04.07 Key Points: Form — Transcript

04.07 Key Points: Form — Transcript (English)

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Transcript

Welcome to another Key Points lesson related to the principle of Intensity Modification.

And in this lesson, we’ll talk about our concern for form.

And you have just finished watching a conceptual video about the Baseworks midline.

In this lesson, we’re going to look at a form which is called Split Form Inflection.

And we will really try to identify and follow our midline in this form.

We’ll start in the standing position with the feet hip width apart.

So then we micro-bend the knees, we hinge at the hips so that we can make an effective transfer.

We lean to one leg.

And then we bring one foot, in this case, left foot back.

And when we do this movement, we are already thinking about the midline.

So our feet were hip width apart.

And what we want to do is that, we want to bring one foot back, right?

But we want to still keep this hip width apart line, see, like this.

So this foot shouldn’t land here, it shouldn’t land like this, it shouldn’t land in any other way.

Just from here, the foot goes here.

So when you do this movement, you have to think about it because when you land, your feet will be hip width apart and the midline will still be in the middle.

So Satoko shows that the feet are still hip width apart And also the pelvis is looking forward again.

So when we’re doing the transfer, of course, in order to do the transfer, because we do it slowly, we had to temporarily lose the midline in our legs because we had to transfer the pelvis above one leg in order to make the transition.

And we’ll talk about it in the TRANSIT focus in the upcoming segment.

But the midline stays intact in the upper body.

So the rectangle we’re talking about in the previous conceptual video.

The shoulders, the hips - this rectangle stays intact during the transfer, but then when the legs are on the floor, you can see from the front, she’s perfectly symmetrical, even though the legs are shifting like this.

So in terms of the stance, Satoko has impressive ankle mobility in her back leg here.

Not everybody will be able to keep their pelvis in this position facing forward with this stance.

For some people, if they attempted to bring the feet to this distance, the pelvis will have to move if they have limited ankle mobility.

So similar to what we did in the Z Expansion C Tuck in the previous lesson, the leg has to accommodate the pelvis, right?

The pelvis has the priority.

So in this case as well, the pelvis has the priority and the legs have to find a position where the pelvis can stay facing forward.

So for some people, the stance is gonna be maybe this much.

It may be just literally, I don’t know, one foot distance, but it has to be as far back as you can bring the feet without losing this symmetry of the pelvis in the midline.

So Satoko was going to show what sometimes happens.

She shows that the hip should be forward and that sometimes what happens is that the pelvis is open and the back heel may be at an angle.

And you really want to make sure that both feet are parallel.

Right?

Even though … what does it mean, feet are parallel?

Imagine that the back foot can slide on the hip width apart line and these feet are parallel.

So this is not parallel, this is parallel.

Okay, so first we establish the leg position where we respect the midline and we pull the legs away.

The back knee is extended, front knee is extended and we’re pulling the legs away so that we have this fixed foundation, and we really watch the pelvic symmetry.

As we pull the legs away, we really try to feel how our pelvis is positioned.

We draw the shoulders down.

We bring the hands onto the hips.

When we bring the hands on the hips, also it additionally helps us to sense the position of the pelvis.

And then we begin to tilt forward, and this is where we really need to think about the midline because we tilt over the midline, not over the leg, not in any other direction.

We just really think about the nose, the belly button, the pubis, our legs, these two lines which I heaped with the part and the midline is just over.

You can even, you know, put something on the floor - like a belt, or I don’t know if you have some pattern on the floor, you can stand on top of something which will have the straight line in between your legs.

And when you tilt forward, you tilt just over your midline.

So it’s like a perfect hinging, but with asymmetrical leg foundation.

So we hinge a little bit and then we begin to around the upper spine, again over the midline.

And here again, we don’t want to have any pulling sensation in the hamstring of the leg which is behind, in this case the left leg.

And you only go as low as you can without feeling too much pulling in the back leg.

Because here bending the back knee is not an option because the ankle is already in extreme position, which means that we really have to control how low our upper body goes in order to avoid feeling this extreme stretching in the back leg.

So stretching the back leg is not the point here.

We want to avoid excessive stretching.

So if you imagine there is a line on the floor and your head should be just above that line.

And then she begins to extend the spine, right?

She extends it to a perfectly straight position.

For some people, maybe they will go as low as what Satoko’s showing right now, but for many people, because of the hamstring flexibility, it’s not gonna be possible, and they will be more like this.

Or maybe you will be here.

So how low your upper body goes, it doesn’t really matter, as long as there’s not too much tension in the back leg.

And the key point here is the midline, the symmetry.

We respect the form here.

So even though this particular position, it’s not like it’s super difficult, you’re not really falling, you know, it doesn’t really require extreme effort.

We adjust the position of the legs and the position of the upper body so that we can keep the symmetry.

So this is a very good example of Intensity Modification with a concern for form.

Because of the unusual position of the legs, the lower you go, it’s not only the tension in your hamstrings that may be a concern, but it also may be more difficult to understand where you are positionally and to control the movement, the lower you go.

So you may choose to stay more upright, not because of the tension in your muscles, but just because you feel more in control.

So that’s up to you, but you really have to respect the symmetry in the midline when you are doing Intensity Modification in this form.

Also, the important point here is that when we go low, the elbows are not out like this, but they stay behind you.

And again, the upper body stays flat as we do in all the other forms with the INFLECT focus.

So the INFLECT focus applies here, even though we’re not sitting on the floor, it’s a standing form, but it does have the INFLECT focus, hence the name Split Form Inflection.

So split refers to the position of the legs, which is almost like the front split, one leg forward, one leg backward, and inflection refers to the INFLECT focus.

Then to come out, we do the same movement that we did when we came in.

So we will round the upper spine, and then we’ll roll up, and then with control, we’ll step back.

And when we step back, we return the feet back to hip width apart, because sometimes the tendency is, okay, your feet were here, but when you’re doing the movement really slowly, you may bring your feet closer together, but you need to remember that the position where we return to is where the feet are heaped with the part.

So that’s it for the key points.

And in the next lesson, let’s try this form and please really try to feel the midline.

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• Transcribed by: Auto-import
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• Date: 2026-02-03