 Dyna'r ddeithas o Abertydd i Marks Gymraeg yn gweithio'r ffordd ar y hiwn, a mae gennym gan hyn yn eich bod yn gyfle gwir, amser yn cyfwyr iawn iawn, felly mae'r gwerthiau yn cymhiliadau ar y sylfaen i'w pethau ar ddim yn gweithio eu roedd, yng Nghymru a wneud hyn o flynyddoedd i gwyllgor ar yr oedd. Mae hefyd yn gyrwch yng nghymru yw'r astudion wrth yr afael y cwrdd pethau. Rydyn ni wedi eu gwirio o'r cyfeirio'r ddiogel Mae'r ddweud'r meddwl penodol i gyd yn siarad yw'r ystod yn ychydig i ddweud ti gynghoriad yma, ac mae'n ddweud i gael, ond rydyn ni'n cael ei wneud yn ddweud y llaw o'r bobl. Mae'r ddweud i ddweud i ddweud yw'r digwydd am gwybod i ddweud yma, ac oherwydd mae'n ffaint i'r ddweud i ddweud yma, ac mae'n ddweud i'r proses i'r ddweud yn ystod yn lleol, oherwydd wrth gwrs yn ddweud i'r ddweud yn lleol yn lleol, at me'r 30th, o fnw ydych chi'n mynd. The hand side out of everything we're going to do, to compare it to a muscle-up, there's a skill element of the technique when someone hasn't got the technique that they're strong enough and you can teach them that bit because it's such a small part very quickly. So if someone's, often we do a workshop and 10 people come and there's three people that are strong enough, Rwy'n jael ei wneud angen. The muslep, a ddim yn cael ddweud. A ond, wrth gwrs, oherwydd oedden nhw'n ddwy'r gwnnig fod y stryb, mae'r �motil ailwyr maen nhw'n 95% o'r ddych chi'n ddysgu. Unrhyw ni'n dweud o'n fydden nhw'n ddim yn y credu i'ch chi sy'n ddigwyd yn fnug yn y llynig. Er y bobl yn ddweud ond mae'r proses iawn tyw'r ysgol. Ac rydyn ni'n cael i'r rôl a'i llysgr Tablaid. Mae'r newid dwi'n gweithio ei opaith yw iddyn nhw'n mynd i chi'n mynd i chi ddarllen i chi gyd. Ond yw'n gweithio i'r ddeddygiadau'r twfawr mewn dod dim yn ystod yn ei wneud. Yn bod yn prorth y maeddu jongio'r ysgol, mae'n ddefnyddio'n Gemhau. A'r cyfnodduh o'n ddod yn drosio'n chweithio ar gyfer ac yn ddefnyddio'n gweithio, mae'n ddefnyddio'n ddiddordeb yn cerdd. Yn ddiddordeb, ac mae'n dwi'n ddiddordeb. Efo'r prosiectau i'r gwahyd gan eich oed yn unig gyda'r cyfarfod. Efallai ar y bifer ac mae'n rhaid i'r ddechrau hwnnw er mwyaf. Ond mae'r hwnnw sy'n gymryd chynydd, mae'n ddechrau, allan y genlygu'n mythiaethau. Mae'n cyfrifyfiadau hanes inni. Mae'n ddim yn ymddi oherwydd achos i wneud yn ychaf. Rhaid aton ydy, mae'n ddim gweithio'r ffordd, dwi'n ddiddordeb yn cyfrif Cherry. Mae'r ystod i dda i chi ydda'r cyfner. I always say one second when you're learning upside down feels like forever. You're like, I nailed it! By the time it turns round and falls over, that's what it was like at the start. And then you're dead happy and then someone shows you a photo of it and your alignment's all funny. But you're still happy because you're like, I actually felt it, I did it. And then the evolution process is to get longer and then better with your alignment. The things about your alignment are as you get your alignment better it becomes easier to a degree. But it becomes more efficient rather than sort of energy sapping when you're up there. For me to hold a handstand, it's not hard from a strength perspective, it's just balance. What the hard bit is is keeping the right alignment so that I'm stacked up. Because I'm there, I'm locked out. So when I can hold it, it's not strength. It's just strength getting into the position where it's the fine motor adjustments and learning where your control strategies are going to come from. And the interesting thing about... Yesterday we were doing quite a bit of learning in the moment around motor control. But if you look at it from a basic perspective, do you know what your control strategies are and how quickly can you activate them? So I'm going to give you some of this because I want to start talking about it more. Imagine you've got a tray with a load of marbles on it. If that tray is completely flat, this is your skill acquisition process. If that tray is completely flat and that tray moves, those marbles are going all over the place. You can't control it and that's movement. If you're a brand new handstander and you're going to kick off, you've got trade marbles and you've got no idea which one you can't control any of them. They're going all over the place. What we want to try and do from a learning perspective is make little wells in that tray. We want to make little holes so that marbles can sit into those little wells. So that becomes a stable part of the movement. If you start to rock the tray, those marbles are actually going to stay in their holes. Those are called attractors. The fluctuators are the marbles we want to move a little bit because if we only have had attractors deep wells and everything was fixed, we've got no adjustment in that environment. So if I want to come and stand on here, or want to go on the wall, or want to go on a beach tomorrow, I need fluctuation in my motor skill to go to adapt to the environment I'm moving in. That's a human process of actually, I just want to survive because I might need to run up that hill and I might be on dirt versus concrete. We're just taking the same motor control and learning process and putting it into a hand-buying exercise because it's fun. We don't need to stand that hand as humans, it's just cool. So what we're going to try and do to the teaching process is to help you guys to understand what those attractor sites are, so make wells. So when I get into a stable position to start off with, this is an attractor for me. In my nexit, let's take it as another one, is I need to have the fluctuators to be able to move into my nex attractor and then I can stabilise that shape. So from here I'm going to move through. That's a stable shape for me, I can hold that pretty comfortably. When I come through to the top, my stable shape is here locked out but my attractors that hold time are fingers, shoulders, midsection, feet. Those are the things which are moving to control me in the environment. We went and did some filming for Canterbury a while ago and I couldn't do a handstand particularly well but the wind was blowing me. It was quite a windy day and all of a sudden my handstand was knocked out. I'm like, okay, I need some more robustness. Whereas yesterday I was doing a handstand and Jacko's kicking me. I knocked me over but I'm able to make the adjustments. Does that make sense? So just think about the stable parts of the movement. We need those and we're going to teach you some of those today and look at improving them but we also need to understand to do those control strategies and the real fine motor control comes when you subconsciously can fire the right movement pattern at the same time because you're so clued up that your sense of movement changes and you're correct it. Sense of movement changes, I'm going to correct it. To start off with, you're just too slow. You can't do it quick enough. That's the hard thing, you lose your balance of feet back on the floor. Okay, I didn't do it. So when you say it works sometimes you're probably just in a point where your brain's clued up, you're feeling pretty fresh, you nail it, you train, you're like, boom, I've got it right. All of us in the next day, there's marbles are back in another place. Just need some more wells. I like that. On top of those things, we've got to add in that we might be... I was scared yesterday of heights. Some of us, as adults, it can be easy for us to get scared but we're upside down. All of that skill acquisition is made difficult because we are upside down, we're just not used to that. Every other movement and every other bit of training we do generally we either upright or human flag with sideways but you don't lie sideways because you get confused because you lie sideways in your bed potentially. So we've got that to sort of add on the top of it and you only get more used to being upside down by spending more time upside down. So getting used to being upside down, console being upside down and then starting to have that body awareness of when you're upside down, when you're trying to sort out those marbles in that tray at times when your feet are going over the top your brain is a bit confused and it thinks they need to go backwards. So have you ever done a session with a partner or instructions and they're like, no, no, go back or go forward or swing. But they're saying to you that your feet are going towards the wall, bring them back away from the wall and all you do is you take them more towards the wall because we've just got that disorientation and we just need to factor that in. And then the final thing I want to say before we start was when we are upside down we'll talk a bit about and we'll go into alignment part of that and the importance of that and Greg mentioned just then about his shoulders that if we can't create that good overhead position because we're tight then it's going to be you're fighting a bit of a losing battle in terms of your alignment. But the other thing will be the brain's not stupid. It knows the easiest way to do something it knows what's most comfortable and it knows that here is more unstable and more difficult to get end range. Remember we talked yesterday in the morning about when we did the movement session that mid range is strongest. So your body wants to go here because he's like bench press much stronger than overhead press and it knows that here is more comfortable, here is less scary but for you to then get your feet above your head we then have to then go into that shape to make that alignment. But you've got then this big curve through the back. Add on top of that that those of us when we walk on the balance beam did anyone walk on the balance beam yesterday like that? Now you put your hands out instinctively because you know a bit of counter balance either side helps my balance. Well that shape if you take where the mid line is this is one side this is the other. So your brain wants to do that shape to try and do this for you. But we're trying to do the opposite. So sometimes we might not have that alignment and we go oh my shoulders must be tight and we can test you and your shoulders might be absolutely fine. It's more that your brain is going into that. Let's make the balance easier and also let's get more comfortable in a more stable position rather than there is more difficult. I think really my I just want you to understand all the different things that might go on when we're doing this and the big big big take home from me is a really soft thing of don't be hard on yourself when we're learning at the start. As long as it's safe you're not going to hurt you're not doing something that's going to injure yourself and you're aware of what you're doing then you can constantly improve that. If you don't know that the shape you're in isn't where you want to be then it's hard for you to then change it because you don't know. So things like when your training hand stands away from here videoing yourself so you can see what you like. You don't have to post it on social media and say look at me, it can be your own feedback for how you're getting on. Alright, any questions before we start? Let's get into it. You're going to find a bit of space in the wall feet against the wall bum against here try not to push it too far back and then all we're going to do head against the wall if your pony tail is in the way like me then just do with it and then midsection midsection tight we're going to see what we like what we like in terms of getting up getting up to the wall arms straight elbows bent is it easy is it tight or to get there do you end up popping that rib cage up do we bend our elbows so just have a bit of a feel and then we're going to do prep work and then see what that feels like afterwards. Cool There's a bit guys for the session we talk about being present in your practice so just dial into how you feel like you're moving just be aware of what your body's doing it's not wrong or right at this stage it's just be conscious of what's happening and that's going to help us to learn how to make these adjustments and corrections Alright, we're going to get into some frog stamp positions so what I want you guys to start off with is going back into my deep spot yesterday and then I felt like I thought it was too much of an opportunity and then sometimes we kind of people struggle with frogs down your hand but it's right into a nice shape here to be able to lift so if we're kind of up we can't get down it becomes quite difficult so just spending time even though it's a handstand just get that hip sound sorted just give it a little sway from side to side sit up lean forward just coming through the start ok, let's throw hands over head just again sit into that position this is when we feel tight this is when the dress is fine that T-spy position bring it down alright, good just sit into that shape for a minute as well you want to hands out front you can do it, it's no problem good good good, good alright, let's drop into a push-up position to start with a flat shape we're going to do a little bit of work into the shoulders first hold that position to start off with just thinking about squeezing the shoulders around the outside like Jaco talked about yesterday so push the shoulders up drop back down push them up feel the scap slide around the ribcage keep it coming on my mum will come back to this in a minute let's do a set of 7, 6 or 8 as we talked about yesterday we want that scap to be moving around the ribcage to keep contact with the shoulder or the humus and go overhead good ok, the yoga I'm going to do what Jen's doing I'm going to try and find that top position so I want you guys to go push-up position just stick your bum to the sky and just drop into that end position so try and get the hands up overhead rest slides a bit bob nice and tall find that end range you don't want a real life on this much through the wall space but I'll show you if you can have a go after some free time in a second is if I I'm going to go in this corner see you guys if I go hands upon the wall and then drop into a position and then start thinking about what my spine is doing in this shape which is where the go-to is going to be you think what Jaco said before if I allow the shoulders to go up and pop in the ribcage to get the range try and tuck your bum up underneath we're going to talk about hollow body movements in a bit, this rock position to try and get attention so we want to be able to make that shape with the shoulders up overhead so from position, hands on the wall I'm going to sit in rather than go in here tuck underneath and then sit into that press position and do figure out are you in a decent position so Tim is, if he lets it drop he can feel how much deeper he goes the idea is we're trying to make it come from up here rather than down here if you let it come from down there that's you ribcage popping up low back cranks on just have a feel in there to keep that it's going to come from here so it's just this part keep this part and then take that down so stay there if you let this come down as well look how much lower you can go but that's just because you've moved your pelvis this is a little bit of going back to the idea that we give yourself full range of movement and then choose which you want to use good, come back in on some of the conversations we had about mobility yesterday the body and the spine can create this position can create flexion it can also create extension neither of those positions is wrong it's just on how we choose to use it we meet so many people that are just glued up and we say to them even the yoga, the cat-cown cat-cown or cat-cown? cat-cown like that spinal or the pelvis tilting we should be able to get into that shape but somebody just can't feel it and we should be able to get into that position so having that option is great because now you can choose where you want to stabilise that and it goes back to that strength to your range we get so tight in the last and this is one of the big players that causes some problems for us it is such a big muscle it comes from, it's the only muscle so it starts at the top here or the top of the pelvis here we've got a load of fascial tissue in the middle back and it comes up and it expands it starts from back here, this is all fascial tissue it comes all the way up through here it has an attachment point on the scalp it comes and dives up underneath and it attaches onto the front of the bicep or the front of the humus here so in shortest position what it wants to do is put you in handcuffs so you're winding the shoulder in we can get super lat dominant just because we spend a lot of time in short positions but also this lat if we're unstable around the shoulder that's like, jack out I've got you and it's down, it's cranking the whole shoulder, it's so powerful so if we now have got a short tight overactive lat when I want to go here Brains says no worries I've got you, I'll find you some more range the lat isn't changed but all it's done is gone I'm now using that more difficult to come the other way again just understand a bit some extra knowledge but just if we feel like we're stupid to get the hands overhead and we're getting to arch position you need some more lat length so those little stretches do that they start to get into some better positions spending some time there it's exactly why on that one when you let the arch in the back you're just putting the lat in a shorter position so you go that feels easier and it's the difference between knowing like Tim said having and feeling being able to be aware of our body positions and how one joint, particularly the hip how it will affect the shoulder and then your ribcage is going to be part of that so if you like I came up just with you and we my pronunciation is I don't want to, I'm just going to butcher it but you were there and I went up to him and I was like showing him my flared ribcage going it was like my platter going to grab your ribcage and then we pulled it down and you went oh really and I was like Andrew Edwards and it was like these three things ribcage down shoulder through, elbow straight three things together and the brain starts to go doing those three things is quite difficult and we're not upside down yet so I'll be looking for a couple of minutes stretch hold that into that position, mobilise the joints and then talk about what we did or go back to what we talked about and that position so I want you guys to drop into a wide position so we're going to squeeze on tight and talk about the core in a minute but try and crack a warn up between your bum cheeks so lock the bum on so we pull it nice and tight and squeeze till we put it up so what we're not going to allow ourselves to do is arch chin down and then we're now going to work this end range generally people are very weak in this position because it's our end range strength and we're going to hold our hands down we need some strength and some control here in the shoulders so we're always going to have to head down we're just going to lift the shoulders off squeezing the pound point between the shoulder blades and then back down so we're just going to go for a wide range so up, squeeze hard at the top three seconds, back down good, up three seconds back down do ten reps and just feel that contraction ten times and just hold for three seconds each time and just feel that position chill down chest on the floor the ground so the moment you're doing a straight leg once it's flat, not arched so head down, don't arch your back strong in here that's better when you reach hold those three seconds at the top that isometric hold at the top let's ask yourself that question Jack O'Cannon a little bit more but not through the back Laura chest on the floor let you come down if you can come higher that's what we've been listening to maybe yeah, I think you're right not just not just not just don't have anything what do you mean I've taught a lot over the years I've taught so much to athletes whatever it is whatever that camera that's the end of mine I've taught to athletes a lot over the years and used the idea that range of movement is the cornerstone of performance, if I have range of movement I have options as soon as I don't have range of movement the brain is going to have to compensate ond y sprinter, y swimmer, y hockey player, y maethau, mae'r same tynnu, mae'r same bobl yn fawr iawn. Felly mae'n gweithio'r rhaid o fawr i fod yn ymddangos fy mwyaf. Fynd yw'r hyn yn fyddeni, mae'n gwaith i'r modd hwnnw, ac mae'n gweithio'n gwneud o'r ddweud. Felly, oherwydd y pethau'n ffarnig yn ymdweud o'r ddweud o'r rhaid o'r rhaid o'r ddweud yma, yn ymddangos y byddo i fynd yn y pethau o'r rhaid o'r ddweud o'r hanesdal. Yn y mewn hantau, sy'n meddwl a'r un, yn gyffredinant i'w pioedd yma. Mae'n cerddau. Mae sydd wedi'u gael'r hantau am mwylo sy'n meddwl exfawr. Dwi'n gofio'n cyfreithion. Yn ymgyrch yn ddod i weithio'r oed mai'r rhai, dwi'n ddod i weithio'r hantau a gweithio'r oed yn meddwl yma i'rserau i'r sefyd engagedurau. Yn ymgyrch, mae'n gweithio'r ddau sydd wedi'u meddwl yma soedd fydd i'u meddwl i'r ddefnyddio. Mae'n iawn iddyn nhw. Rhaid i'w meddech indicatesu a'r wych yn effeithio. Rhyw hwn, ydy mae'n cyfrannwch ein proseson rai hynny, oedd yn ddechrau meddwl eich barb yn dweud am y cyfrannwch sylwyd honno. Mae'n oed yn fewnod ddim i ar y cyfrannwch, ac mae'n dweud yn yma yn hyn That's a nicehorn. Heyeon, Jobs on? How's it done? Not that last night. On my back? I'll just walk by that horn. And then we're going to bring it back on and link it all in together, so... ...come here a bit. I'll walk back to people just lying. Okay, so... Hello. It's all where it goes. Rwy'n meddwl, dych chi'n dweud eich bod pwysig i'w ddim yn y dweud ymlaen nhw, ac â'r dweud, y gallwn i'r dweud eich bod ar yw'r cyffredinol yn ddod i'r gwybod yma. Y cyfion yma o'r dweud yma o'r ddechrau. Felly, dwi'n meddwl i'r ddweud i'r ddweud, ac o'r gymnasiaid yw'r ddweud eich bod hwniaid. Y ddweud, ychydig, gyda'n bwysig i'r ddechrau i'r ddweud. Yn ychwaneg, mae'n gwybod i'n ddegisi, mae'n ddegisi yna, mae'n ddegisi. Yn ymwneud, ond jaco'r ystyried yn meddwl, mae'n gwybod i'n ddegisi. Mae'r dreffol yng nghydfynol, mae'r 8 neu 5. A'r ddegisi dyma yn ymdysgwm yng Nghymru. Mae'n gyfnod i'n gwybod i'r twfynol. Mae'n gwybod i'n gwybod i'n ddegisi a'r ddegisi. Mae'r ddegisi yn ddegisi. For the age of about 12-18 every night and every morning I used to do this and these like at least 100-200 every night and that caused a problem. Because you just get good at what you're good at so I'm just thinking very good at doing that but not using it effectively. It's a bit on the knee for just going to hold this shape together. Gymnastics would talk about a hollow body so he flattens his down. roedd yn ymddylo ei barod fel y gallwn cyd-dryfu a'i gael eich bod llywodau s newlytau. Ac mae o'n goll i ddefnyddio'n ffordd o gymryd yn dod yn unig yn ei ffordd ystafell. Fe allan yw'n goll i chi weithio'r ddefnyddio er eu cyd-dryscwyr fel yn Didaroedd. nhw'n galw daeth i ddefnyddio'n ddefnyddio'r ddefnyddio'r ddefnyddio, a'r ddefnyddio cyd-dryscwr o'r bod llywodau dim. Felly mae'n goll o'n g own yw'n goll o'i ddefnyddio. Iefall, codd meddwl ac os yw'r groesid, gen i chi ddim yn ychydig gyda ar hyn yn gyflwylo'r gwertho'i gwahanol, iddo fawr squasio'r gyfer ar y meddwl yma. Be'n gofyn i'r trygr巧 i'n eu gwasfod ar amdana. Ac ydych chi'n gweithio'r gwahanol a'r cyfrindwch i'r per Alzheimer. A'r cyfrindwch ybryd o'r gwahanol ar y meddwl. G'e'n gwahanol o'r gwahanol, gallwch chi'n gallu sylgaen a'r hyffredigol. Ac yna'r gwahanol, ac yw'r gwahanol. gyda'i yng Nghymru a Gwain. Mae'r gwahanol yn dda i gyrtaeth y cysyllt ar yr adeiladdioli fydd yn ddechyn nhw. Gwai'n ddefnyddio beth dod o'r gwylawn iddyn nhw, ond yn eitdem chi'n bobl pa wnaeth gael gydagai'n fynd, oedd gennym eu maen nhw i gael gydagau'r wedi mewn hwn. Meddwl 2, roeddwn i'r cael bitwyd ar yr llun, ac i'n meddwl i'n meddwl lle, oherwydd i'n meddwl yma yng Nghymru i fynd. Meddwl 3 ylai wneud, gafodd ar y rhai o'r roi'n gweithio ffordd arlai, beth yw'r cydwyr i'r roi'r roi'n gwaith, y gallwn gwaith, ac mae hyn yn ddarlun eu cydwyr, y ceuxch chi yw'r gweithio'r hyd o'r cyffredin hwyl gyda'r hyffredin wedi gair, mor bod y rhaid. Mae yw'r gweithio ymdolo chi ddiwedd yn ei chael, maen nhw'n mynd i ddigon yn gyfiniadau, felly awddiadol arherwydd, mae'n gweithio rhaid ar y psig, o'r wneud i wneud i flimio irz�� i'w ddau i'rwyr, a gallu gwneud y Cymru yn ysgol i'r plwysnod yma yn erbyn. Mae'n ddweud â'n fforddol i ddodd ac yn gyfgwyno'r cywbeth gyda'r barth. Yn ymlaen, yn ymlaen i ddweud di amser ymlaen i'u cyfnwys â'r fforddol ar gwein. Mae yma yn afnod o wneud i brushes i'w cyfnwys angynnu. I'm going to move my right hand and my left leg, the other side doesn't move at all whereas what will happen a lot of the time we can say why we'll do this that is helping support the pelvis so my core is not having to work and then this one I'm taking that lever and taking it right into the centre line to make that is 10 times easier than if you actually keep this straight and this straight. Ideally you can even progress that by having the leg you're not moving slightly further away until you're trying to fight that. When you've found that position guys, that hollow body, have a quick rest and then take yourself back into the hollow body. You have to do a little bit of a movement to try and get yourself going but then just try and get a rock. We will put down 20 well controlled hollow rocks as our baseline for core stability. So you're always going to go onto your shoulders guys before you go off the ground. We've got quite a lot of time to explain some of these basic foundations because it's going to build everything we're going to stack it onto. We could just have gone straight away, let's just kick up into a handshake. We haven't given you the tools to be successful in that shape. This is hopefully going to start to link it all together. The nice thing about when we go human flags, everything we just did is the same. Human flags are handshakes on the side. The force is working a different but it's the movement, the shape as I can say. When we're going to leave this, all of this is going to be the same. We're just going to change where our arms are. This is the core work of the foundation but it worked perfectly great for handshakes that transfers into everything else we do. Last of all, we're going to give you a quick demo of an exercise which if you haven't got it, do you want it? If you feel comfortable with just a seat because what it would do is give you some feedback as to where you're struggling. So the first thing we can do is go back into our push-up position. What I don't want to do is advocate push-ups in hollow body positions. We don't always need to be in this shape. If I want to go perfect push-up, I want to go neutral and then I can push-up. For the purposes of handstand training, I'm going to adjust that pattern slightly. So I'm going to go push-up position, create a hollow body. I'm going to walk the hands up and see if I can hold this shape. The stronger that I am, the lower I'm going to be able to get. So it's the movement as you've got the range of the shoulders to go there and then the strength for that end range. So exactly what we were talking about yesterday. So if we're tight at the shoulder it'll be hard to get there. We're weakest at end range, but we're working. If we're talking about the load or the resistance we're having to work, everything we've done so far for the core was unloaded. You were resting on the floor. Whereas now we're challenging the core, but loaded and particularly loaded around the shoulders. Tim goes for that thing, it's hard for the shoulders. So then, you know? Greg doesn't know what he's doing. Don't worry, he's doing the hard bit. So Tim goes into his handstand shape and he's got that core strong and connected. If we take the hardest point, the furthest, so here's his fixed point on the floor is to the point. We go the end of the, is he going to help me? We go the end of his lever. If he maintains that body position, we can pick him when he's ready, when he's locked in, we can pick him up. Tim, up. You all right? I need to find the right moment. Yep. Big two. Big kids. That's all right. You've got to be in his handstand. He likes it if you clap. The hardest bit about that is connecting from the bottom, because they want to lift me, so it's fine in the lever position. Are you going from a rest of the position on the floor to suddenly the hardest part? That, that, that. So let's have a go. Let's all have a go. Okay, is that pressure position? Create that hollow position. So you're going to tuck people in a little bit. Don't go crazy. I don't want to go from here and just like that. So it's a subtle movement. And then what's it like? I just slide those hands. I mean, this grass is pretty good for it. You're feeling a point. And you smell blood. So don't allow yourself to go into that extended position. Go as far as you can go whilst keeping hollow body. And that's your point we want to stay. The midsection is where a large portion of transferring force to the body. So it's strong we are. Your hips are down. So your shoulders are down. So come up one last, last little thing on this. What could be nice to do if you want to go into some right pressure. Press first and walk up. Your hamstring length is going to be important for that. So you can walk your hands out, sniff the floor. And then you're going to walk your feet forward. And then can you get to a position that is? That's very good. Yeah, that's the start of your, like, press start position. Like Darren. So Darren, six months ago, he was in such a state. And I've been really equal in my hamstrings many times. I've got hamstring problems. I as well, I've got a pinch on them. I've all put it up later on my furniture on my phone with Darren last year. That's as far as we can go. Show us that. And now I was assuming this. Now, this is the fight. Woo! That was even way more. Yeah, so have a go. When you're there, the further forward you go, we're going into, you know, the one, the down dog that Tim did, you're starting to go towards that position. You're going to start to let your head go through. Nice idea. Let your head go through. Let it go through. Let it go through. Yeah, there you go. Let it go through. Let it go through. Let it go through. So if you like the start of your press, if you're here and standing there, you can't load up. You need to get under. You need to get your head underneath and stuff is stacking on top. There's only possibilities. If you're looking forward, you're not stacking there. I always have neck pain. Yeah. Yeah. Because when you're forward, you're pushing the push. Because you've got the range. You do like that. You've got range like you said. When I come back, it's all strenght stuff. When you're forward, it's coming back, and then it's going to see your head go through. Yeah, yeah. So that's a little bit there. It's a little bit there. So that comes through. It's got point 16 already. Can I bend the other way? So I use this quite a lot. Just to get your eyes, again you've got a stretch. That's a way to get back on the stretch. Can you make it again? Okay. Just an example of time for you. Oh. I wouldn't have thought, because this is still... How can you get so high? Keep going higher. Keep bringing it in. Keep bringing it in. Good. So there you're just a little bit past vertical. It's fine. And then if you want to... We need to get this more over here. So you will have to keep going up onto it and keep going up onto your tiptoe. It's going to be this and then this. This is that way. Yeah. And then to stand. Can you then hamstrw? Get into that position. Where your hands down practice can go. And then particularly like this bit, you've done that catapult and walk into that position now and you're going to show that position there. You find that it's hard to get higher. So it's that hamstrw range, but it could be where I'm stiff in that low back position. So can I get hamstrw range? Or in a back type? And then we just need to find these positions that are going to help to mobilise a shape that I can't get into, which could be that flesh. I'm just going to go from a straight person or pipe to handstand. So we can take that catapult of position and I'm just going to lift my body up. But what I need to just think about is one of the control strategies that we have is this end range in a handstand. So this is kind of like a fairly advanced progression of that. But the point I want to illustrate is that you're using your shoulders to control your hip position. I'm going to put my hands on the floor. I can come through and balance. And as that's the lift, then to get into the shape, my shoulders are pushing into the floor to bring myself that head between trying to make that straight shape. Now I'm locking on the body. So then the alignment is everything's stacked on top of one another. If you go to the start, because you don't need any counterbalance. If you go back to the start position, but just the start position. If he's going to count, if this is his pivot point, and he needs to counterbalance this. So at that point his arm is a vertical. It has to go slightly forward. So the shoulders will be slightly in front of the hands on the floor. So the wrist range becomes you need more important to counterbalance the weight of his legs and everything, even if they're skinny like ours. So he has to balance that weight. And then as we come up, if you saw it from the side, the arm might be in position here to start to straighten up as the body comes on top of it. So it's going from there to... Basically connecting these two structures together. That's for that midsection of our midsection. So we finish here at 11. If you can't do that, by 11. A thousand more beats. Okay, let's see you guys on your hands a little bit. So we're at my bear, we're at Mark's gym. We're in the temple with our first handstand session with the guys. We've done some prep work. We've worked in the court and Tim is now just starting to take the guys through their first journey of using these puppies like their feet to balance on their hands. So we're going to try and loosen this stuff up. If you have any kind of golfers elbow or elbow pain, this is one for us. These are our four arm flexors. When we do lots of pull-up work, when we are weak at end range, we want to find that bit of the chin over the bar. So we find it here and then that's where we get all juked up and nasty here. So spending time loosing these guys out, have a go on both sides. It's good for us. Good. We'll do some small wrist circles. Just control them. The other one we can go is palms together. Elbow is high. I saw a chunk of your palms together. Roll a little bit in those conditions. Keep it up. No one in our gym was doing calisthenics. We were just messing about. At that point, it was like, I was just trying to do this stuff. It was going to be more fun than wait. There was no like, we'll get good and then we'll teach it. There was none of that. We still haven't got good. So yeah, that is where it started. I don't know if you've got to leave those out. You've got some old videos somewhere. They're all embarrassing. But you watched it. We went to get some tips from Gymnastics. Yeah. Olympic Gymnastics. It's in Nottingham. Tim did his struggle up. He went, people come in now, whatever four and a half years it is, and they go, I couldn't do that because I'm not like Tim. But actually, if you'd seen him at the beginning, he was just like you are now. I've never been able to do one. Gymnastics is a kid. And I learned to do one about six weeks ago. And within minutes, they got us all doing a test so you could slide us out and do a minute. And it was just so quick to learn it, even though I've never done one before. But I tried, but I was always scared of face planting. That position was real quick to start off with. OK, that's a little bit. I'm going to work it forward a touch. If you guys, I'm going to show you two variations of how I can get going. I'm going to show you a few variations of how I can get into handstand. If I just want to go into a handstand and nail that shape, then I need straight arm strength. Two different things. So it could be, I've got to start straight arms and I'm just going to bunny hop up, try and hold that shape and then press out. Or you might want to just kind of stand up, same thing, I'm going to try and kick up and then align the base heavens up. I think the kick up personally for me is harder to hit and miss opportunities. I have to control a tidal wave of information in a split second because I haven't got any stable components. What we like about the frog stand progression or the straight arm progression is that I can create a stable foundation from which I can move to the next progression. So if I go straight arm, straight arm position needs to go higher, all that happens is I'm just going to go here. If I can control that shape of stable foundation, it means I can then start to think about the next one. So I'm building a complex movement by layering bits that I can do rather than trying to kick up and guess at all the big bits that I want to do at the same time. So go to your stable, the highly stable shape. So he's stable here and then he takes both legs off and he keeps his hips high and then he rotates to the neck pole. I'll spin himself off the ground. You can skip that stage by getting strong in the crow stand and then working to get stable here. The bit of that rotation is a lot of strength to move that through. But it depends what you want to do. It's the idea of breaking it down rather than go everything at once. It's going basically shoulders and hips then legs rather than shoulders and legs. We can kick up and we can kick up slower and find our shape. Rather than a big fast leg. The big fast kick up is what that's the one that's likely to send you over the top. So whenever we're trying to do something if we've got more control as we're moving in and out of our positions then we're going to have more chance of holding that back. That's it, that's it. So all you need to do is just your balance point slightly further forward. It's the same as what you asked me about the lean forward for your start of the year press. This is what I can say. I can commit more. The question that I use actually is what you can do with your balance point is just that getting used to it and building up the rest. I can't do it with a press. A long time. So just to stand up guys and girls. Questions for like thinking about where you're going and there were some questions about like that sort of straight arm and we've seen Tim do it from a pipe people do it where you straddle out to the side and come up. But that idea of being shoulder needs to go forward of the wrist to counter balance the weight behind you. In your frog because your arms are bent you've not got to lean as far forward because everything's a bit tighter and that bent position you're able to let bicep and tricep help the shoulders out. Whereas in that straight position we've got to the shoulders are going to have to do it a lot more to commit to being further forward. So the same way if someone's in a frog for the first time I would always suggest to them don't just try and jump up because you'll smash your head on the floor like me or you just won't commit to the balance point which is further forward than you think but your brain is saying Jack are you 36? You've got a beautiful face you don't want to mess up. It's happened. I've had a carpet burn off this before that's another funny bird. So if I was frog standing it would be get comfortable right squeeze the floor, feel the floor push down hard, push those scaps all that good stuff and then one am I happy? Can I dab that one? I've got the balance point. So the same thing but arms need to be higher arms are straight gripping the floor pushing down hard that feels like that feels better no it's not look so a bit further. That feels like it one leg OK Now I've got it So build it up slowly that balance point is further forward than you think Yeah? There you go there you go There you go there you go There you go there you go There you go Difficult a lot of stress here You have to get all that strength The range is there It's almost You're arms straight Now thumbs up If you've got anyone else feeling it with that strength because of the need to get that short third forward the wrist feels tight Getting comfortable enough can we challenge yourself in moving about can we take one leg off put it back on can we take both off and keep the hips at the same height and then we've got the same variation same thing if you want to try that with a straight arm position So that's going to be some of our strength and trying to move about and just trying to feel challenge your balance your strength in terms of that If you wanted some bridging gaps I could be I'm going to dab one toe on the floor just to get myself a tiny bit of support as I practice taking one leg off before I actually can do it completely on my own Have a feel of whether you want to do that bent whether you want to try that straight depending on what you want to try and have a go at that As you know You were pretty hot to that into that tuck So tucking wise we can bent arm take both off and that press out we've got that straight arm position to it where our other option is can I actually do a little kick up and try and find that position I'm just getting it that might be at the start bent arm that would be easier than straight so it might be that'll get used to just being slightly there because then you can worry about pushing up to it afterwards or if you just get a boom straight I'm just trying to nudge but can we start to feel what it's like off in that position one thing and then we'll worry about the legs being completely straight once we get those positions there there's loads of little bits of help we can give you while we're looking to help I'll have a little play around of all those variety of those things you want to have a go at Ask any questions Walk around to help everybody I'm struggling to keep my scalp set I know I have, yeah yeah I'm sinking down one time Yeah You can feel where you need to be That's fine You feel where that position needs to hold One of the things that I find is that you're going to go I thought you were just going to do one I'm sorry It's not like So just take one knee up So just take one knee up Which one are you going to do? I'll do this one I'm not going to touch with that side Okay And if you extend the lever out harder or easier Easy because you pull up a balance It's balance-wise because the weight is pulling you down to a strength one of you In terms of say you've got a portion of your program which is focused on skill acquisition I want to move that to my arms Just Directly, straight arms It's going to hold that shape So that's not my program That's my skill acquisition Tim mentioned about using a band later The same principle of where we're going to support is going to happen We've got some people where their reflex is The leg's shooting out behind them And that's then causing that Weight distribution for balance That's being pulled down And it's going to pull us down to the ground So we're going to try and keep the knee in Tight And all I'm going to do is Nothing hard Just a tiny bit of support So it takes it up So it's not shooting it out by your chest There you go If there isn't that support there You've got two options Face plan because you're not strong enough The safe option is to rock back Don't commit to the balance point Of those hips stacked on top Of your base support That makes sense I want to do Over here We don't know what we're doing So if you were doing some kick-ups If we were going to get Some support and some of the lads Were doing this as well You're trying to get into that position Yeah Every time But the WWF body is on the top The brain doesn't like that So where do we go We go here to the safe But we're never getting the hip On top of the base of support That is balance The centre master will be the base of support That's the discipline If you've got hands on the floor I can support her hips And you're just going to come into this tuck position Legs aren't going to be straight Legs are going to be bent I help her Get her hips Above her base of support One of the reasons is One of the reasons is Give the brain I've been watching some of Andy's I might not have seen them all But he was never getting his hips above his base of support So he's always going it down I'm going to give his brain a chance to go This is the position He hasn't yet felt that position Come a little bit further Stay there So that now That couldn't have gone any better I'm a magic man It's not magic It's literally He just wasn't getting His centre of mass Hips above his base of support And then all of a sudden we did And I didn't actually think he would Necessary hold by it so I don't know How much hands and drinks he's done But he was fine, I could feel he was fine And then he actually had been nailed it But all we did was We gave his brain a chance to go Oh, here's the position Great, got it Say he just didn't have the balance He'd obviously done some hands and drinks He wouldn't have felt great I probably wouldn't have let go But he's fallen some way You've been doing some hands and drinks practice? A little bit, yeah He's got some experience of that being upside down He just couldn't find that shape From that position Yeah I'm just going to spot here a tiny little bit On the off, keep it tight Chest on the knee, chest on the knee Good, and then put it back There you go Great See you like it I've done a lot of work That's the wall The alignment is pretty good Your brain is out of no idea Which is fine So what your job is then It's just a development of your kinesthetic awareness Of spending more time in those shapes When we use the wall in a minute You're going to get some feedback to the wall straight You've got to spend that shape You've got to spend time there Give your brain chance to go I understand now where I am In space, when I'm upside down If you have the same thing If you are physiobuspective Keeps out of shoulder injury The proprioception of actually When I've dislocated my shoulders I don't know where this is anymore So I've got to retrain where I am in space That's why we do all these little Silly exercises Of the shoulders Rather than when both legs go All momentum is going that way It's very hard to stop yourself from not going that way And you end up in that Everything is sending you into that arch Everything is sending you through the top See what happens Take both at the same time It's really difficult to stop You're just sending loads of momentum up over here When you feel like things are going over the top The grip of your fingers It's pouring in with them Pull yourself back If you are standing up now by leaning forward Automatically my toes trying to grip To pull me back Things are going to be the same Have a play with that guys If you've said what we say We use that phrase very intensively Have a play I love writing in general Put some blogs together about play We do it as kids And it's how we learn about the environment around us It's about how we learn about our bodies When we get to become adults We lose that freedom of play Einstein said play is the greatest form of research So play with a movement Work out what works I'm watching Jack I absolutely love every moment of watching Jack learn to move Because he just plays And he tries something and it doesn't work And if it doesn't work he tries it and it doesn't work And he realised after a bit it doesn't work So I'm going to try something else By the moment you guys And it's not a fault and it's not a criticism I can tell me what I need to do And I can tell you what the tools are And the points But there's also a bit of you've just got to understand How am I moving And what is working and what isn't Because you've got to get in tune with your own bodies To understand control It's a beautiful Understanding is actually a really nice mindfulness Experience and practice Like Jack who was talking about his assault course yesterday He couldn't think about anything else He was like But it was really good Halfway through for some reason I Got out of that and I was like What are the things I've been worried about these days And have you completely forgotten about it? Most people in here have been thinking about handstands For the last hour and a bit But when you're upside down just What am I doing Because that's what your body is when you're Now when you're standing you've been doing it for 37 years I don't need to think about standing up When I'm upside down I need to be thinking about How am I doing this movement That makes sense So have a play It's a great little thing I'm going to play session Play with some stuff and see what happens See what I learn as a result of it Do some research on yourself