the ankles all the time. That makes sense? So when we sit onto the ankles, that adds a completely different dynamic altogether because the weight of the body is down. That means there’s two choices: be passive and compression, or be active, reduce compression. When we activate anything, the joint complex becomes stable. Activate, joint complex becomes stable, blood circulation improves. General rule of thumb: remember active shoulders down, spread fingers, activate the feet away from each other, it all transfers to this, if that makes sense. So go ahead if you can get the heels in as close to each other as possible, then sit onto the heels, flex the ankles and sit back. The tops of the feet are pressing forward, shoulders draw down first, move the arms away from each other like this. We’re going to take the left arm down first. Without any momentum we’re just going to Cross the arms. We’re not moving the upper torso here. We’re just taking the arms away. Cross the arms. And we’re trying to reach. We’re trying to reach this arm that way. And reach this arm that way. As much as they can reach without any momentum. Until they can’t go anymore. And when they stop. Just connect. Gently connect. And once I connect, bend the elbows a little bit like this. You see? And then start to pull the elbows away from each other. And then as we pull the elbows away from each other. You can lift. and the sternum lifts and you draw the shoulders down try to lift the elbows a little bit higher now continue to draw the shoulders down continue to try to pull the arms away from each other continue to flex the ankles move through the back of the neck continue to draw the shoulders down to the hips float through the rib cage move through the neck and then retract release the shoulders continue to draw down we come down to here we don’t just let the arms go once again move the right arm to the right the left arm to the left and then we swim you remember that right we’re swimming like there’s a kind of we’re in in water and we’re swimming out and we’re mobilizing the spine as we do that we’re still hanging back as you can see we’re not upright and we come out to here continue to flex the ankles or it’s going to be a bugger right arm goes down reach the right arm under, the left arm goes over without any momentum again we’re trying to move the arms away from each other to the point that they can’t move, connect, pull apart, as we’re pulling the shoulders draw down. So there’s two movements the arms want to pull away and the shoulders want to draw down as we lift the elbows up against those resistance movements. So the elbows move forward and up as the shoulders draw down down and the fingertips spread and the sternum lifts upright you can try to move the elbows a little bit further out and lift the shoulders higher move the fingertips a little bit draw the shoulders down arms continue to press away from each other and then retract flex hug swim One little break, come up, flex the ankles, sit onto the heels. And then you can move a little bit from side to side like this. It gets better with time, this thing, with the ankles. Lean forward, heels come together again or sit cross-legged, it doesn’t matter. The next one you can sit cross-legged if you like. Sit onto the top of the heels, hang back. The left arm comes up, shoulder opens, see, rather than in, it opens. And then this goes here to the back of the head. right arm comes out shoulder opens see that this comes up and you can connect so see the shoulders are not collapsed they’re open we’re in our flexion these arms connect to the back of the head the head pushes back the arms press into the head like this then we draw the shoulders down and then we lift the sternum directly upright and we can move through the rib cage float through the chest, opposing. Head opposes the arms, arms oppose the head. As we lift the sternum upright, the shoulders continually draw down. And then we’re back. Back, release, open, release, open, Forward. Open. Potassium. Back. Sweet potato. I’ll bring some next day. It’s gonna be an ongoing thing, Matthew. Never gonna leave you alone. Otama. Otama is the way I’m speaking Japanese. Head and arm press against each other. lift the chest taught for 20 years in japanese i just want to start speaking japanese all the time shoulders draw down float through the rib cage opposing the shoulders continue to draw down the head presses back at the same time the arms press forward the hands stay open and you with that lock you can mobilize the rib cage you can see that continue to flex your ankles too if possible you’re opposing right the head opposes the movement of the arms sarah gomez be careful and then flex the upper spine hang back and then look the the the left arm can open and go out first right see that it opens the side then the right arm can open and go out like this and move the neck a little bit and then come back up and then lower the arms down and slowly ah tabernak tabernak Carly’s sit up onto the heel and then move a little bit side to side here too because the ankles were quite you know compressed there for a while for some people okay asha you want to take over okay oh this is from b-sit yes that’s dead so you just take it all this seated right okay okay so let’s

Asia Shcherbakova 42:22 sit with the legs in front hands on the knees so first feet stay on the floor we lean back elbow straight just hang from your knees really feel like you’re hanging from your knees shoulders drawn down then lean a little bit forward feet come off the floor push the balls of the feet make sure that the ankles are extended release the hands and then bring the elbows under the shoulders slowly lower and extend the knees push the balls of the feet chest up and then slowly lower the feet down on the floor right hand right knee left hand left knee hold lean back feet come off the floor push the balls of the feet release the hands elbows down under the shoulders Extend the knees, push the balls of the feet, chest up. And slowly bring the feet on the floor. Left hand, left knee. Right hand, right knee. Come up for a moment. Lean back, extend the elbow. Tilt. Push the balls of the feet, really extend the ankles. Release the hands. push forward and either stay here or try to extend the legs only to the point where you feel comfortable. Keep extending the ankles or you can just stay here, balance. Lower the elbows down. One more time extend the knees, chest up and slowly lower the feet. Okay, now we are going to do the leg raises. So lie on your back, bring the arms away from the hips, V-shape, bend the knees to the chest and just roll to the side a little bit and really flatten the lower back. Spread the fingers and draw the shoulders down. extend the legs above your hips, extend the ankles, push the ball of the feet. If you feel your hamstrings are tight here, you can keep the knees lightly bent, but make sure that the legs are very active. So push the balls of the feet, extend the ankles. Draw the shoulders down, and then we will slowly lower the legs to about 10 or 30 degrees. The movement is away and down, as if somebody’s pulling on your legs and then return the legs above the hips. You can also bend your knees whenever you feel tired. So extend the legs and slowly lower as if you’re drawing a half circle with your feet. Keep drawing the shoulders down and then extend and back to above the hips. We’ll do three more repetitions but you can skip if you feel tired. Slowly lower the legs to about 10 or 30 degrees or even just one degree if you are tired draw the shoulders down is if you’re lifting something with the top of your feet return the legs back to above the hips two more times or skip if you are tired slowly down keep extending the ankles push the balls of the feet the lower back is flat on the floor and then away and back above the hips and the last one push the balls of the feet bring the legs a little bit lower natural breathing and then return to back to hip width apart and bend your knees to the chest hold your knees and just roll from side to side to release any tension okay and then lift your head and look forward in between your legs push the palms forward extend the legs kind of up and as you continue looking forward sort of between your legs and you round the upper spine start lowering your legs keep rounding the spine and you’re looking for this point where you will kind of come up and then bend the knees and hands on to the knees for some people it won’t happen for biomechanical reasons but come up at the same point remember um to bring the heels up the rest okay a lot to remember and now one more time hands on the heels a little apart rather than bring together lean back and when you’re lowering down what sorry

Patrick Oancia 47:22 doesn’t have to go so much okay try to keep this like open so imagine you’re tiptoeing on the ground

Asia Shcherbakova 47:30 push the balls of the feet yeah this is better so extend the elbow here we are hanging exactly exactly and then elbows and forearms down one more time you can imagine you’re tiptoeing on the this right and then let’s cross the legs right leg over and cross in the middle and ankles 90 degrees that’s nice because slowly lower the legs and that’s another thing we’re not talking about that we love to tell people to spread the check your legs maybe the knees are high so good it’s so positive to spread the toes and the knees are not too much away from each other so make sure that the heels and the knees are in the same position.

Patrick Oancia 48:12

• Yeah, we’re doing this, is that the…

Asia Shcherbakova 48:15

• Yeah, that’s the square. - Okay, got it, yeah.

Patrick Oancia 48:16 You remember what we talked about before, that weird, the position of the leg, exactly.

Speaker 4 48:20 So basically you wanna feel it here in the hips when you’re pressing forward like that. I’m sorry, didn’t mean to smack you there.

Asia Shcherbakova 48:25

• And the left shin is kind of perpendicular to the midline. So everybody’s left shin will be perpendicular to the midline and the right shin is kind of a little.

Speaker 4 48:33

• And even like this.

Asia Shcherbakova 48:34

• So hands forward.

Speaker 4 48:35

• Like this.

Asia Shcherbakova 48:36 And first we lean back. Create this round space in front of you.

Speaker 4 48:40 Like that’s the position.

Asia Shcherbakova 48:41 And first with the edges of the feet. Really press forward.

Speaker 4 48:43 Like this position like this.

Asia Shcherbakova 48:44 That’s square more or less. Do this movement a few times. Feel like as you press, it pushes your pelvis back. You should really feel this movement. So draw the shoulders down. Spread the fingers. Keep pressing the edges of the feet forward.

Speaker 4 48:56 So you can try to push the heel rather than the outside of the foot.

Asia Shcherbakova 48:57 And then start rolling forward rounding the spine as you continue to press the edges of the feet forward. Relax the neck. draw the shoulders down and wiggle the ribcage from side to side. So your neck is completely relaxed, the legs are actively pressing forward and you’re moving the ribcage from side to side trying to release all tension in your upper and lower back. Continue to press the edges of the feet. And then from here we start to extend the spine. From the lower back and up, find a completely

Speaker 4 49:35

• Not forever, you want the foot to go down and then more or less square.

Asia Shcherbakova 49:41 Parallels in a perfect world when the hips open enough. Then they become like this. - And then you’re supporting your pelvis. - Let’s see. - And you really don’t want to— - No, no, look at me. - Keep rounding the spine here. We’re trying to find a completely open chest. And continue to press forward with the edges of your fingers. - Go ahead. - And let’s try to move the ribcage Just a little bit more trying to find a completely straight spine.

Speaker 4 50:06 Exactly. And then you can leave with the heels.

Asia Shcherbakova 50:08 Okay. And then to exit, first around the spine one more time.

Speaker 4 50:12 If you can leave with the heels and these movements.

Asia Shcherbakova 50:14 And your feet are pressing into the floor. So press more with the edges of your feet. Let your legs push your pelvis back. So you start leaning back. Arms come forward to counterbalance.

Speaker 4 50:24 This is the strength. And then the ankles become strong.

Asia Shcherbakova 50:26 You continue to lean back. Then legs come over the floor. Exactly. Exactly. - And we balance here with a round space in front of us. Forearms down.

Speaker 4 50:34

• Fucking France, all right.

Asia Shcherbakova 50:36

• Extend the knees, push the balls of the feet.

Speaker 4 50:38

• C’est bien.

Asia Shcherbakova 50:39

• Then cross the legs the opposite way. So the left shin is over, ankles 90, knees 90. Push the balls of the feet and slowly lower the legs.

Patrick Oancia 50:49

• Simple cross now, is it?

Asia Shcherbakova 50:51

• No, it’s the other side of this cross. Come up, arms come forward, lean back. So let the pelvis fall back around space in front of you. Edges of the feet are pressing forward, shoulders down. And then roll in, rounding the spine. Keep pressing the edges of the feet. Feel how the movement of the feet is resisting the rolling in movement. Relax the neck and move the ribcage and the spine from side to side. Completely relax the neck, but the legs are very active. Wiggle the ribcage. Keep activating the legs. And then begin to extend the spine. Find a completely straight spine from the lower back to the back of the neck. The chest is open. So your lower back, your chest, everything is completely flat and straight. Keep pressing the edges of the feet.

Speaker 4 51:55 With the chest, Ivan.

Patrick Oancia 51:57 Lead with the chest.

Asia Shcherbakova 51:59 Drawing the shoulders down.

Patrick Oancia 52:00 But don’t push it forward, just lift up. Lead with the chest vertically upward. Exactly. But don’t lift the head.

Asia Shcherbakova 52:05 So the neck stays in line with the rest of the spine. Wiggle the ribcage a little bit. So if you’re leaning back, you are using your hands to support your weight. And also you’re wiggling the spine, trying to just feel better. What it feels like to have your spine straight and the pelvis and the ribcage stacked. And then around the spine one more time. and arms come forward the legs legs press a little bit more so that we can start leaning back so arms forward legs become light come off the floor forearms down elbows under the shoulders extend the legs and chest up now cross the legs again now ankles are crossed and bring the legs down so right leg over ankles are crossed and we just come into this kind of comfortable seated position so the leg position is slightly different here one more time arms forward to lean back around here it’s not as easy to press so the legs are closer to you but still try to keep even the heels closer to pubis if you can

Patrick Oancia 53:14 relax and this you don’t have to flex the ankles you don’t have to keep the legs

Asia Shcherbakova 53:18 active move the spine from side to side and as you move the spine from side to

Speaker 4 53:24 side extend this one this fine you can even go like a little bit more even more back this is just like this just like that but the heels are leaving push with the heels

Asia Shcherbakova 53:34 you can even touch your lower back try to find this completely straight position hands are just touching the floor

Speaker 4 53:39 C’est un peu plus comme ça.

Asia Shcherbakova 53:42 Pas comme ça, mais plus comme ça. Tente de bouger votre tête de l’autre de votre pelvue. Tente de bouger votre tête de l’autre. Donc, bouger votre tête de l’autre. Ça garde les pieds actifs. Ne laissez les pieds juste collater. Les pieds sont actuellement pressés sur le boulot. Le back du nez est en ligne avec le reste du spain. C’est parfait. Vous devriez sentir ça quand on fait ça aussi. Okay, so as we wiggle the spine from side to side, we round the spine, relax the neck, and as the legs press forward, we start leaning back, arms come forward to counterbalance, legs come off the floor, balance, forearms down, extend the knees, chest up. And let’s cross the legs the opposite way. Left leg over, cross the ankles. So left leg over, come up. Once again, just comfortable seated position, cross-legged. Arms come forward. One second.

Patrick Oancia 54:42 This one, the ankles don’t need to be flexed. The ankles can be a little bit more forward like this.

Speaker 2 54:46 But I was helping many people still imagine that the heels are pushing. So it’s not the outside of the foot or the front of the foot that pushes, but the heel is what’s connected and pushing forward.

Asia Shcherbakova 55:00 Yeah, so the legs will be pressing here as well. So arms forward, lean back. Try to press whatever you can press into the floor, and then roll in, rounding the spine, roll forward. Legs remain active. Wiggle the spine from side to side. And then extend the spine. Again, everybody finds their straight spine position. The pelvis and the ribcage are stacked. The chest is open. legs active, hands just gently touching the floor and we move the spine from side to side. Trying to extend the spine as much as possible. Now make sure that you are not back arching here, you really want to find the straight spine and then rounding the spine one more time. Lean back, arms come forward, legs come off the floor, we come to balance and then extend the legs, chest up. Let’s bring the legs a little bit wider than hip width apart. Make sure that the ankles are extended, push the balls of the feet like tiptoes, slowly lower the leg stand. Here make sure that the feet are not to the side like this the top of the feet is looking up left hand goes forward a right hand goes forward come sit for a moment as you push the balls of the feet first lean back again create the round space in front of your stomach and then as you keep the legs active start roll in rounding the spine relax the neck, wiggle the spine from side to side, keep extending the knees, extending the ankles, and push the balls of the feet. The legs remain active. And wiggle the spine from side to side. You can turn from the hip and rotate in. Exactly. As you move the ribcage, feel how it relaxes the muscles in your back. And then from here, focus on the lower back and begin to extend the spine. from the lower back and up. Now here everybody’s angle will be different. Maybe you will be leaning a little bit forward.

Speaker 4 57:13 Maybe you will have to lean all the way back. In this case, let’s go back and use the hands to support the pelvis.

Asia Shcherbakova 57:21 You are assisting this movement of the pelvis because eventually we want the pelvis to come more and more forward. So you’re using your hands to help this movement. I want you to really feel that. you press the hands and this helps your pelvis right because the gravity is working against so shoulders down and you will call this my borschtis side. The movement is in the hip and the hip turns the torso in but this stays out. Keep the legs active, don’t just forget about your legs, the legs remain very active. Round the spine and begin to lean back. So you lean back, arms come forward, and then you turn the legs in as you push them forward, and as you press the calves down, adding that helps you to understand a little bit of the movement of pushing the feet forward.

Speaker 4 58:13 It’s not necessary all the time, it’s just an added sensory thing to help this understanding of the tiptoeing while sitting.

Asia Shcherbakova 58:20 Slowly, slowly, slowly, slowly. One more time, confirm, toes touching some space between your heels. So we don’t want the legs to point out, we want the top of the foot to look up.

Speaker 4 58:34 Right hand, far forward. Left hand, far forward. Turn the jam. Pousse.

Asia Shcherbakova 58:45 Turn the jam out and pousse. Round space, shoulders down, roll in, rounding the spine. So one more time, knees extended, ankles extended, keep the legs active. Relax the neck, shoulders down and moving the ribcage from side to side. Micro movements with the ribcage. Completely relax the neck, hands gently touch the floor, legs active. And then as we wiggle the ribcage, continuing to do this wiggling motion, we try to extend the spine. And again, finding your completely flat upper body. And if you’re 90 degrees or more, then the hands will be behind you and you’re helping yourself, helping your pelvis to continue engaged. So these muscles here, the crease of your thigh are really working. You don’t want to just let them drop, activate. And the legs are active, chest is open, the neck is relaxed and the head is kind of in line with your ribcage, legs remain active. Patrick, how is for time? It is 14:21. Which is? 2:21. Okay. Okay. Okay. So let’s round the spine, chin in, relax the neck, arms come forward. We’ll lean back, arms forward, and let the legs come off. The floor forms and let’s cross the legs come up. Assimilation, assimilation and we’ll do some more forms. You can do more forms. Okay so let’s do more forms because we have time. So we’re going to do z-lunge one more time. We didn’t do z-lunge Yeah so the z-lunge is this thing right we are gonna try to do it really fast so that we don’t spend so much time in it so let’s first come on to the hands and knees like this then the right foot will come in between your hands and then the left leg on the tiptoe back so first lift your knee and then lower the back knee and the back top of the foot and confirm that the front knee is above the toe and think about your pelvis you want to keep the pelvis looking forward so from here we will pull the legs in lift upper body right arm on the knee left hand on the hip make sure that the pelvis is looking forward and you are pulling the legs in legs very very active lean a bit forward wiggle the spine from side to side keep shoulders down okay and then let’s bring the hands onto the floor back foot on the tiptoe bring the right hand back sorry right leg back and then bring the left leg forward so we change the legs back knee down front of the foot down the front knee is above the toe now Yeah, the back foot is pressing into the floor, so there’s almost no weight in your right knee. Also feel like when you’re doing this movement, as you press into the floor, you should really feel like it’s actually…

Speaker 4 01:02:24 So even though it presses, you can rotate the thigh in and press.

Asia Shcherbakova 01:02:28 So pull the legs in.

Speaker 4 01:02:29 So press to the inner edge of the top of the foot.

Asia Shcherbakova 01:02:31 I want you to really understand this movement, right? We’re pulling the legs in. It’s awkward, right? But you can do that to stabilize. So pull the legs in, lift your upper body. Left arm on the knee, right arm on the knee. the hip lean forward make sure you’re not open to the side like this the pelvis and the shoulders are looking forward down forward down back pull the back foot is pressing into the hips become active yeah yes and then once the hips become active draw this hip like that and then midline bring the just front knee onto the floor that’s it beautiful so front knee onto the floor

Patrick Oancia 01:03:07 left hip onto the floor okay left hip onto the floor take one break what one break for a second i just wanted to explain i helped many people to understand this movement right turning the leg in

Speaker 2 01:03:22 right remember i was helping many people doing this we’re doing the same movement in this okay but this way instead that makes sense so so the leg turns in and with the top of the foot is

Patrick Oancia 01:03:35 pressing down as we pull forward it’s strange but try that one on the next side yes yeah okay go

Asia Shcherbakova 01:03:43 ahead yeah okay so we’re still in this weird position right so look what we’re going to do is that first really extend your back leg activate it extend the knee extend the ankle and then we will bring this leg very active forward right we balance like this we bring the legs forward we suspend right right leg bring it like this on the floor yes kind of like close to your butt and then extend the left leg lean to the right and bring the straight leg back and come into this position yeah and then back foot onto the tiptoe and bring the front leg into the lunge we do this sometimes in some online lessons okay and then back knee down front of the foot down see we are in the z lunge again so come confirm the position of the front leg a knee top of the foot yeah the back foot is pressing into the floor coming up pull the legs in right arm on the knee left hand onto the hip lean forward wiggle the ribcage from side to side make sure that the legs are pulling in and and the pelvis is looking forward. And the back foot keeps pressing into the floor. Hands onto the floor. Back foot on the tiptoe. And we will do this transition in the opposite direction. - The back foot, see, yours like this.

Speaker 4 01:05:12 Straighten it up that way.

Asia Shcherbakova 01:05:13

• Bring your knee and shin onto the floor. - Pull together. - Right hip onto the floor. - Oh, let’s go down, let’s go. - Yeah, so the back leg extended, forward. - Yeah. bend both knees suspend bring the left leg down a right leg extended back then come to a position where your pelvis is parallel to the floor yeah back foot on the tiptoe front foot in Z-Lunge really find the position and then knee down back knee down front of the foot down okay pull the legs in back foot is pressing to the floor come up z lunge left arm on the knee right hand onto the hip pull the legs in don’t open the right hip the pelvis the shoulders everything is looking forward wiggle the spine from side to side okay and arms forward top of the foot back top of the foot up bring the front chin on the floor left hip down back leg forward suspend perfect we didn’t do any

Speaker 2 01:06:31 squats maybe we just squat we did squat the white squat did we do oh we didn’t do yeah let’s do that yes so should you just stay here for just one minute like this

Asia Shcherbakova 01:06:49 you fucking tabernak. Okay let’s come to standing. Let’s come to standing. Stand up. Okay so bring the legs wider than he puts apart and here depending on the condition of your knees if you feel like you might have any compression in the knees the feet can be open slightly. If your knees are completely fine you can keep the feet parallel. Parallel feet, more pressure to the knee,

Patrick Oancia 01:07:24 that makes sense. So that means the hips have to be more open. If the hips aren’t open and the feet are parallel the pressure goes to the knee it hurts the knee. If the hips are open the feet can stay parallel you can play with the dynamic that makes sense if the hips aren’t open the feet should be further away from each other like this when we go down yes and you really decided based on whether

Asia Shcherbakova 01:07:51 or not you feel compression on the side of your knee just really watch your knees or rather feel

Speaker 2 01:07:58 the sensation of compression there should be no there’s compression here turn the feet out yeah

Asia Shcherbakova 01:08:03 or you can try with like this if you’d like today yeah okay so bring the arms forward offset the balance hinge in the hips bring the pelvis back and begin to bend the knees until you can bring either the elbows between the knees or maybe it’s just going to be the arms like this but you want to press whatever you can keep the knees kind of above the feet and then from here we try to lower the hips while keeping the chest completely open and the spine straight right so we don’t want to collapse the chest and continue to press so the knees and the elbows or the knees and the arms are pressing into each other so press resist shoulders down if you can lower you lower if not you just stay higher the goal is to keep straightening the spine okay and then just arms forward and let’s come up okay stand with the feet hips width apart

Speaker 2 01:09:15 release the arms down We’re going to try the first part, more fluid, less time in each form.

Patrick Oancia 01:09:43 We’re going to go through all the initial standing and a couple of the seated.

Speaker 2 01:09:49 More fluid, less instruction. Let’s try. Spread through the fingers, draw the shoulders down. Heels grip in. Arms come forward, hinge. Weight goes to the heels. Arms extend. Spread through the fingers. Shoulders draw down towards the hips. Shift the weight over to the left leg. The right leg goes back about 60 centimeters. Activate the legs away from each other and lift the sternum in a circunlinear motion forward up. The right back foot is flat, right? Flex the up, or sorry, release the spine, turn the weight to that left foot, bring the right foot forward, back to the squat. Keep the arms open, shift the weight to the right foot, take that left foot back about 60 70 centimeters, keep the right knee bent over the top of the right heel, actively pull the feet away from each other midline spread through the fingers sternum moves forward in a circle motion up arching the upper back release hands come down to the waist shift the weight to the right foot step forward as you straighten the knees draw the shoulders down spread through the fingers extend the back of the neck if the breath becomes deep reduce the in the dynamic or stop if you have to breathe deeply shift the weight to the heels weight comes to the right leg take the left leg long back as far as you want to. Arms come forward, open through the chest, activate the legs away from each other, shoulders draw down, move the sternum, circumlinear motion forward up, keep the hips low when you do this, don’t lift the hips, separate the movement of the upper chest from the legs, come back to center, keep the arms open, out to the side now, turn the sternum in towards the inside of that right thigh. Spread through the fingers, draw the shoulders down, come back to center. Place the hands down to the waist, shift the weight to the right leg, step the left foot forward, controlled motion, straight legs up. hinge heels way to the left leg right leg goes back arms go forward you can open the chest if you want a bit open the arms a little bit if you want here midline activate the legs away from each other the sternum moves in a circumb linear motion forward up shoulders draw down into that movement spread through the fingers activate the legs away from each other release the lift of the chest Open the arms out to the side, spread through the fingers, draw the shoulders down, turn the chest in towards the inside of that left leg. Turn the chest back to center, release the arms down, lean the weight to that left leg, step forward, standing upright, shoulders draw down. If you come a little bit wider than hips width, pull the legs apart, raise the arms out, spread through the fingers, draw the shoulders down. Let’s align the movement with the feet. left toe out right heel back activate the legs away from each other the left hip draws back come down just a bit draw the shoulders down spread through the fingers the neck is neutral activate the legs away from each other lift back upright turn the left foot in the right heel and come back to center spread through the fingers hands come down once Let’s do this between. Activate the legs away from each other, hands come to the waist. Upper spine flex. Actively pulling the legs away from each other, go into our flexion forward. Bend the knees if you need to, remember it’s easier and you can focus more on the upper spine flexion. Upper spine stays flexed, shoulders continue to draw down. draw the shoulders down with the feet pulling away from each other now straight into the spine spinal flexion to spinal extension the spine goes straight the shoulders drop back down towards the hips your knees are either bent or straight whatever flex the upper spine again draw the shoulders down towards the hips roll up as you roll up you can straighten the legs if they were bent upper spine flexes flexes flexes flexes flexes and then straight arms go down draw the shoulders down once spread through the fingers. Arms come up, palms face out, shoulders draw down, spread the fingers. Left heel drops back, right heel goes forward. Activate the legs away from each other here, spread through the fingers. The shoulders draw down, the right hip draws back, upper trosa just follows. You can see that right? And then the shoulders continue to draw down, the neck stays neutral. You can move through the neck here a little bit, float through the rib cage. Don’t move the hips here just flow through the ribcage. Spread the fingers. Activate the legs away from each other as you lift up. Release the arm or actually keep the arms up. We’re going to turn the right foot in the left heel and come back to center. Hands come down to the waist. Relax the arms down. Hips width. hands come to the waist. Hinge into the heels, shift the weight to the left foot, the right foot goes back 60, 70, 70 meters. Check the midline, right? So here we are between both legs, you can look back. How is it? Outside edges of the feet are parallel to each other, the sternum and chest are in line with the pubis, hands can just stay onto the hips. Now the flexion extension movement is governed by the activity of the legs. So the legs stabilize and then it allows you to mobilize the spine, if that makes sense. With the shoulders the drawing down too, then you mobilize more. Hands stay to the waist, legs continue to draw away from each other here, upper spine flexion and then you don’t have to go so far down just a little bit, draw the shoulders down towards the hips continue to pull the legs away from each other the head should be between both legs and as the legs pull away you go from flexion to extension spinal flexion to extension actively pull the legs away from each other and then you go from extension to flexion roll up transfer the weight to the left foot step the right foot forward you don’t normally don’t don’t do this with the hands you would just be doing this just guiding when you step back your feet again are parallel so no matter where you were they’re always going to land back in the parallel position you’re never going to really adjust here if possible hinge weight goes to the right foot hand stays to the waist step that left foot back 60 to 70 centimeters check the midline here right see there’s a line in the middle of the floor there the head the chest the sternum don’t open the left hip too much the left hip stays in activate the legs away from each other with the hands onto the waist keep the legs active here the flexion goes to the inside of the legs so the head

Speaker 6 01:18:12 and the flexion meets the inner line of the leg flexion shoulders continue to draw down

Speaker 2 01:18:21 upper spine flexes. Don’t mobilize the neck on its own, the neck just follows the spine and then straighten through the spine. Continue to activate the legs as your spine goes straight. Continue to draw the shoulders down as your spine goes straight, but don’t lift the chest here, just only straighten the spine. flexion again your spine flexes and as you roll up you can bend the knee and we can try a little bit more of a fluid exit bend the knee and then your spine can go straight as we come back up

Speaker 5 01:19:03 come on down

Speaker 2 01:19:17 Hang on to the knees. Tilt. Lead with the right shoulder. The shoulders what moves. Okay, so the shoulders were what initiates the movement. The shoulder initiates the movement. Balls of the feet extend forward. Lift the legs, lift the chest. Open the arms out. Flex the upper spine. lower down balls of the feet press up arms come away from the side of the body

Patrick Oancia 01:19:47 the shoulders draw down towards the hips spread through the fingers balls of the feet press up now press the feet up and forward maybe only 10 degrees press the feet forward and back up 10 degrees continue to draw the shoulders down press the feet up and forward 10 degrees only shoulders draw down press the feet forward and up continue to draw the shoulders down one more time press the feet up and forward press the feet forward and up bend the knees hands come onto the knees hang on and you can rock back and forth a little bit more to uh maybe just feel good i don’t know

Speaker 2 01:20:39 lift the head up look forward bring the arms forward extend the legs forward find your way up ah no momentum find your way up if you can cross the legs right ankle over the left heels coming close to the pubis, lower the feet. You’re still hanging back here as you can see, right? Your arms are leaning forward, so this is offsetting weight over center of gravity. Press the feet into the floor. Oh Jesus, my potassium thing’s happening right now, my left calf. Press the feet to the floor, flex the upper spine. Continue to flex the upper spine, press the feet to the floor, draw the shoulders down towards the hips. Remember the motion leads from the heels. I told many people about this. So lead from the heels, flexion, flexion, flexion. Now spinal flexion to spinal extension. It’s just like an unpacking. It’s a very smooth fluid movement like this sort of like it shouldn’t be invasive. The flexion to extension should feel really good when you come up with this. You can keep your hands down or you can bring them up. It’s okay. And then you can flex again. Remember rolling back we’re again we’re finding here without any momentum as we roll back We’re just finding that tipping point where we find the balance and we find ourself again in our suspension here it is right Well add one here. That’s normally a little bit further along in our form practice extend the feet forward Bring the hands behind the head interlock the fingers And hold it Now cross the other ankle in. Come back up, find your balance. Heels coming close. Lower. Press the feet. Upper spine flexion. Go forward. Oppose the movement forward, right? So the feet are pressing to the floor as your spine flexes away as the shoulders draw down. And then we go from our flexion to extension. Fluid flexion to extension.

Patrick Oancia 01:22:59 See some stuff is intense and then it can be and then other stuff has a mechanism to release the tension. So when you’re up like this in your spinal extension, you can move with micro movements with the neck.

Speaker 2 01:23:15 You can float the ribcage above the pelvis because the pelvis is locked you have no way of moving it so we’re working with fixing separating isolating principle here and These things all kind of recalibrate Where you’re at with how you feel and it’s a good indicator of where you should go next if that makes sense Now push the feet to the floor flex back When you’re flexing back to the point you can find your tipping point you balance again Let’s throw that elements form in Elbows really go out here. Come, hook, hang.

Patrick Oancia 01:24:01 Cramps.

Speaker 2 01:24:04 Cramps. It’s fucking Matthew’s fault. It’s Matthew’s fault. I was just thinking about it all week. Matthew and his… Yeah, Matthew and his goddamn dietary deficiencies. They’re spreading like a disease to everyone. Okay, we sit here. Yes, Asha, she’s going, Patrick, next form, please. Come on up, hug like this. It’s Asha’s fault. Actually, let’s do this. When you’re hugging like this once, just kind of allow your shoulders to come out of their sockets and just move the pelvis gently forward and backward like giving your your spine a little bit of a kind of nice mobilization release thing here in between okay let go come back find your balance Balls of the feet press forward. Remember I told many people, turn the thighs inward. Right? Lower the legs. Look at this. We’re here. Right arm comes forward. Left arm comes forward. And when you come forward, you’re still flexing. Open the feet like you’re tiptoeing. Flexion. Now the back of the calves are pressing down as you flex. As the shoulders draw down, the balls of the feet press forward like there’s a surface below your feet. As you flex, you’re coming forward. Flexion, balls of the feet press forward. The back of the legs press down to the ground. The shoulders draw down towards the floor. I’m exaggerating the movement, but this is kind of what we’re trying to keep active here. Now we go from flexion to extension. When you go from flexion to extension, watch the feet don’t collapse like this. Continue to open the feet out. You’ll feel it to the outside of the legs, Like you’re tiptoeing to the floor from your flexion to extension like this and then flexion again Flexion tilt back with your legs straight You’re finding your balance your tipping point open lower the feet Turn again flexion from the thigh, turns in, upper spine flexion, shoulders draw down like you’re tucked. The shoulders continue to draw down and then you can mobilize the neck and you can mobilize the rib cage. See that? I come, I loosen it out a bit here. I’m continuing to press the feet forward, pressing the calves down as I oppose that movement of the flexion downward. And then from our flexion we go to extension and the extension again, it becomes fluid and quite open the feeling from flexion to extension. You might be leaning back a little bit more. You might be leaning more upright. Whatever it is, you’re trying to find the fluidity in the movement from flexion to extension. Continue to press the balls of the feet forward. Continue to roll the thighs in towards each other as you press the balls of the feet. Now flex the upper spine again. Tilt. Tilt.

Patrick Oancia 01:27:32 tilt, okay lay flat, lay the head down once, now from here what you want to do is you want to move the pelvis a little bit, move the legs a little bit, move the arms a little bit, kind of loosen up before we get into the tractioning, okay, loosen up a bit, you can move through the pelvis, move through the hips, okay, and when you’re ready, lift the head up and look toward me, lift the shoulders

Speaker 2 01:28:02 the ground and look toward me. Take the arms forward now and we’re going to mobilize the shoulders. As they go forward the spine becomes long. The back of the pelvis is anchored to the ground. That means the lower spine becomes a little bit longer. Press through the opposite leg as you turn from side to side. So if I turn to the right press through the left leg. As I turn to the left press through the right leg. As I turn to the right press through the left leg and left shoulder. As I turn through the right, press through the right leg and right shoulder, as I turn to the left, sorry, press through the right leg and right shoulder. As I turn to the right, press through the left arm and left leg. As I turn to back slowly with the chin in. When the back of the head reaches the ground, let your head

Patrick Oancia 01:29:06 go soft for a second, let the pelvis go soft. Sarah, you can bend the knees and if you got your thing to jam it under there, go for it. If you didn’t bring it, Asha, maybe stuff something underneath Sarah’s legs to help her with that. Go ahead and take your hand behind the head if you want and pull the chin a little bit in towards the chest so that stretch through the back of the neck. This should feel good. If it doesn’t feel good, you don’t have to do it. But if it feels good to pull the chin in towards your chest and stretch through the back of the neck, do that just to let the back of the head connect to the floor and traction the neck a

Speaker 2 01:29:45 bit. Now you should, having done this, feel a pull from the back of your sacrum to the back of your head your your spine should feel lightly tractioned remove the arms out to the side of the body now

Patrick Oancia 01:30:00 the arms can be either facing down or facing up it doesn’t really matter but move them away from the side of the body a little bit and now we’re going to turn our attention to the weight of the body so you feel that weight to the heels feel the weight to the back of the calves feel the weight to the back of the pelvis feel the weight to the back of the shoulders the back of the arms of the elbows, the back of the head. And as usually, we can just almost visualize or imagine that these heavy points of the body are gradually working their way toward, say, merging into the surface below us. It’s not some cosmic thing. It’s just a kind of feeling of weightlessness in the weight, if that makes sense. So as the weight becomes more comfortable, the weight becomes less obvious. And then the feeling should be maybe more of a suspension. Now again, if you feel a little bit spaced out or cosmic, take note of that for one, because it shouldn’t feel that way. We should just feel quite clear and quite neutral in this weightlessness but whatever comes up anyway cosmic or not just take note of whatever happens physically maybe anything that goes through your head remember what this feels like remember what the experience presents and you could possibly journal about that even and then as you move into the future doing these practices The insights should change. The breath here is just really neutral. There’s no deep breathing. The eyes can stay closed, but ideally you don’t check out. Stay conscious and aware that we’re here doing this exercise. If the eyes stay open, that’s also fine. Just pick a spot on the ceiling. And maybe just try to focus on that one spot. Thank you. So at this point, however you want to, just find your way over onto your belly, your stomach. So you’re facing down essentially. It doesn’t really matter how you get there, just find the most appropriate way to get there.

Speaker 6 01:34:25 Once you’re over on your stomach, the forehead can be down or the side of the face can be down, whatever’s more comfortable. The arms can be out to the side of the body. And again too, now that we’re facing downward, we can again check into the points of the body which are most connected to the floor, like the side of the face or the head, the front part of the shoulders, the chest, the back or front of the arms, depends on how how your arms are facing, the tops of the thighs and around the pelvis area to a certain extent, the tops of the knees and the tops of the feet. And once again, we’re trying to get sort of used to this weight first, which ideally should feel pretty good. And maybe it even goes into the feeling of weightlessness through this merging idea, right? There’s the surface below you, there’s your body, they may merge. And with that merging, it goes from weight to weightlessness, maybe. And again, before we were facing upward, now we’re facing downward. Okay, so what does it feel like facing downward here now? Any new ideas coming into your head? Any other thoughts? How do the sensations change? I mean, just all these things. You could take a mental note and just potentially journal that after. And just put it into that list of canonical experiences that come out of the practice and how that interrelates maybe with other shit that goes on in your life. I don’t know if ship is the right adjective but now okay

Patrick Oancia 01:36:40 and you can just lay there for a bit if you want to or you can come up we’re going to just take a short break and then we will be wrapping our session up with you we have a short presentation to give you against that wall there so we’re going to have a little projector presentation here we need a bit of time to set that up so you can go to the bathroom have a drink of water maybe in about 10 minutes we’ll start looking that way as comfortably as you’d like Asha, where are you? One thing I thought I was remembering.

Speaker 2 01:37:21 I remember one thing.

Speaker 4 01:37:24 There’s the other slide presentation which has, we didn’t put that, the other slide presentation which has the pictures of all Satoko doing the forums, right?

Patrick Oancia 01:37:31 You drop that into that PDF somewhere.

Speaker 5 01:37:35 Satoko doing the forums?

Patrick Oancia 01:37:36 The one you made for me, the one so it’s the one that you put on uh i hope you can access it i think you can get

Asia Shcherbakova 01:37:42 connected to wi-fi here can you yeah the wi-fi is over there okay start preparing the same okay Just… Dance.

Speaker 4 01:39:09 I think you sent it to me once in a message as well. I remember.

Asia Shcherbakova 01:39:18 I have it actually in my downloads. It was probably one the other. The Wi-Fi is not working. I’m gonna have to connect from my phone.

Patrick Oancia 01:40:20 I have it on my phone, I think.

Andrew PhotoGrapher 01:40:28 Do you want photos or videos of them?

Patrick Oancia 01:40:31 I don’t know. All we need to do, you know what we need to do? A group photo. So maybe we’ll do that before while we still have light. What do you reckon?

Andrew PhotoGrapher 01:40:40 If everyone sits up facing the window but not in the window light, it’s a nice, warm reflection. No, no, no. Even with all that clutter in the background, the lighting is still lovely. OK. We could do it with side lighting right by the heater.

Patrick Oancia 01:40:51 Which works better?

Andrew PhotoGrapher 01:40:54 You know what, the background’s better here, and the light’s still good.

Patrick Oancia 01:40:57 OK.

Andrew PhotoGrapher 01:40:57 While nice and fluffy.

Patrick Oancia 01:40:59 All right. OK, thanks.

Asia Shcherbakova 01:41:10 I think I had it on my—

Speaker 4 01:41:17 I need to test to see if we can get a connection.

Speaker 2 01:41:25 Will we be able to at least? Oh, yeah. Can we just test once just to see if we can get a connection?

Speaker 6 01:41:31 Can you open anything that’s not the presentation that we’re doing or maybe the one that we are doing? Can you open it? I just got it.

Patrick Oancia 01:41:45 Oh my god, where do you connect?

Asia Shcherbakova 01:41:47 Which slide? You want this one, the spring immersion. I mean, what do you want from it?

Patrick Oancia 01:41:51 Where do you connect…

Asia Shcherbakova 01:41:52 I think we should just show that presentation.

Patrick Oancia 01:41:55 Where do we connect everything? Oh no, no, no, no. Here, maybe.

Asia Shcherbakova 01:42:04 Patrick, let’s not do anything, because the slides, they just have text.

Speaker 4 01:42:08 No, no, no. It’s not this one, it’s here. I just want this. This one. Add that. Add that to the presentation.

Asia Shcherbakova 01:42:24 And where do you want to add that?

Patrick Oancia 01:42:29 Okay, I don’t know where we connect the HDMI. I

Speaker 4 01:43:05 Put it on the first slide. You insert it? Where does it go? I think it should go somewhere maybe after the teachers appear. Like where are the teachers? You can’t see it from here because your thing is too dark. The teachers are in the background. Maybe it’s in that one? No, don’t move the original slides. I can’t see, sorry.

Asia Shcherbakova 01:43:30 It’s just difficult to move it around. After which slide do you want to?

Speaker 4 01:43:34 Just a minute, please. I’m trying to find the picture of all the teachers. Where is it? Tokyo.

Asia Shcherbakova 01:43:41 Tokyo is the third slide.

Speaker 4 01:43:42 Okay, so it should be somewhere where it talks about the continuity.

Asia Shcherbakova 01:43:47 The platform. Maybe after this one.

Speaker 4 01:43:49 What is this? Right, this is perceptual. Yeah, okay, yes. That’s good. Is there our work? Okay, so let’s just start here. Can you go full screen now for a second? Full screen. - I’m trying full screen. Is it full screen?

Asia Shcherbakova 01:44:12

• I think like, well, I mean, is it?

Patrick Oancia 01:44:16

• There, there. What are you doing?

Asia Shcherbakova 01:44:19

• What do I press first? Start mirroring, what do you want to see?

Patrick Oancia 01:44:27

• Window or app? This is not full screen. What do you opened in here?

Asia Shcherbakova 01:44:32 What is this? - This is premium.

Speaker 4 01:44:34

• View.

Asia Shcherbakova 01:44:35

• No, this is Acrobat.

Speaker 4 01:44:36

• You should go full screen window.

Asia Shcherbakova 01:44:39

• Full screen tile?

Patrick Oancia 01:44:43

• Open it in preview. - Full screen mode, here. There.

Asia Shcherbakova 01:44:50

• And then maybe cancel or start mirroring.

Patrick Oancia 01:44:53

• Start mirroring. Why is that thing at the top there?

Asia Shcherbakova 01:44:58

• Maybe you would just click out.

Speaker 4 01:45:03

• Can’t see anything.

Asia Shcherbakova 01:45:05 I don’t know if we’re going to be able to even see anything.

Speaker 4 01:45:09 Full screen. What about over here? Does it work on this wall a little bit better?

Asia Shcherbakova 01:45:16 Maybe this is a bit better. Huh? Yeah. Shall I try the other app? Shall I try the other app? Yeah, maybe.

Speaker 4 01:45:26 Because this is stupid. Open it up in preview. Okay, let’s try to open it in preview. Should have been a white probably presentation if we go closer to better

Patrick Oancia 01:45:59 Okay

Asia Shcherbakova 01:46:01 Okay, it kind of works like this. And then that thing will disappear.

Patrick Oancia 01:46:05 Go back.

Asia Shcherbakova 01:46:08 Okay, I mean, it’s kind of possible to see. Yeah? Is it? Yeah. I’m going to move this a little bit to the side. I’m going to move it a little bit to the side like this. Okay.

Speaker 2 01:46:28 You have your thing? Okay.

Asia Shcherbakova 01:46:36 How you doing, just chilling? Just a moment of silence. No, I think that is fine. Just that, I think that is better, no?

Speaker 6 01:47:04 What?

Asia Shcherbakova 01:47:05 I mean, you can read it.

Patrick Oancia 01:47:24 Okay.

Asia Shcherbakova 01:47:25 Okay, and look, we really don’t have very much time. We need to be very concise.

Patrick Oancia 01:47:30 Are you plugged into the power?

Asia Shcherbakova 01:47:32 I know. Let me break it.

Patrick Oancia 01:47:36 Okay. Hey everybody, could we please get the final group photo together against this wall? Andrew’s going to take a group photo of us.

Asia Shcherbakova 01:48:33 Yep.

Patrick Oancia 01:48:40 A group photo. So Andrew, could you please direct us into how you’d like this to be? A little bit more over here.

Speaker 8 01:48:55 so

Patrick Oancia 01:49:11 pretty good so Andrew please uh like maybe i stand here I’m standing here. How is it looking in terms of the depth of field here? Should…

Andrew PhotoGrapher 01:49:22 It’s like a…

Patrick Oancia 01:49:39 How about the overall balance?

Andrew PhotoGrapher 01:49:42

• No question.

Patrick Oancia 01:50:12 Thank you very much. Thank you. Okay, I’ll see you later. Ah.

Asia Shcherbakova 01:50:33 Yeah, maybe sit.

Patrick Oancia 01:50:46 So thank you very much everybody for being with us the past seven weeks. It was an absolute pleasure. And we usually wrap up things that we do with a little bit of a retrospective about things that we’ve gone through. And we also have some other information for you to all contemplate. We’ll probably, we can’t see it as nicely as we could, probably put this slide deck up onto the platform as well later so everybody can listen to that again. So I think starting, these were the concepts that were covered throughout the course as many of you know through to segment five of the Primer course and in total we did seven sessions together over seven weeks and we practice about 18 forms uh maybe 20 with the two that i threw in today so just a couple of other ones yeah out of about so asha says out of about 80 but that’s 80 forms in foundation okay so foundation is one of the four modules in Baseworks and then there’s elements which has variations of the foundation forms and new forms. And then there’s strategy and integrate, which are completely different, a different level of programming, which you can maybe add another 140 to 200 forms and variations. It will give you context of how much we’ve been working on this in Tokyo in a second. So you can’t really see in the background here, but in this photo, you’ll see it better on the when you get home. Everybody here you see in this are all people that trained with us over the years as teachers. So there was a group of these, there’s a hundred, 120 in total, some of them aren’t there, 120 in total, but there are a group up in the top left corner of ten teachers that worked with me for about 13 years. So 13 years I worked with 10 people and we developed our schedule in Tokyo at our studio and as you’re going to see in a second we had thousands of classes together. But as you can see we did train over a half a million students at our studio in Tokyo from 2003 to 2024. We can say not a half a million students but there was an attendance of about a half a million in the studio. Baseworks is something that’s been in progress over 20 years of development and the classes that we had at our studio in Tokyo, which you’ll see in the next slide, were seven days per week from seven o’clock in the morning to 10 o’clock at night every day. And our challenge with that was to try to create a different structure, which is what we’re working with now after the pandemic. That stopped at the pandemic. The pandemic shut that down for us. Then we went on to new level programming.

Asia Shcherbakova 01:53:54 But also what makes Baseworks very unique is because there was the system where from 7 a.m. to 10 p.m. every day at any moment there is classes in the same system. How do you maintain consistency of that system across everybody, right? So these very unique aspects of Baseworks, the consistency, repetition, all these movement patterns, it evolved from the necessity to make sure everybody understands movement. Yeah.

Patrick Oancia 01:54:20 So the current approach that we have, which is the extension of what we just mentioned there, and this is something that Asha and I and Satoko, to a certain extent, and a handful of our other teachers have been collaborating on since 2020, is the practice platform itself, which we’ll talk about later, which was preceding the primer, because the practice platform was developed for our already established students. So there was thousands of students all over the world that wanted to continue their practice. So we created the practice platform for them. And the practice platform is extensive, much more so than what we did with Primer. But it was really only good for the people that practiced, for the practice with us for years. And we needed another entry point. So the Primer is our current entry point with its 10 segments over 79 lessons with all of the vocabulary that’s related to BaseWorks and has been available to this cohort throughout. The study group and study labs and practice sessions are a continuation of that. And the practice platform would be a little bit further down the road for people that want to continue beyond that. Yeah, go back once. So it’s like the bottom side. We’ve explained the nuts and bolts of BaseWorks, So you’ve kind of learned a lot about the preliminary basic aspects of the methodology. And so we now, it’s your choice to continue to practice it. And we’ve coordinated our schedules and the spaces to make that happen for now until June in combination with this.

Asia Shcherbakova 01:56:05 So you can think about your experience on the first day you tried BaseWorks and how maybe what am I doing kind of experience it was and how it is right now. So over seven sessions, you were able to more or less understand what the method is about.

Speaker 2 01:56:21 Yeah, you can go to the next slide and you can see that.

Asia Shcherbakova 01:56:22 Yeah, and in relation to Primer, the assignments for this course, for this study group, were the first five segments. Some of you have already started doing the later segments. Some of you haven’t. But the program essentially also includes…

Patrick Oancia 01:56:36 Can you get rid of this play thing here?

Asia Shcherbakova 01:56:38 What?

Patrick Oancia 01:56:38 The play.

Asia Shcherbakova 01:56:40 What? You want me to play?

Patrick Oancia 01:56:42 No, I don’t. I just want you to get rid of it.

Asia Shcherbakova 01:56:43 Remove it.

Patrick Oancia 01:56:44 Yeah. Oh no.

Asia Shcherbakova 01:56:45 No, see? It doesn’t work.

Patrick Oancia 01:56:46 Go to full screen.

Asia Shcherbakova 01:56:47 There was a bad idea. I’m going to do this again.

Patrick Oancia 01:56:52 Full screen in view window.

Asia Shcherbakova 01:56:55 Maybe I think slideshow.

Patrick Oancia 01:56:57 Yeah. Anyway, it doesn’t matter. OK, it’s gone. Just press the arrows.

Asia Shcherbakova 01:57:02 Yes. So the program also includes the remaining five segments. And the remaining five segments, they become more practice focused. So think about what we were doing up until now, is that we’re trying to understand what is it that we’re supposed to do when we hear certain instructions. And the rest of the primer is the online version. So there are five segments, ignition and assimilation, the other practices we do at the beginning and at the end. Then the concept of cycling, which is how to revisit what we’ve done before. What does it feel like? Why are we revisiting? Why we’re going through the same stuff over and over? What is the purpose? How to approach this? And then journaling as an approach to kind of noticing subtle changes in the experience and the independent practices, how to integrate the practice into your lifestyle, because obviously everybody has different needs, constraints and so on. So this is the rest of the course, but also there’s much more practice. So if before we were breaking things down, for the rest of the primer, it’s a focus on practice, but it is online program, right?

Patrick Oancia 01:58:09 Okay so the next slide, this is focusing on more on what we feel is very important from this point forward which was the cycling component. It’s not that the other parts of the primary course aren’t important but the cycling is where we really get into understanding what could be available to each and every one of you through the continuity of the practice and it’s important that we highlight the aspects of what we do as being in part linear and in part non-linear. And the non-linear aspects of the practice is what we’re really excited about. And one non-linear component of the platform was the practice revisit. You remember that practice revisit thing? So some people took advantage of that. Some people didn’t. It’s okay. We’re trying to encourage people to go completely towards the non-linear aspect of revisiting practice. So you had the revisit, the practice labs that we have probably about, we call them sets. So sets of forms that we practice. We have probably 40 or 50 created sets of forms. And the sets of forms can go anywhere between, say, 30 minutes and up to two hours. We did 18, 20 today, for example, and it lasted under an hour. The sets of forms can also be cycled depending on the approach to the practice. We’re trying to show a little bit here. This is also going to become available on your dashboard, hopefully by early next week. We’ve created a… How would you describe this, Asha?

Asia Shcherbakova 02:00:02 Yeah, so these images you will see them like in a few days on your dashboard, but this is a visualization of your primer progress. So everybody will be able to see their primer progress like this and these are actual pictures from two of you. I’m not gonna tell who this is, but some people they just do one lesson and then they go to the next one and they never come back. And then some people actually practice like this. They revisit and revisit and revisit.

Patrick Oancia 02:00:29 And this on your platform, the more you revisit, this will render again on your platform, and you’ll see just how much you’ve been cycling. And this just extends from the primer, right? This has nothing to do with the practice platform. That’s something completely different.

Asia Shcherbakova 02:00:48 Yes, yes, but specifically for the primer, we encourage you to move towards this because this is where you get more benefit from practice, but we also understand that people have different learning styles, different time constraints,

Patrick Oancia 02:01:01 so if your pattern looks like this, this is also completely fine. Next slide, both of these. You can see here it’s a little bit more about it, right? So we look at the practice as perpetual. So when many people enter a course and they or they do some sort of program, there’s a linear structure to the program. We have a linear structure in terms of 10 segments, 70 lessons, that it’s not meant to be linear in its nature, it’s meant to be regurgitated, revisited. The more you revisit the theoretical parts of the practice and the more you apply yourself to the practice lab elements of the practice, the more crystallized your unique experience will become. This visualizes how the data works in terms of how you approach it. It’s not that it’s it’s not that the more complicated this diagram looks, the better it is. It’s just the reality. The primer, you can look at this maybe in the structure also as being kind of linear. The primer is the introduction, which, you know, if you complete it within three months, it extends to 12, right? So you have till April. I think most of you have till April, I think, to finish it. Oh, there you go. So on your dashboard, it should tell you how long you have to finish it. If you can finish it within that period of time, it extends to 12 months, and you can repractice it. The study group, we completed already. The practice sessions are starting March 15th.

Asia Shcherbakova 02:02:43 I think 14th.

Patrick Oancia 02:02:45 14th. So the practice sessions start March 14th and go every Saturday, except for March 14th. March 14th is a Sunday. Other than that, they go every Saturday until the end of June. So that’s a mile end. And you’ll be able to book those online. We’ll show you more about that in a second. One second. And the practice platform is something that if you’re interested in, we can let you know about it. But we believe, on the basis of what we just explained to you, it may be more productive to come if you have the time, if you can make it work in your schedules, and you’re not required to practice every Saturday with us. We give you the option to purchase as many of those as you want, and you can book them from your dashboard, and you can cancel 24 hours before. The more you purchase, the more we subsidize your study. So there’s a base price for one. There’s a 3.5% subsidy per every one that you buy in one session. So if you’re sure you can attend 10 between now and the end of June, we subsidize the per class rate proportionately to that. That’s up to you how you want to do that. If you just want to buy one, come for one, then buy another, come for another, they’ll be at the base rate. And then from that point forward, you’ll be able to see. But we encourage before the practice platform to come and practice with us in Mile End at Proto Studio. It’s a different venue.

Speaker 6 02:04:24 It’s a beautiful venue.

Patrick Oancia 02:04:26 Yeah, it’s a beautiful venue. The nice thing about Proto Studio is that there’s a common room in Proto Studio where people can hang out. It’s on the 11th floor with windows looking at Mount Royal. It’s a very beautiful space. So we’ve locked in the bookings for that place, and we’re actually kind of doing what Proto Studio considers a residency there. So we’re in collaboration with Proto Studio in a special arrangement for them to allow us to invite their students in to come and practice with us on the basis of their experience. So not everyone will be able to attend the practice sessions. We have a criteria on our website. You’ll see that. Anybody that hasn’t done Baseworks before has to have a certain level of understanding of movement education in relation to the things that they’ve done. Otherwise, we just point them to the next study group. This next study group starts in April at the same place, Porto Studio, and it’s also seven weeks. So if you have friends that you think want to do the study group, they can join the study group. If you have friends that are athletes, long-time professional dancers or so on, and they don’t have the time for the study group, they can apply to do the practice sessions.

Asia Shcherbakova 02:05:43 Yes, but I also actually would like to add that looking at everybody’s progress in understanding movement from session one to session seven, I don’t think that anybody needs to redo the study group to break it down. So I think that the practice session is really would be the format.

Patrick Oancia 02:06:01 Yeah, you don’t have to redo the study group. But if you want to do the study group and the practice sessions, we’ll also subsidize the redoing the study group if you want to do that. And a lot of people have redone the introductory programming with us in Tokyo over and over again. It’s the next slide. We can just show the next slide for a second. So this is just an idea. So this is foundation elements. This is from our manual. So we had a manual when we trained teachers. We’re not training teachers currently. We’re not doing teacher training currently. We just want to focus on practicing with people more than anything else. Go back. Go back. Back. Yeah, there. This is the manual that shows you the amount of forms and variations that we’re working with just in foundation and elements. And we haven’t really touched on a lot of these yet. Okay, so those we’ll explore more in the practice sessions.

Asia Shcherbakova 02:06:53 In practice sessions, actually, we will do more forms. So we’re really, in the study group, we focus on the core forms that really get you to understand the dynamics. And the practice sessions, they will be more diverse. So we’re not going to be just doing exactly the same stuff we’re doing in the study groups. It will be this plus more. I think maybe three, four times more or five times more in terms of content.

Patrick Oancia 02:07:17 Now, just if you can see the right, this was one of our schedules from 2017 at our studio in Tokyo. And as you can see, we just want to come back to the amount of classes that we had before. We had probably, I don’t know, 5,000 students a week coming to the studio and practicing every day from as early as 6.50 a.m. until 10 o’clock at night. And you can just think that there was a lot that cooked in that period of time. We developed a lot with these students. The primer and what we do with you guys is a compounded outcome of that experience. So we’ve already gone through quite a bit of the building. We’re not interested to do this model again because we believe that the model that we have with the practice platform and the primer courses is substantial enough for people to work with at this point in time. So just so that you know, this is what you’ll be able to find this on your dashboard. The practice sessions are from March 15th to June 27th at Proto Studio. There’s 70 minutes each. The schedule is currently on the website. Is it published? Yeah. The schedule is currently published on the website under, you’ll get the URL in your dashboard. So it’s every Saturday, and the times are normally either from 9 to 11 or 12, sorry, not 9 to 11, but 9, 10 to whatever, right, for 70 minutes. Or early afternoon. They’re never late afternoon, so they’re kind of in the first part of the day. And as you can see, there’s a price calculator on the page that when you enter how many classes you want, it calculates the amount we subsidize per purchase. So you’ll be able to, this is just a sliding scale. You don’t have to book five classes. You can book three, and there’s a sliding scale percentage drop at 3.5% per thing. And we’re doing this just because it’s similar to what we did in Tokyo. In Tokyo, we had class tickets that people could purchase. The more tickets they purchased, the more we supported their practice. For us, it’s not about how much money we can make. It’s more about how much we can support people. This is not a money-making venture for us. It never was. It’s just too idealistic.

Speaker 5 02:09:41 Est-ce que les dates sont sur…

Patrick Oancia 02:09:43 Il y a la censure sur la web maintenant. C’est tout fixed. To the samedi with the exception of the 14th the cutters look Maybe the 15th is it the 15th? Sunday, so it’s a 15th then so the first session the first practice sessions on a Sunday the rest of the practice sessions are on Saturday Yeah, so it would be your choice, and we’ll have more information about this. Either you continue doing the revisits on the Primer course for the next 12 months, because you have access to it, or if you’re interested to register for a subscription on the practice platform, it’s also really affordable, $20 a month or not even, or something like that. If you are interested, you can ask us, And there’s a gigantic repository of sessions that you can do online. But we think it’s maybe more productive initially if you can manage to come once a week. We’ll continue to work with you. And the more you work with us, then we can point you towards maybe informal assignments to do on the practice platform. Go home and do foundation set. They’re focused on the foci. Remember we talked about the foci? So there are foci-focused sets of forms, and they range from different times, and we can say do that next time. Yes? I’m looking at the dates, the schedule, and I won’t be able to make it, although I’m interested.

Speaker 5 02:11:22 Yes. So will there be other sessions of practice sometime in the future?

Patrick Oancia 02:11:32 So for the time being, we’ve got them set for Saturdays. I believe the study group is on when? Is it Saturdays as well or Sundays?

Asia Shcherbakova 02:11:42 I think it’s mostly on Saturdays. I just don’t remember. Like in my head, I don’t remember it yet. So, whatever is currently right now, this is what we set right now. We do plan to do more later. We just don’t have the schedule set yet.

Patrick Oancia 02:11:59 For the time being, they’ll be on the weekends just because that’s what kind of works best for us. But we’re going to the end of June. And then in the summer, we’re going to think about it again, because there’s a block of about a month that we’re not sure if we’re going to be here. And then maybe during the summer, we might change it to a weekday evening.

Asia Shcherbakova 02:12:21 So you’re not taking the summer off?

Patrick Oancia 02:12:23 We’re not.

Asia Shcherbakova 02:12:24 We’re never taking anything off.

Patrick Oancia 02:12:27 We’re not going to take the summer off. We might have to go somewhere for two weeks. Yes.

Speaker 9 02:12:36

• I would say that I cannot do the practice of this session, but I finished the class online and I have access for 12 months. - Yes. - To the primer, yeah. - So I will have also the information through the platform for the next upcoming session, and I can still take advantage of the rebate since I did the primer. - Yes. - Later?

Asia Shcherbakova 02:13:01

• Yes, yes. - Okay.

Patrick Oancia 02:13:04 So if you finish up before whatever the date was, March 15th, you’re also going to have access to the forum. You’ll be able to ask questions. We’re going to continue to answer questions on the forum. You’ll be able to do the practice revisits. And if you’re interested in the practice platform, we’ll have information about that as well.

Asia Shcherbakova 02:13:21 More like us, I mean, like more in person.

Patrick Oancia 02:13:24 In person, yeah.

Asia Shcherbakova 02:13:26 Well, we don’t keep this information secret. We post it on our website. If you are subscribed to our newsletter, we send information about new programs. So, yeah, if you are interested, you are not going to miss it.

Patrick Oancia 02:13:41 Oh, you know what, though? You know what, Lucita, actually? So at one point in the summer, because there’s so many of our international students, we have two things planned informally in Berlin. No, Berlin is fixed in the fall that some of our other international students want to do something. So the other alternative is that maybe in the gap of the summer we may do a study lab in Montreal. But then again that would probably fall on the weekend.

Asia Shcherbakova 02:14:08 And that’s an intensive. So sometimes we do weekend intensives which is about 22 hours.

Patrick Oancia 02:14:15 22 hours over the weekend.

Asia Shcherbakova 02:14:17 It’s usually Friday night, Saturday, Sunday, about 22 hours of intense work with lectures. So it’s work, lectures, work, talks.

Patrick Oancia 02:14:27 that would probably also happen during the weekend just you know yeah so yeah by the way for the for the for the for the practice for the practice platform as well you’ll have another similar thing with smart revisits to sessions and so on and activity tracking so you can get a good idea of what happens okay you gotta go no no worries bye bye yeah so I think that that’s it right next

Asia Shcherbakova 02:14:55 Well, I mean, yeah, we talked about it. Essentially, this is our ecosystem that we have the primary study group, and they work as an entry program to essentially any program. So any program we do right now, you can come. Because as you might have noticed, there is a lot of unique features about the method. So we actually don’t have all our programs open to just anybody because it’s just not productive in many ways.

Patrick Oancia 02:15:21 So we don’t, so in our studio in Tokyo, we had an entry point. Everybody that came for the first time to do Baseworks had to go into foundation. So nobody was allowed to do strategy integrator elements if they didn’t practice Baseworks. So, and there was a lot of people that came from different movement backgrounds that were very nice. They were very open-minded. They were dancers or, you know, athletes, and they understood that people that came from competitive, like really strong competitive sports or from sometimes from advanced yoga or from Pilates, they weren’t very happy about having to do foundation. But the foundation was, it’s not easy, as you know. So we’ve been working with the foundation forms here, right? So it’s not actually that easy, is it, to understand? So it requires a little bit of focus. So yeah.

Speaker 5 02:16:13 Yeah, yeah, that’s it. That’s it. So if you have any questions, we’d love to answer your questions.

Patrick Oancia 02:16:18 if you don’t have any questions, you can fuck off.

Asia Shcherbakova 02:16:21 If you have any comments, or maybe you want to say something or share. How many times do you want to form a teacher?

Speaker 5 02:16:30 How much time does it take to form a teacher?

Patrick Oancia 02:16:35 Ah, to form a teacher, yeah. We’re not doing that anymore.

Speaker 5 02:16:40 It’s finished?

Patrick Oancia 02:16:41 Not finished, but not now.

Speaker 5 02:16:42 No, no, I know, but I just guess…

Patrick Oancia 02:16:45 The teacher’s trained with us, So the 13 teachers, they did an internship with me for 13 years. Then we had teacher training, and the teacher trainings were 700 hours. 700. But it was over a year. So they came to the studio. They practiced with us in the studio every day.

Asia Shcherbakova 02:17:08 Yes, there was a prerequisite that you need to really understand the method in order to become a teacher. So you cannot start from zero and do the teacher training.

Patrick Oancia 02:17:18 All of our teachers were excellent at what they did. And it’s because they really went through the experience. So for us to do teacher training right now, it’s difficult because I don’t think we’d be able to replicate that level at this point. But we’re thinking about it. So if we do have information about that, we’ll let you know. Yes.

Speaker 9 02:17:41 I wanted to know, ask, because I know you sent an email to say that you were open to hear feedback from us and film. I didn’t reply because I was expecting about it. I would like to do a feedback, but not now. Like, maybe later. So I wanted to know, how do I manage that with you?

Patrick Oancia 02:18:03 You want to be on camera?

Speaker 9 02:18:05 Yeah. But I want to be on the experience, like more details to share.

Patrick Oancia 02:18:10 Sure. you know, we usually do those, we’re trying to do them coinciding with these events, but I think that we’ll probably do them at Protostudio again at some point. That’s what I’m thinking.

Speaker 9 02:18:20 That’s what I’m asking. Let’s say, like, for the practice session, I’ll have time to practice more.

Patrick Oancia 02:18:27 Yeah, so I think there will be an opportunity, but thank you. Thank you for agreeing to do that. We’ll reach out if there’s going to be a time that we’re thinking of doing.

Asia Shcherbakova 02:18:36 The next time we’ll have the opportunity to film. We’ll reach out and we’ll see if that works for you. Okay. Thank you very much.

Patrick Oancia 02:18:43 Are there any other practical? Oui, madame. Oui, France.

Speaker 5 02:18:47 Est-ce que vous pensez que vous avez une façon pour entendre une traduction française?

Patrick Oancia 02:18:53 D’accord. Oui.

Speaker 5 02:18:55 Vous avez dit vous?

Patrick Oancia 02:18:57 Regardez. Oui, c’est une motivation pour nous autres, pour nous autres, pour apprendre plus de français. pour apprendre le niveau que nous sommes confidentes pour enseigner en français. Nous enseignons en japonais, en russe, un petit espagnol aussi. C’est aussi possible à le plus proche, le near future, l’avenir proche pour enseigner en français et en anglais, un mélange. OK, regarde, à Proto Studio, nous faisons un grand effort pour faire ça. OK? Je ne sais pas comment dire. Vous ne pouvez pas… Promise? Promise? La qualité de l’information, d’envoyer l’information, mais OK, on va essayer.

Speaker 5 02:20:15 Parce que quand on fait l’effort, moi je suis toujours obligé de vous demander. D’accord. Je comprends pas des fois quand vous parlez, des fois je vous vois faire des pieds qui font des influences, mais sinon je ne comprends pas, je suis toujours centré sur le cas d’une film.

Patrick Oancia 02:20:36 Frantz, j’ai une grande recommandation pour vous, ok? To the session, how do you say that? The session, how do you say the, what we would call it? Recaps. Recaps. Recaps. It’s a tradition in French. And in all the videos, there are captions. Right? For now, make use of that. How do you say make use of that? Try to take that? For now. Of course, of course, in the future, we’re going to try.

Speaker 5 02:21:31 Vous pourriez avoir une assistante ou un assistant? Bien sûr.

Patrick Oancia 02:21:36 Oui aussi. Pour un long temps à Japon aussi parce que je parle français, je parle japonais, comment je dis, fluent, fluent? Couramment.

Speaker 5 02:21:46 Couramment.

Patrick Oancia 02:21:47 Couramment. Et elle aussi. Mais dans le programme spécial, il y a toujours une, comment dire, interprète. Comment tu dis? Tradition?

Speaker 5 02:22:02 Oui.

Patrick Oancia 02:22:04 On fait un mélange avec le français. Bien sûr, peut-être s’il y a une opportunité pour un programme plus, comment tu dis, compact, ou à une fête semaine, ou juste avec deux trois jeux, on pensait pour chercher un assistant ou non, interpréter. interpreter for this program. Wait, that’s the best. How’s Asha’s French? She’s so shy. Her French is very good. She’s… No, she’s shy to speak, but she knows the grammar so much better than me.

Asia Shcherbakova 02:22:58 But understanding doesn’t help in teaching because it has to be the other way around.

Patrick Oancia 02:23:03 Dites en français. Yeah.

Speaker 4 02:23:05 Dites en français.

Patrick Oancia 02:23:09 Regarde, il y a un instance, okay, quand nous, how do you say we went? We went to Colombia for a week or two weeks. For… No, not for lunch. For… For teaching. For a group of students at the university, there. et aussi, Acha a fait une lecture pour médecins dans la même université, à la Faculté de médecins, le Neuroscience de Baseworks. We have a recording of it. Elle n’était pas très confiante, mais elle fait toute la présentation en espagnol. So, je pense qu’il y a pas beaucoup de temps, right, peut-être, enter the practice sessions at my land. Et commence à enseigner en français aussi, okay? Let’s hope. Et moi aussi, okay? You can hear my French is fucked, right?

Speaker 5 02:24:27 Apparently, the more language you know, the more easier… The better you get a passport.

Patrick Oancia 02:24:41 But I want to say something else in French, because in France there is another thing too. When you know the movement, the pattern, the micro movements like that, English, French, Russian, it doesn’t matter. Body language and body memory.

Speaker 5 02:25:08 Yeah. D’accord.

Speaker 8 02:25:13 I feel like that’s true even if you understand the life. In my case, whether I understand the instruction or not, I still want to have to.

Patrick Oancia 02:25:21 Right. Okay. Okay.

Speaker 5 02:25:26 I think you’re good. Yes, yes. I think you can go. Andrew, thank you.

Patrick Oancia 02:25:34 Yeah, if you need to go, absolutely.

Andrew PhotoGrapher 02:25:36 I was making sure you guys don’t lose your time to do interviews. I don’t know what time it is to you.

Patrick Oancia 02:25:40 We get up to five, yeah. So, thanks, Andrew. Thank you. I would chose. Il y a quelques photographes. Photographes. Qu’est-ce qu’Andrew en fait? We’ll put the photo on the platform. To watch. So, the platform? Already? No, we’ll put them on. We’re going to get them from him and then we’ll put them up. Is there any other questions for now? Thank you very much. Thank you very much for you too. Ça fait un grand plaisir de travailler avec nous autres, vous autres. Et je vous souhaite à la prochaine. Pré-prochaine.

Speaker 4 02:26:43 OK. Merci beaucoup.

Patrick Oancia 02:26:52 OK, Annie. Annie’s gone. Annie. Annie and Sarah. Donnez nous autres just a little time to set up the camera. Thank you very much. Matthew, thank you very much. I hope so. Oh, you’re going away?

Speaker 8 02:27:16 I’m going to work for the west coast.

Patrick Oancia 02:27:18 West coast, nice. For what?

Speaker 8 02:27:20 For S Street. - Tree planting related.

Patrick Oancia 02:27:23

• Oh wow, how long are you gonna be there?

Speaker 8 02:27:25

• I don’t know, as long as possible.

Patrick Oancia 02:27:28

• In the forest?

Speaker 8 02:27:29

• Yeah.

Patrick Oancia 02:27:30

• Tree planting?

Speaker 8 02:27:30

• Well, not tree planting anymore, now I do danger tree assessment.

Patrick Oancia 02:27:35

• Nice, wow, that’s really cool, man. - That’s pretty fun. - Yeah, you’re gonna be gone from when?

Speaker 8 02:27:41

• Probably leaving the beginning of April and coming back late July or something.

Patrick Oancia 02:27:47

• Okay, cool, yeah. Well, we’re starting in March, we’re going to April, So if you have any time, drop in. If not, we’ll see you. We’ll see you. Thank you very much. It was nice to work with you, man.

Asia Shcherbakova 02:28:12

• Thank you very much.

Patrick Oancia 02:28:16

• Asha.

Asia Shcherbakova 02:28:17

• What?

Patrick Oancia 02:28:18

• Give me the microphone for a second, please. - Yeah. just um i want to charge it okay um just so that okay