05.08 Applied Practice Lab: Equate — Transcript

05.08 Applied Practice Lab: Equate — Transcript (English)

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Transcript

So you’re sitting onto the heels here again.

You might be cross-legged as you’ve been given the variation before.

You can see Satoko here in that position, showing the variation here.

If you’re sitting onto the heels, you can relieve some of the pressure from the ankles feeling a bit stressed by pressing the tops of the feet down.

As you transition back, hanging back, flexing the upper spine lightly as the arms extend forward, spread through the fingers as you draw the shoulders down.

You can again see how Asia flexes the ankles to sort of take a bit of pressure off the top of the ankles when she’s sitting onto them there.

You can do that at any point in time.

Now we’re going to slowly taking that right arm up behind the head, then we’re going to take the left arm behind that to interlock.

And we’re still hanging back here with this slight spinal flexion over the top of the heels.

Knees are staying together here and you’re really, the heels are close toward each other.

So if they start to flare up, remember to bring them towards each other.

Now sternum and chest move directly up.

So we come out of the flexion, straight spine up, and we’re offering a resistance with the back of the head into the forearms.

The shoulders draw down and the forearms resist back into the back of the head.

So the back of the head and the forearms are opposing each other as we move through the upper torso and chest.

Continue with that resistance and continue drawing shoulders down continuing to flex the ankles, that flexing activity to take the pressure off the ankles.

Hang back here.

To release, taking the left arm out first and then the right arm comes out.

Both arms come out to the side initially.

And then we’re bringing the left arm up in, connect it to the back of the head, then right arm in.

We’re still in our flexion hanging back here initially.

Light interlock with the elbows here.

It’s nothing major. just a light interlock to connect.

And then as we start to lift the sternum directly up, we offer resistance with the back of the head to the forearms and the forearms into the back of the head as we draw the shoulders down.

And again, you can continuously move through the chest and sternum, might be little micro movements.

You can think of the rib cage floating around the top of the pelvis.

You can also flex through the ankles.

If you feel pressure onto the ankles, that makes you feel uncomfortable.

As you can do, you can also lift up a bit as Asia is exaggerating there a bit.

The head and the arms continue to resist as you draw the shoulders down continually.

Now to release, you’re gonna flex out here, spreading the arms, spreading the fingers as the arms extend out to the side.

You can also draw the shoulders down as you’re hanging back here.

Spread through the hands as well.

So the hands, fingers spreading.

Now we’re going to be taking that right arm back.

So turning that right arm in and down and back, it’s a pronation.

And then taking the hand to the inside of the shoulder blades as you reach upright.

It may not be all the way up.

You might just have it connected below and then come back to center.

And then we’re taking the left arm up first.

We’re moving through the shoulder first to allow for there to feel like there’s a little bit more space.

We’re not trying to force or throw with momentum any kind of connection here.

We’re just trying to find the space in the shoulder to see if there’s enough space to be able to connect the fingers.

Now, you can see Satoko easily did it, but Asia didn’t do it.

So when you’re not connecting the fingers here, we don’t wanna force that connection, you’re doing as Asia’s doing.

The fist stays to the back of the head or the forearms stays to the back of the head.

And the other fist stays behind the back in between the shoulders or just below.

If the fingers are interlocked like Satoko, you interlock them.

The top arm resists the head.

The head resists into the top arm as you draw both shoulders down irrespective.

And you can move a little bit from side to side in that motion.

Again, we’re gonna release by flexing out first.

If your hands are clasped, when you flex, you start to release the hands.

First, extend the left arm up and out to the side first, then twist the upper torso to the right as we turn the right arm down and out to the side as well.

Spread through the fingers and chest, draw the shoulders down a bit and then come back to the center.

So watching from this side here as we turn, Sorry, back into the center first for a second, we’re gonna turn that left arm in and around and down and back, turn and twist as far back as you can, pronating that shoulder down and reaching the left arm back up in between the shoulder blades, keeping the right arm standing forward first.

Once the arm is connected to the shoulder blades with flat and open hand like that, you can start to move through that right shoulder.

And again, you can see how they’re just exploring through the range of motion to see where they can find some space that would allow for them to be able to reach the hand back and to connect to the fingers.

So depending on shoulder mobility here, the fingers will come nowhere close to each other.

Over time doing these exercises, they will, but if they don’t come close to each other, you do what Asia is doing.

You make a fist, fists behind the head and behind the back, and you connect the back of the head, pushing into the forearm, the forearm resists into the back of the head.

It’s the same here as your hands are connected.

The shoulders continually draw down.

And even though you see Satoko’s hands connected here, there’s no forceful connection there.

That’s her range of motion allowing her to do that.

And to release now, we’re gonna undulate a little bit as we flex back.

And the first thing we do is we let the hands go and we reach that right arm up first and out and turn to the left.

That releases the tension, any tension or resistance from the shoulder, as you release the left arm back and down, and then release it out to the side.

Both arms come forward here.

Can spread through the fingers here a little bit, draw through the shoulders, move through the neck, move through the chest, and as we flex forward a little bit, hands come down to the floor, lift the hips up.

And we’re gonna counter this by flexing the ankles if you were sitting onto your ankles.

If you’re cross-legged, just stay there.

Sitting onto the ankles, now any pressure that might have come from sitting onto the ankles, we counter by flexing the ankles fully and sitting onto the heels and moving them from side to side gently before we come out.

This is just kind of a decompression on the ankles if there was any excess weight that was allowed to be there for any lengthy period of time.

Now we bring the heels together again here, feet down, and we’re going to turn the legs, pull the feet out to the side of the body and lower the hips down as we extend the legs forward into our transition to Suspension here.

So as you see they come forward and then we suspend rather than just let things go and And then slowly lowering the arms down with that Suspension as you straighten through the legs, lift through the chest, keep the chin drawing down towards the chest, into your Reclining Transition, cross the legs, and then come up.

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