 Of teaching the school castoknyg's fraternity style at Mar Baer Handshake. And it's even more important this year cos you're the second group, and there's a distinct possibility that you may meet someone at some point that you haven't seen before, but actually they came on the school castoknyg's last year. And then there's another group coming in October and it might be that you see someone Ac nid oedd oedd y c interests a dyna hefyd y cersio'n greddiol er mwynhau'r gwerth, ac mae hi o'w wahanol i siaradau. Ac mae hi o'n gwneud bod y ddechrau, ac dros ddigonwch, yn nith agaf y bus. Yn y cersio wedi chi, mae hyn yn gwneud o flotau, ac mae hyn yn y ddi, a heddiw i ddweud roedd pan ddweud ar y gyfer a'r gwerth. Mae'n amlwg yma... I can just hang... I can just hang... I can just hang... Just hold gas and... I can just hang... Ah, yeah it's a score guests. I actually went to my friend, got mine for free. Ah and he's like oh yeah I saw that trip. I would like to go on that. Or it might be that we see each other. And he's like, I give him the eyebrows. And it comes and it looks like we're just doing a handshake, but we come in and we slide past. We come with the butterm. We fist bump because we know we've been on the score cast. That's the handshake. So we'll go through slowly for you. mae'n dweud gan y bobl yw ceisio amser fyddwn. Ond yna, dwi'n ent bod y gallwn ddynnu'n moedlwn i chi i chi'n dda'i gyda i chi a chi'n ddod i'n golygu. Mae'n dd stages i chi i chi i chi. Aethwni yw'r du. Just i chi'n ddiaddu fel ddysgu. Mae'n meddwl i chi'n ddylen, a gallwch chi'n i chi i chi i chi i chi yn vanastelua'r. Goch chi'n ddysgu i chi i chi i chi i chi i chi i chi i chi i chi i chi i chi i chi yw'r bufyn i chi. Mae'n ddysgu i chi. Mae maen nhw'n gweithio gyfnod o'ch Cymru sy'n cwb o ran eich gweithiau a wahanolo. Felly, rydych yn cyngorol bydda i'r Maen nhw, a'ch gweithio'n gyngorol byddo, a dwi wedi'u fwyaf'n gofio ddysgu'r hwn yn gystu'r lle. Roedd yn adnod i gyd bydderfyn hanc ddangos o'r dal yn cael gweithio'r gweithio, gynnal o'r ni gyd o'r hanc ddangos o hanc ddangos o'r hanc pysg, o'r sgwyl ar hanc ddangos o'r four arbeilinellol. do mor siwn there's lots and lots of different things you can press you can pipe whatever. Just to add what the whole premise is of why Tim is talking about how he's disikating that over a position, and there was a thought process to go the idea of what I said, heck that is go and put me in that position and see what happens hand just see what happens. It hasn't...that would actually sound a little bit like crazy why would you do gallwch yn zeidio y ddechrau, arillion ddechrau, arillion ddechrau, i'w dechrau. Rydyn ni'n rhaid i'n mynd i gael am hwnnw o ddechrau i'r ddigon i ddechrau i'r cy conceil a bod rwy'n credu allanodd ar y ddechrau. Mae'n ddau o'r cyflawni sydd wedi'u ein bod yn syniad yn y cyflawni hwyno yn cael ei wneud bod gweld yn y bwysig, neu yn cael ei lle cofliad-rhyw yw'r cymddechrau yn ystod gyda'r cyntaf, y cyfnodd ar y cyfnodd yw'r cymddechrau, yn ystod ar arfer, ac yn oeddyn nhw'n cydwyd yn ystod yn ei achos oed. Ac mae'r cyntaf rhan o'r cyfnodd am gyda'r cyfrannu hyn, ond y pwyddynt yn y pryddwyd yn y cyfrannu ychydig, ond mae'r cyfrannu ar y cyfrannu cyfrannu a'r cyfrannu yn y pwyddynt ymgyrch yn y cyfrannu cyfrannu'r cyfrannu. i gyn mynd i'r idduniedig ym m nag i chi yn gweithio'r bheithio, mae ei'r bwrdd eich bod yn ymddangos o gydigon, yn roi wneud dweud y bydd y gallai mwyth i'ch dy hydrated. Dw i ddysgu wahanol o'r ddau o'r lleon, ac mae'r rai amgylchedd pan i'r bwysig o'r bodi. Roedd y bwysig o eraill gennym arall, y griffwyr yn ymdniliadau ymlaen i diodelui gan ymddangos. Rwy'n gweithio'r gweithio, gyda'r gyda'r gyda'r gwybod, nid i gychwyn, nid i'r rhwng sydd, nid i'r cyflwyno, ni'n gweithio'r ymddangos, yn ymddangos, yna yng Nghymru sy'n ddim yn y ddefnyddio'r cyfrïdd, ond ni'n ddysgu'r adroddau, yn gyrddio'r gwaith ymddangos, yn ddechrau'r cyfrwyno'n gweithio gyda'r 30 o 40 o'r gyfrwyno'n gweithio'r cyfrwyno'n gweithio'r newydd a'r newydd. Mae'r paradwyr yn sefydig i'w hynny a ddwyedd i'r hunsyn hwnnw. Mae'r paradwyr yn sefydig i'w hyfforddiol a'u meddwl, a byddwn i'ch gael ei bod yn ymddangos i ddweud â'r hynny. Mae'r gweithio'r byd yn ymddangos, yn ymddangos i ddweud o ddweud, a'r oeddol yn cael ei ddweud, oedd o'r ddweud o'r ddweud o'r ddweud o ddweud o ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud. So we believe there's a lot of value in it. So we're going to take you through a bit of a process that will start here where there are no walls and we're going to look at the bottom up, how to get used to balancing our hands and then how we build that up and the strength element and aspects of that to be able to get up. We'll go back then down to do the sort of the top down so we will use the wall and then we'll look at how we link that sort of together in the middle. We can look at a few different variations but predominantly we're going to base it around this frog to handstand and a little bit of the story of that. Tim started with that process and when I joined him in that, we didn't really know each other before we started working together from our strength positioning perspective and we were playing about with Calisthenics, I saw him doing that and he was running to do handstand and I'd finished playing, I was bored of the weights that I was doing, I was doing the same weight training that I did when I was playing rugby but I wasn't playing anymore and I sort of had this realisation of, what's the point? I could just do something different. Tim was messing about with handstands and I'm like, well, I'm just going to kick up into that. I'd like to do a handstand as well, that would be quite cool. I'm going to kick up into handstands and I spent, I don't know how many months, kicking up, kicking up. Tim, did you see that one? I held it for like 0.1 of a second. He's now lying on the floor again, Jaco. And realised that even once he'd got then into his handstand, getting up there in a strength way from that frog stand and then wanted to try and do handstand push-ups and he built strength doing that and all I'd done is kicked up, I then realised when I started to want to come down, I got no strength. I haven't earned any strength in anything outside of being arm straight and then went back to the start and then started this process virtually again from that and that is something that we, as I say again, from personal experience, that's why we're going to take you through this process rather than just heaps of kick-ups. If you do just want to learn how to do a kick-up and hold a kick-up handstand, that's cool. But if you want to build some strength of how to get there, then we need a slightly different approach. And we'll be doing some kick-ups when we use the wall or actually kick-up to get there and bypass the strength so we're not just goose every time we're trying to do something because if you want to be able to do a handstand you need to be able to hold that position or if you want to do a frog to handstand, you need the strength to get there but you also need the balance and the control and that good position whilst your arms are straight. So we do need a bit of both but we're going to focus a lot on how we get there from a strength perspective. So first let's just loosen the wrist. One thing we didn't talk about yesterday, particularly a movement perhaps, was the risk because we didn't necessarily need to. And all I want us to do is just we're going to obviously take all of our weight on our hands when we're going into handstands and I just want you to start to just move your hands around in different positions and you should feel like when your fingers point more behind you you're going to feel a bit of a stretch more on your forearms there and it's a lot of the time if we're doing any gripping work the flexors are working super hard particularly if you're false gripping rings for ring muscle ups everything that gets tight here on the flexor side is going to restrict us getting into that extension. I want to be able to create a position where at least I can create a vertical position with more forearms so create 90 degrees at the wrist. Ideally I might even want to be able to come a little bit further forward so I can offset some of the balance that I'll need later or counter balance that I'll need later in that sort of some of those frog stand positions so moving the hands around don't try to rip anything off just start to feel and then take a little bit more weight on one side to the other and just encourage you and just gently a little bit of new range look at what happens if I just lean forward not letting the base of the palm come off and just take a little bit of weight you're going to feel a little bit more pressure going through the front of the wrist when we go into that shape and just a little bit explore a little bit side to side everyone's going to feel a little bit of tightness in different positions so just have a feel of what it's like for you and then the last one that's quite nice to do is one at a time where fingers pointing back if you can hand goes on top everyone just do the right arm because I can then explain it to you so right hand down left hand on top I'm going to wind so I'm going to go anti-clockwise with my wrist so wind that up and then try and sit back and you'll feel a pretty intense stretch there maintaining the base of the palm on the floor rather than if I don't wind it up I'm losing a little bit of that tension we talked a tiny bit about being mindful with our movement yesterday even like something as simple as your wrist we can do the same thing we're going to need to be pretty mindful and present in our handstand practice because if you're not focused on exactly what we need to be doing because there's so much going on then you're not going to be you're not setting yourself up for that success yep so we're going to revisit some of the prep work we did yesterday and just build upon that for for our handstands if we're tight around the front of the shoulders chest until we're dealt with we're going to make it difficult for us to get into a good overhead position because when the shoulders are rounded forward we're not going to have the shoulder blade the scapula and the humour head in a good posture position to allow us into a good overhead shape so we can go into that seated extension position the hand's going to go behind your back peel the shoulder blades back together start to squeeze the shoulder blades so we get some activation at the back and then we're going to try and make this as little about being static so we're going to get us bum up off the floor we're going to start moving in and out of that position the whole time not letting the shoulders be sort of shrugged up by the ears drive those shoulder blades down move apart and then as you start to feel getting some of these positions just change it onto one side and get a little bit of movement away keep pushing the floor down keep pushing yourself up and then I'd like us to see whether we can start to if I come on just have a little break enough so I'm on that one arm I'm trying to push this away and up and I want to see can I start to drive with hips, go past neutral and can I start to get some extension through my spine I want to try and get that extension coming as much as I can through the thoracic spine we need thoracic extension to be able to get good arms overhead and then just encouraging what does that look like a little bit of a single arm bridge type of shape and then swap then go on to the other side one then just for the wrist position rather than being behind the back you're going to put them behind you hands are still going to go behind the back but you're going to have your fingers pointing forward you're going to feel this more than on your wrist we're going to do then the same thing again look, shoulders are forward, I've got to squeeze them back don't let them slump by ears drive the floor down, push away and then can I encourage myself forward in that position still you're going to feel should feel even a little bit forward down the forearms as you go forward keep the base of the palm flat on the floor but it's just encouraging a little bit more through the wrist alright you didn't say you were one just be super progressive with it anyone do any bridges or wheels it's just a nice in terms of trying to get that arms overhead shoulders in a nice over position and that upper back trying to get into an extended shape so you can build up if you want stick with the single arm progression even just starting to get up there nice and then I'll just enjoy these recently where I'm trying to do everything linking all that together so that single arm that bridge but then coming round into the other one trying to actively be and getting good at pushing out and away then having that control and stuff on one on one side but the idea is for me to get decent overhead position I've got to not only change what's happening at the shoulder, I want to be able to extend that spine so I can get into a better overhead shape the better overhead shape I can get the better that I've got an opportunity in my handstand to create a better shape I can't create a good shape standing up because my shoulders are tight in terms of the actual shoulder here but a lot of what goes on is what's happening at the spine as well that if I can't extend that thoracic think that your shoulder blades are sat on your ribcage and your ribcage is dictated by where your spine is so if my spine is rounded forward at the top all of a sudden I've moved my ribcage in a different position my scapulae is in a different position that's going to affect how easy it is to get my arm overhead the only way if I'm in a poor position I'm over exaggerating it but if I'm in a poor position here with my spine what happens to my shoulder being forward as far as I can get my arm up is about here so the only way my hand goes over my head for a handstand is to make the change at the hip here to allow that shape and I don't really want to be in that type of shape when I'm doing my handstands not only from it looking nice I'm also putting the shoulder in a compromise position if anyone's ever had any pain around and impinge around the front of the shoulder a lot of the time it's to do with that humor head being at the front and pushing on some of the tendons and tissue at the front of here that we don't really want to be jamming apart, we want to have nice shape for the articulation of the shoulder to allow us for good movement but also pain-free and good quality movement so we owe people to our corps so they've just been fine what we're talking about to start off with it comes in a different heading so effectively if I was a cadaver of their body and you were going to chop off anything that wasn't core what would you chop off? the biceps head and knees head would go agree? arms arms where? where? all of it no, you would chop us even your upper body would be quite great there's been this reduction of the spine in this core there's been before there's been a section of the spine so any musculature which is attached to the pelvis or spine is defined technically as core so rather than core being here think about pillar of strength and stability so we could lose this bit and we could lose that bit everything else is attached to the midsection that was the spinal or the pelvis the important part about this is the midsection where our spinal stability is super important in transferring forces to the chain if we're going to do, let's take an example it's a bit different but if I was going to throw a ball force generation roughly from the body if it's going to come from 50% low body if the go box is going to throw a punch it's going to be 50% 30% from the midsection to the rotation probably about 20% from the shoulder so how we're going to transfer forces is significant and the same thing if we're going to go handstand, push up human flag, the force is now coming from here but if I haven't got spinal stability through my core then I can't transfer those forces into the feet so again callousenx is an example of how it plays the strength of how the system is designed for you so we're going to have a quick look at just some core progressions to think about the spinal stability we didn't really do any kind of crunch work you have a stabilisation system which is the musculature which is close to the spine and we have a strength based system if you want to call it that or global strength which is more superficial so this six pack your abdominis is going to be more part of our global strength based musculature our deep fibers like intervleets, transverse abdominis this sort of stuff, loads of the spine that's like a corset around the midsection that's what we're more interested in get that right and then these big guys that Jaco has been working on for years come to the result of that but also if you want to do sit ups but it's a non-functional exercise for a large majority of what we're going to do so dead book position is dead simple here's job is to try and keep his back flat we can argue about neutral but for the purpose of calisthenics we're going to put the back flat against the floor so I shouldn't be able to get my hand underneath he's then going to go and try and take one on one leg so a bit of coordination out keeping that back flat don't let it arch all that's happening here is we're moving weight away from the midsection so we can alternate those two we talked yesterday about maintaining a strong shape well I don't want Jaco's doing this position to just get dead floppy in between so we're all about creating tension so keep these positions nice and strong keep thinking that when you go out into that long position drive the arms and the legs away from each other create tension in the chain because we're going to again do that in our handstand the next thing he's going to do is bring both hands together he's going to take arms and legs at the same time more weight moving away from a centre of support here still trying to keep the back flat if you get halfway and you find that you can't go any lower and your back starts to arch just work to the range of movement that you can control there's no point working through to the ground if you're back with arch because you're just training a bad position so be super strict with how you're going to control your positions the last one then I'm going to go you guys can work through this progression there's three it's going to be a hold position a hollow body hold so it creates this shape so it's now into a tight body position big in gymnastics but this is how we maintain tension in the midsection this is going to be muscle up this is going to be handstand to a certain degree and swirl the levers if you can do that then you can rock just give us that fourth then we can play through can you then hold that hold position the important thing here is that backside clears the ground we shouldn't have the hips on the floor and then just basically just doing a hip flexion movement with the hips moving we want to use a low abdominal to pull the bum off the ground so go through that little sequence double arm dead bug hollow body hold hollow body rock and then we've got a little test for you to see how you can live these together the different you've got your full dead bug where both arms and both legs are out but your upper back is still on the floor that dish position is when you actually then pull the head and the upper back off the floor you just have a quick little rest and then just make a couple of little points for you so in my full in my full dead bug my upper back and my head are on the floor but I'm taking these both my levers of my arms and my legs as far away from the sort of centre muscle of my pivot point as possible so the further I take them away the harder it's going to be so I can make this slightly easier but I'm not taking them as far and having them at a sort of 45 degree angle the dish position is I'm now pulling ribs down upper back and head and out off but I'm trying to make this as hard as possible they're off the floor but as close to the floor as possible so that same principle taking levers and taking them as far away from the point of contact that's on the floor of the pivot point as possible so I can do my dish but make it easier by having it much deeper type of dish so when you go into your rocks you can create a deeper dish rock or I could even bend my knees reduce that lever length a little bit I could then take my hands and I could bring them in towards the middle I can still create that motion where it's not slapping down I'm staying dish of it's a constant little rocking motion around your lower back so have a little play I want you to feel what that rocking motion is like so you're caping a connection more with so let me just finish for it to be for it to rock we must maintain the same shape in that spine if the spine is moving then you're not rocking one more slap back or slap and then your bum will slap because you're changing that position you're going to try and maintain the same shape just use any one of those progressions to find where you can do 10 rocks in what feels like a decent shape every time you go back your bum gets picked up off the floor so someone should be able to slide their hand underneath and not get trapped by you so what we're going to need is shoulder range of movement up overhead we've sorted out lats we've sorted out pecs this position here we talked about yesterday if he's tight in his shoulders when he goes overhead the back's going to want to arch so what we've done is we've created range of movement and we've now told the brain that this is important that I need you to lock this section down so we've got this range of movement and must get a coordination to hold the shape so we're doing alright creating the conditions for some success so we're going to just take it into our one last poor challenge for you to have a play around with together so I'm going to demonstrate a jacket because he always leaves me this one takes what you were just trying to learn there and tests on the fact that how well are you maintaining structure alignment of your midsection of your trunk and in our handstand we're going to try and make a change our fingers when we're trying to balance a lot of that balance and that control comes from there we're going to want the change that I make here the pressure, the force that I apply to the floor here to travel all the way through and be connected to your feet so that you can change your whole body line all the way up to your feet by making some changes here you can only do that if you've got that connection through the rest of the chain and strong so this tests a little bit of that and also tests whether you're actually doing a hollow a decent hollow rock or hollow position or not so real simple you're going to create your hollow body position and your partner is just going to put some pressure down on the feet so when I push down what we're expecting to see I have to push quite hard is that shape to stay the same what I don't want to see is a sit up alright you're going to feel like when you're the person being the dish you're going to feel like you want to sit up you have to resist it and you've actually got to work quite hard with hip flexors to maintain that tension so see if you can have a go at creating that position be part of it, just push through it can you maintain a distance from hands to feet and transfer force to the chair it will be quite good when you're being the dish to close your eyes and not try to guess when they're pushing, your job is stay still you're effectively pushing your legs up again trying to resist them if you resist them and stay tight they'll move you something we're going to cover a lot of base of support where his hands are balance of anything not related to hands any type of balance we have to have our centre of mass distributed above our weight of support our base of support if his centre of mass of his hips are back gravity is always going to win that battle of that little sea salt that's happening the shoulders and head are forward legs are back it's a position where he's committing forward to have this centre of mass distributed over that base of support the higher the knees go, the higher that centre of mass goes puts more force requirement from the shoulders to hold that balance position it's like a strength balance effectively so the higher you put them up the more you're going to need that strength so you can play around with how high your knees are, where your knees are and what challenge is sort of you alright so in that position there where I want you to have a go back it feels comfortable most of you guys that you've got a nice little stable shape is to start playing around with some variability so can we start to challenge the system we won't get stuck into the science of it too much but the variability and challenging ourselves in different shapes we're going to do a little bit in a while is going to be good for starting to broaden out our skill development process so we're going to start to create variability in the system which means we've ultimately worked with better robustness of the skill or more stable skill just reiterate one thing of just your gap on your fingers a few of you were like super flat with your hand whereas when Tim's when Tim's gripping with the fingertips see the fingertips go white and there's a little bit of space underneath rather than being completely sort of flat with those fingers to be super active the fingertips when we go into handstands and what gripping down with them is what's going to pull you back when you feel like your legs are going over the top so you want to get the chance to explore some positions now and even if we're just moving about first if Tim gets into his whatever comfortable was comfortable for him for his frog stand and then just tries changing side to side, front to back and feel be really mindful about what do my fingers start to do to control me to stop me going too far when we go too far head kisses the floor can we come back up just start to feel about how one rigid position what happens if I change that position ever so slightly so when you get to balance in your handstands when you see someone that's super good like an olympic gymnast they're just there like bang but what they're constantly doing is making tiny tiny tiny little adjustments tiny ones that you can barely even see when we're just starting out and we're new to the journey the adjustments we make are like boom down to the floor and then you have like one time where you go you're about to go down to the floor and then you pull it back but you go boom the other way and then about a year later you go that way and then you go shit I'm going too far and then you pull it back and then you go I'm going too far that way and then you pull it back to the middle and then you pull it back too far and you go down again and gradually it starts to rather than be like this it gets smaller smaller smaller smaller smaller smaller smaller yeah that's that's sort of what they call fine motor control to have a play around moving about in whatever was your most comfortable sort of frog stand position feel what happens to your fingers so have a restaurant whatever you need to so that was changing position a bit I think we can then what happens if we use a different surface this mat is much more squidgy than that so how does it feel when all of a sudden the only thing I'm changing is what my hands are having to sort of grip against what if we were super flipping crazy imagine we were like gnarly surfer dudes and we were like a little bit like what happens if I actually had one end on one thing and one end on the other that's a little bit of a different stimulus for me you've got the grass here what does it feel like on this what does it feel like hand on the grass hand on that and just try to experiment with whatever you've got a little bit around of just feeling some different exposing a different stimulus to the main thing that's in contact or the only thing that's in contact with the floor on the beach later completely different on the sand and then we'll look at the strength progression just in what's your comfortable frog stone position let's give you a quick break before we get into the strength there's three stages of our skill acquisition process the first one being our cognitive phase which is typically where quite a few people are going to be when you're trying to learn a skill for the first time it takes a significant amount of brain power to focus on what it is that you're trying to learn what you're trying to learn effectively progress is really quick though so in this phase of skill acquisition you'll move through from one session to the next it'll feel rapid because the brain is picking up some really good information it's starting to put together what you're supposed to do so that's a really exciting stage you'll get to the point where you hit the second one which is our associative phase where it's actually now some of the basics are under control but you're having to go through a phase where progress is much slower can feel quite difficult and it's quite a long period but you are starting to understand what it is that you're trying to do and focus on more specific things so just bear those two things in mind you eventually arrive at the autonomous phase where you can just do the skill without thinking about it when you get to that stage you've then got freedom and capacity to go and think about the other things in particular so you might want to go and do a handstand push-up typically and these are very broad arbitrary numbers they group the number of repetitions together and the cognitive phase is about a thousand repetitions let's say arbitrary numbers it's not going to be necessary exactly that for everybody it's going to be very different for that the second phase of our associative is between 10,000 to 100,000 repetitions difficult, long phase, a lot of work and if in 100,000 plus arbitrary number is going to pin into our autonomous phase so when you learn a complex skill like a handstand just use those numbers to think about how long it's going to take and that middle ground is where it gets really difficult because you hit the plateaus and you've just got to keep going because it's about volume and repetition in that stage make sense? cool next one and let's see if we can start to think about this frog to handstand progression of what's going to happen to try and press out so at some point I'm going to go from a frog stand into a handstand I've got to support all of my body weight on my hands because I've got to move into a new position we talk about creating a stable shape from which you can move to the next progression our first stable shape in a handstand is our frog stand second stable shape is going to be our upside down tuck handstand position or a chair and I'll just show what it looks like and I'll show you the progressions so I start in the same position with frog stand I'm then going to work and it's basically going to be just a strength position to move myself to here that's now a pretty stable shape for me and I can play around and just get my balance in those shapes and if I'm stable here my job is quite straight forward and if I'm in space I've just got to straighten my legs rather than me thinking about coming through and trying to balance the end position so much new stuff and information to try and control for most people you're just not fast enough your new system is not quick enough to pick the right selection or pick the right strategy to correct that shape so if we break it down to those new chunks nail the frog stand move to the next progression nail that, move to the next progression and start to play around to sequence it together so the first step of that is can we now take one leg off go to go side on just so they can see a little bit of that frog stand position and we were talking about balancing that position out the reason we wanted to go what happens if we put the knees a little bit higher to get that hip higher is because he wants to get those hips completely stacked on top of the shoulders the shoulders are forward of the pivot point of the hands and the hips are behind when we're trying to stack those hips right on top the shoulders need to come into line as well so just watch that as you just go through to that chair position the hips come up and forward but the shoulders come back so we get this like a little bit of rotation work, it's not just picking the bum up now the centre of mass is stacked over the base of support he needs a tiny bit of counter balance of the legs are behind so he might be slightly forward of the shoulder position the last bit is just straightening those legs but we're just trying to manage that centre of mass above that base of support it takes time to build up the strength to do that but it's also then just like the control it's easier to balance there than it is with your legs completely up because you've just got less stuff to manage we've brought those legs in tighter that makes sense? it feels a bit weird at the start but it can then become quite a comfortable position so first progression guys try and take one knee off that's simple from that shape so we're going to try and keep the hips high push hard into the ground kind of take one off, put it back on take one off, hip doesn't move put it back on, hip doesn't drop anywhere and this is a strength issue of keeping that angle same, if we're not strong enough to close that you take one knee off, elbow drops hips come down, feet back on the floor so try and keep the hips high pushing hard into the floor I'm just going to touch on very quickly how you bypass this stage if you want and we're not going to get bogged down because it lends it so I actually do a lot of my handstand practice by skipping this stage because I'm trying to preserve strength so if you wanted to practice then getting into that tuck position but you need to earn the right to progress to be there a lot of the time I'll do my handstand practice from here and we can practice against the wall when we go down but I'm just going to bunny hop in from a straight arm, straight position so if you wanted to do that just our last little progression is to show you where some of the strength is going to come from because having some more straight arm strength is going to make it more stable foundation when you get into your handstand our crow position is going to be here or crane I think sometimes is calling yoga so we're trying to basically lock the elbow out get the knees upon the back of the triceps that's going to give us some more strength which is going to be beneficial when I come into my straight arm lock out position same principles have a quick go at that you'll feel the difference between the two just rest those knees on the back of the triceps try and lock the arms out if your arms bend your brain is just telling you that you're much stronger in this middle position why don't you do it there brain's not stupid so you have to work hard to keep it straight alright so we're building some diversity from this bottom position so we've got some ability to shift around in that frog stand we've got some diversity there we've tried some different surfaces we've now taken one leg off we've played with some straight arm positions the ultimate piece of this and we'll show you a nice little progression how you can feel this transition from one movement to the next is ultimately you need to get strong enough to take both off and keep the hip in the same position as Jaco mentioned before and also shoulders Tim mentioned that shoulder angle we don't want that to drop so if he takes both legs off hip stays there and the shoulder angle doesn't change either what will happen if we're not strong enough and the shoulders we start to come down and we start to bend more at the elbow and more at the shoulder and even if you can hold yourself up but when trying to do the transition you're going down when you actually want to try and go up but Tim can do hands down push ups so he can go to bottom and push up but we want to think about where we're trying to get to and trying to make sure we're not doing the opposite but it comes from a strength point of view we need to make sure that we're aware of those two things keeping the hip high and keeping the shoulder in the same position as we're trying to go through this transition if we can't do those things it's a strength thing it's a strength thing at the shoulders some of these progressions are taking one leg off taking two legs off what we would call applied strength really specific to that position you can't get any more specific than being in the shape that you're trying to create what we can't stress enough one of the reasons that my hands down progression has gone well is because I started with the reason we're pushing overhead strength with a barbell perspective but I did a lot of hands down push ups from day one I still do a lot of hands down push ups against the wall now and what that gives me is strength to play with so rather than me being on the borderline of strength and also trying to execute a complex skill which my brain is still trying to learn there's two things to worry about central nervous system is like hang on a minute I've got problems if I've got more strength in what I need it frees up capacity for me to focus on the variables of controlling the skill so you'll have seen what I did when I did the tuck hands down before I'm making corrections in there because this is strong enough I've got plenty of N range strength to control the position if something goes wrong or I want to play around with it just from an artistic perspective or do something a little bit different I might want to keep the hips high to talk about and press straight back out hold in here and then start to think about pushing through but the strength is there for me to be able to think about my balance and control the perspective of what I'm doing so the message of that strength can be less interesting than handstand skill practice and a lot of people come in and practice kick up or I'm going to do the balance okay great you need to do that time what they then don't go and do is three sets of ten, four sets of eight push ups or pike push ups or a number of different strength based movements just to build the capacity to be able to push and hold a good shape strength underpins everything when it comes to this sort of stuff you don't need a lot of strength to hold a handstand once you're there to get there from that position you do if you want to bypass it all kick up, fine choose what you want to do what you're going to find is a kick up handstand to any of the hand balancing skills you're going to get a kick up handstand and it will look nice, if that's what you want to do that's perfect, but if you've got ambitions to go and do something else with it you're going to at some point have to earn the strength so you might as well do that from the beginning right so we're going to just do a little bit before we go down to the bottom about how we can help get through that transition and Flavia can I borrow you do you mind I'm just trying to see someone that's ok, happy on frog stand when you take both knees off it feels like we're not strong enough to be able to maintain that shoulder angle I've just been watching and their hip coming down so I can provide her some assistance and spotting around the most difficult part to manage a centre of mass around her hips to help her beat him and feel through that position but I'm not going to do you've got to do all the work, don't rely on me I will just provide the assistance she needs so it's not going to be like I'm going to pull you up into that shape but we're going to I'm just going to help guide and give her little nudges where she needs it rather than me I'm not going to do the balance I'm just going to help you feel and find it out so the process being frog stand, happy with both knees are going to come off step by step rather than trying to do everything at once we're going to break it down frog stand, both knees come off and nice and in tight then you're going to rotate that position so the chest is going to come through and the hips are going to go up and straighten the arms then you're going to finish in that position where you're upside down but your knees are by your chest in that tuck so I'm just going to support on your hips so frog stand both knees come off give her a little clap come down, come down what happened we did a handstand what did we say we were going to do we said we were going to stay in the tuck it's a good example so the legs did what they wanted to do she didn't try to do that the legs went and did what they wanted to do the brain probably knows what the end result was trying to get to but also think that the legs we're going to try and go up so the legs going up in the same direction help everything go up so I want you to slow it down and try and keep it I can add a little bit more help if you need it let's go one more time you're going to maintain that position the whole time so we can go super slow because I can help even more if you need it keep the knees in keep the knees in keep the knees in keep the knees a little bit more come down and you'll see the angle of the shoulder the arm wasn't completely vertical we were at a bit of an angle to counter balance where the legs were because the knees were bent but what was the hip like the hip was more open rather than flexed this is an example where if Flavia watches a film back, if she's training on her own or with a partner but watches the video back to see what shape she's making and realising actually, I thought I was in here flex knee, flex hip but actually I was flex knee and open hip just because when we're upside down we're disorientated we don't actually know quite what the body shape it is that we're making so watching a video back of yourself can be really helpful the reason be that if that right because that was open there was so much weight distributed backwards with the legs that the shoulder angle had to be forward I couldn't let go of her otherwise we were going to come down so one thing we're going to thank you Flavia we're going to look at how we can do some of those things with a band when we go down into the gym the last little thing we're going to do is show you we had a chat about this last night when you were talking about your straddle up it feels like I haven't got the strength a lot of the time we get the question it feels like I haven't got the strength in my core my glutes to lift my legs and my hips up but we can lift our legs up easily when we're supported by the floor the problem is we're being supported in our handstand and our frog stand by purely our shoulders and our arms if I can create an easy position strength wise but remember strength being underpinned by stability if I'm not stable and I'm worrying about the balance I haven't got the balance the brain is going to wind back the strength I've got I actually can't create strength if I haven't got the stability does that make sense if it feels all wobbly so can I create an easy position from a strength perspective and give myself some more stability strength and balance aspect that I need from the shoulders and hands but work on literally the latter part of the position so that would be coming then from my headstand I'm going to make a headstand then becomes nice and specific to our frog stand if I show you side on our frog stand my head and shoulders are way forward of my hands my head is literally in line with probably there so I'm going to then place my head down on the floor I'm going to then put my knees on my elbows and I'm trying to push down through the floor don't feel like you're resting all the pressure on your head my job is there can I create a position where my centre of mass is above my basis port so my hips are above that basis port that's now a triangle of my head and my hands can I take both knees off and can I then rotate and get that trunk into that position and just get comfortable doing that aspect of it when you get that centre of mass above that basis port you're going to feel like my legs actually feel almost weightless you can then practice also what is it like to take the legs straight up to the ceiling get that bum on, get that core on and feel what that straight body line is like and coming down but when you're also the caveat is when you haven't got that centre of mass stacked above the basis port just like in the frog stand if that centre of mass is backwards everything's going to feel super heavy and you're fighting gravity rather than stacking those things on top we'll do it with a partner to stop you going what you don't want to do is bail out over the top so we'll have a partner we'll do this partner sister so if Tim was being my partner he'd be here making sure my legs don't go over the top but equally if you were ever doing this sort of thing of a rollie pollie that isn't scary but if you're going to go over the top you might do something a bit funky but there is a forward roll option for those that have a forward roll in the locker guys one thing I've just noticed for a few of you and I tend to do the same it depends on how uber stretch you want to get with it and how much you want to do your headstand typically when I headstand I'm probably going to be on a slight angle partly because of where it feels comfortable on my head the head position but if you want to go vertical and it's a slightly different yoga position potentially moving away from a triangle into more of an elbow position or forearm position stand but we were just saying to Dan before and Doug that if we go that triangle position it's not a bad place to get comfortable with because if you want to go from a strength handstand push up that's the shape that we're going to need to get into so when you do a handstand push up you're basically going into the bottom of your headstand but you're then just driving yourself back out and driving back through but ultimately with all of this again it goes back to what Jaco was saying around the different positions the more variability that you have in your different progressions that we've shown you today the better that's going to be for the robustness of the skill that you're going to end up with so practise from an angle film them and see where you are try and get a little bit straighter and see what it feels like don't be worried about what the perfect technique looks like the brain isn't interested in perfect technique the best thing learning is generally applicable movements it doesn't want a thousand different techniques but a principle that it takes far too long for it to run through that encyclopedia of things with a filing system to find the right one if you create if you stick to generally applicable movements and with variability within them the brain is going to become much more interested and also able to fire the right movement pattern because it downloads that rather than thinking what is perfect, perfect is useless running technique from a survival perspective which the brain is interested in running perfect on a track is of little interest if all of a sudden if you're a survivor you've got to run up that bank because the surface is completely different the angle and grain is completely different so running needs to also follow the same principles of generally applicable movement that can be used in a number of different environments is why just to finish that off why we know a push-up because you've all done push-ups before and when you're a baby you crawl so you know what that's like where am I strong in my push-up I'm strong midpoint in my push-up a frog stand if you just ignore what my legs are doing my frog stand is the same as my push-up shape so it's one of those options that you've already got in the tank when we go down there now and we look at the top down kicking up to handstand if you've never done it before you have nothing and it has no idea of the shape that you're trying to create and it's trying to then figure out which one of these generally applicable things that I've got in my locker does it sort of feel like and for those that have done it for a bit you'll feel a bit more comfortable those haven't done a lot of it it feels so alien that you don't really know what's going on whilst we're up there so we've got to try that's why we sort of teach it from this makes sense why we teach it from there from that starting point alright guys so everyone here yeah sweet so we're going to have a look at this so we've done the top down we haven't done the bottom up we're now going to look at the top down and we're going to do a little piece on linking the two things together in the middle so we're going to use a wall for some kick-ups has anyone not done a kick-up handstand before? because you guys don't talk to me has anybody would anybody like me to show you a kick-up handstand I'll talk to you there's two ways to get into it we'll show you them both so a kick-up allows us to get against the wall and the wall is going to support the feet from going actually over the top so the easiest way we feel like is using this the back leg is a pendulum, the front leg as your kicker it's a bit like a track start position what he's trying to do is keep that back leg straight, that touches the wall the other one comes to join it the hands have to be a little bit away from the wall to give you head some space to actually be through but what that does is it means that you end up in this slumped position where your feet are a little bit further forward from where your hands are on the floor and what Tim's got to do to straighten that up is push the shoulders through, suck the belly button in and then try and push his feet as high as he can see how that extra raise that's coming from the rug of the shoulders that's all coming from the shoulders looking at the point on the floor in between, your hands to give yourself a little bit of a reference point look through your eyebrows not just turning your neck, if you extend your neck that's going to make you extend your spine and then you get back into that slumped position that's kick up and using a wall that way round we can use the other way round and this progressively lets you get more upside down as a walk up to link the two things together Jacko has talked about motor learning before we know a push up right so if your brain is uncomfortable with going up over the top doesn't have a movement pattern to link that movement too so this is a really easy place to go can you do a push up, yep you do that, here we know this position so we progressively so progressively walk further back until you get to a point where you feel comfortable ideally we want to use a nice straight wall that's going to teach us where straight is so we don't have to worry about that slumped position because if your feet are supported by the wall here Tim pushes through, he can get his nose to touch the wall and then when he's jobbing the other way round he talks about making ourselves long pushing the feet towards the ceiling but sucking that belly button off the wall if he gets good in this shape he can create that nice hollow body position so that all that's touched by the wall is his feet and potentially his nose but everything else is just a smidge line away from it rather than being slumped there and touching the wall he's going to try and get everything away from the wall nice cue to think about in your head trying to push your feet towards the ceiling think about being strong and long create length through your body the kick up the kick up is nice in terms of being able to practice some balance so I'm going to just look and talk to you but I want you looking at the through your eyebrows through the space between your hands but I'm going to be able to take one leg off the wall create that better shape as I can and then this allows me to practice some balance where I can just either tap the foot or eventually swap them and the slower I swap them eventually I can start to swap them and bring them together that allows you to practice your balance without worrying about your feet smashing off against the wall your feet going over the top of you doing a body slam so use the wall as a safety net but try to use it less and less and less as you get more and more confident yes ask the question so having a we need to bail out don't leave it to from a walk up position or from a kick up we do both the idea of always have a way you're going to go you're going to go left or right there's one that feels more natural than the other and it's basically like half a cartwheel you feel like you're falling when we're going to come down don't leave it to choice when we're going left or right you know already and actually practice coming down on to one side but just half a cartwheel I can do the same the other way so leg down to the side I think half a cartwheel that feels scary just intentionally go up and practice it and you'll realise actually you can get your hands on the floor or your feet on the floor your hands still on the ground it's not that scary we haven't got loads of space so if we're going to do that just make sure we're not going to kick somebody next to us we'll practice in these this phase takes time the wall is your best friend in terms of learning that free standing handstand position too often people move away from the wall into free space because they think this time I'm going to get it next time I get it next time two or three, four, five of those attempts in a session are good the majority of the time should be spent here because the important thing from a skill acquisition is time on task you have to give yourself or your brain an opportunity to have enough time to learn what it's supposed to do and if you're constantly falling over and kicking back up you never rack up enough deliberate practice to make any sort of realistic change don't be in a rush to run before you can walk this is like we talk about calisthenics and ego and this is a massive ego run for people have a play handstand session we've done a bit up at the temple where we're looking at the bottom where we build it up from a frog stand and the strength progression it is to get there but what we need to do if we're going to do this frog handstand not only do we need the strength to get up to the top we need to get up to the top we need to have the balance and the control to be able to hold that end position so we're using the wall both ways around kicking up and walking up to teach us one the body line, the body position supported by the wall or assisted by the wall for that end position and then having a chance to practice what is the balance like by taking one leg or two legs off and guys are doing a great job nice doggy we're going from here for her to move those hips on top of the her base support that has got to go that way that rotation has got to happen whereas a lot of us are maintaining the same position at the shoulder and through the back here and trying to get their hips on top we have to allow that to happen that makes sense that we can't something can't rotate the top bit can't go up until you let this bit come through and that bit coming through is that happening as you're straight in through the arms otherwise if you don't let that happen you're blocking the rotation if I had a hammer or something I was trying to move that bit up like if I fix that piece it won't go it only rotates when the other side comes with it so it feels impossible when you don't let that rotation happen the big thing that's stopping a lot of all of this from going on is strength the reason we're using a band is because strength and we'll have one last minute and we'll just go through some of the strength work that's so important that phrase Tim said before about having strength in abundance so you don't have to worry about have I got the strength to push out of there or we need to spend some time getting strong and I wish I could give us all the special magic touch and you're just stronger enough to do it but you've got to earn that so the final piece of puzzle that we've talked about so we've gone through this whole session has been a nice sort of example of what our framework looks like we did our movement preparation phase at the start we then did our movement patterning phase of starting to learn the shapes that we need to get into some of this stuff then crosses into applied strength to the movement that you're looking to do there's always a bit of a a crossover between movement patterning and applied strength and there absolutely should be because at some point we need to take a movement skill progression and we need to make that stronger so those two things are going to sit quite well together so for example a frog stand could be movement patterning to start off with if I go into my frog stand and I'm hanging out what I'm then going to try and do if I want to make it more like an applied strength perspective is I'm going to try and push as hard as I can for 10 seconds and you're going to see when I do that now I'm going to shake because I'm trying to create force it's an isometric hold so as I get in here I'm going to push push push push push push push as if I'm going to try and get my hands off so the difference between this being oh okay I get what I'm supposed to do versus I'm actually now trying to create force is where we change the focus from movement patterning into applied strength but it's the same position and hand stand days sort of mirror quite closely with other movements it's probably more of a distinct difference just go into that position one more time so that Tim's so strong that his legs are actually coming off his legs but that the intent needs to be there that that's what you're trying to do just go into just literally the frog stand position the applied part of this is look where the shoulder is in relation to the hand and the head in relation to the shoulder in relation to the hand we need to build strength in that shape so our frog stand there's nothing more specific for a frog stand than a frog stand so that's building strength there but what about in terms of actually generated into some reps and sets some concepts some eccentric work in and out of these positions that's where our pike push ups and our hand stand push ups are needing to make sure that we are making them specific enough to the movement pattern we're trying to create because that shoulder being in front of of your hand this distance that you end up creating is a lever arm that means it's way way way more harder difficult than if you were in here if I was doing a barbell shoulder press or dumbbell shoulder press I'd be doing it here if I was standing and doing it like this you'd get put on facebook or whatever under like gym you know people that are taking the mick out of you because you'd say it's not right but it's what we're actually trying to do what we need for this thing we start here we push and then we finish and come through into that nice straighter position but we must make sure these exercises have that element to them so a pike push up we start from your push up position that we all know stick the bum and the hips as high as we can we want to try and make this vertical you're pressing out vertically but depending on your hamstring flexibility is going to affect that we're going to have a slight angle on the trunk because the feet are on the floor but look at the same as Tim goes that's the top position head makes triangle the hands shoulder ends up going forward of the elbow an elbow is stacked vertically on top of the wrist that's where we want to get the shape we want to get into we don't want to take the head straight between the hands one because it's not going to build strength in the movement that we're trying to create but two the elbows flare out to the side and the elbows flare out to the side head of the humus goes rocketing to the front of that shoulder joint where you've got all that lovely nice tissue that you don't want to be impingy so that not only is a bad position it's not helping us what we're going to do so we're going to do the same as at the frog stand right in the beginning Tim talked about screwing the shoulder and elbow so it starts to point more backwards it's sort of 45 keeping us in a good position but building a strength in the shape we're trying to create with feet go up then we get the chance to now now we're vertical the more vertical we are the more load we're putting into the shoulders but we must still make that triangle shape so as we go vertical as we go down to the bottom we have a slight angle it's the same if you want to get what Tim was talking about handstand push ups we need to create that slight angle position but head, shoulder, elbow all exactly the same as we're trying to do in our frog stand the last vertical difficult position is let's not have the feet on the box let's have the feet up straight above us the little bit of the feet sliding on the wall means you don't have to worry about the balance and that creates a little bit of stability to the movement so therefore you can focus then on the strength element of it one thing that we've sort of big on at the moment for to really make this even more specific not in terms of the technique but in terms of the tempos that you use your frog stand is a static hold no momentum, no movement you're going from a completely static position then a concentric force to push you up so if we want to make these super specific and it makes it flipping 10 times harder is you come down you pause at the bottom with your nose just hovering off the floor press up but we don't press up fast so we pause then have we got strength coming out of that dead position if he pushes up more slowly to just do a slow one on the way up so he pauses and he comes up slowly why is coming up slowly beneficial from a strength perspective in this more time on the tension yes we're creating more time on the tension but what's the relevance to the hand stand what happens when you push out real fast on your frog stand so you lose your balance when you go fast but it's hard to go slow so think about when you're there not only do your feet want to do that your brain is like let's do this thing fast jacko or dog or whatever let's do it fast and it's harder to go slow but you need to go slow so you don't lose your balance so we need to train that element of the strength if anyone's ever done like we used to do some like 10 second reps 5 second eccentric and 5 second concentric and we had a horrible trainer when I was playing with me but it's brutal like you would go from being able to do what weight you can do for 10 reps it's like you can now do 4 and you haven't changed anything other than just how slow you're going have a play with those guys so try the isometric hold with high tension try some frog stands on the floor if you feel they're going good elevate your feet slightly the higher the box the more difficult it becomes and if you're king dingaling get up against the wall that's the last bit we're doing then break time and you're keeping a flag I think is that good? mad want 10 we tend to work on arbitrary numbers but there comes a base level of go so it's not like some people are going we need to do 10 pull ups it doesn't work like that but 10 of those is a basic level that shows you've got a decent amount of capacity because what's going to happen when you go from 10 on to the box you're going to probably drop to 5 like Jaco would say with the weight so if you've only got 5 on the floor when you go to the box you're probably only going to get 1 1's not going to be enough for you to build up strength patient you can do it the way around it's tricky in terms of you have to do the wall walk up to get into it you can skip into it I've started using more of that face position of facing the wall because I'm specifically looking for my handstand push-up strength so it's a more specific position I just find it if I'm just trying to put volume in the program it's a more awkward position I can get more reps than like that so then my programming decision comes down am I talking capacity strength I need some reps and sets am I talking applied strength it's specific to what I'm trying to work towards you can get to a point where you're doing volume in that position as well it's harder it keeps your way straighter and stricter so then you might be at that position where you can't do 5 you end up only doing 1 you need to build up to be able to do that I think honestly as well the kick-up version it's always going to look a little bit bent but I'm fighting to keep tight is a more pure vertical push because of the nature where the feet are going and if I walk up and I'm going to come down forwards it's going to be more like on a slight angle which is what a handstand pushup is going to be but if I want pure vertical which is what a lot of people need more strength in then I think the kick-up is a good option again so neither on or right based on the programming decision of what it is that you want to achieve but both have merit good question have a quick play guys and then we'll wrap for a quick break if you want a snack or anything then we'll crack on with the second session