Ido Portal Teaches Movement Intelligence: Why You Must Train, Not Exercise

You got to train. What is train?

Practice. I'm not in the business of beautifying the movements, but I'll go with some things which will improve the beauty of the movements to a certain degree. The ground is even [music] and

degree. The ground is even [music] and the body is not. And there is this interaction. Back, left, back. Simple.

interaction. Back, left, back. Simple.

Right. The yogi should go do some powerlifting and vice versa in order to get more into the movement game. In the

beginning of studying a new discipline, you [music] get a lot of the general component and a little bit of the specific. That's why I stopped

specific. That's why I stopped specializing on things. I practice every day.

>> You [music] said 10 12 hours a day.

>> Yeah. Sometimes more. Sometimes I

practice officially 12 15 hours.

Maybe what what would be interesting to play with is actually you know sometimes people want to draw you into their area which is familiar and try to get improvements but what would be more

interesting is to open other ideas and thoughts especially since you guys talked a little bit about coordination difficulty and stuff. Um

>> yeah let's let's start these are these are mets right?

>> Mhm. Let's do something laying down for a moment before we start. Unlock a

little bit and then we'll take it from there. I like to lay down on the ground

there. I like to lay down on the ground first thing in the morning.

Flip off the bed, lay down on the ground and examine a little bit what is there.

The ground is even and the body is not and there is this interaction.

So it actually gives us a lot of information about the state of the body.

Of course in the beginning you don't pay attention and you don't lay much on the ground. So you're not aware of it but

ground. So you're not aware of it but after a while it starts to become very good diagnostic.

So we lay down and we'll examine all the contact surfaces with the ground and the height of what is not in contact with the ground. For example, the back of my

the ground. For example, the back of my knee and compare the sides and have a look. I'll lead you through a little

look. I'll lead you through a little examination and then we'll play a little bit and we see if we can affect it without doing much really just little things

>> and and this will attempt to unlock the body not to stretch not to

not to manipulate the body but more to to press the unlock just like with the car.

>> Maybe get rid of a little muscle tension. definitely related to chronic

tension. definitely related to chronic tension but also relates to missing tension because when you want to get rid of certain tension you have to offer the body a new

configuration or else the body cannot you know it's like I'm going to stand behind Nima and I'm going to put my hands underneath his armpits and I'm going to I'm going to

tell him give me your weight and he'll not because he'll feel I can't I'm I'm not going to support that so he'll have a difficulty to give his weight so you

need to provide the body a new support which sometimes is a new tension but in a different area or different system and then the body can unlock and get rid of

the old tension. It would be that that's the stupidity of shouting at someone, relax release you know, like like we get a lot in

sports. Hey, loosen up. What do you

sports. Hey, loosen up. What do you mean? Give me give me something. Give me

mean? Give me give me something. Give me

a new support. I'll loosen up the old one. All right. So, lay back down

one. All right. So, lay back down [snorts] and just totally relax everything. Allow

everything to sink into the ground. And

now with the eyes closed, start to examine the way that the right heel is laying on the ground. Where is

the contact of the right heel on the outside of the heel and compare it to the left and just note it for yourself the

differences that you sense and travel up into the back of the cuffs. Pay attention where exactly are

cuffs. Pay attention where exactly are you in contact with the ground there, the right and the left and underneath the Achilles tendon. How

much distance there is there. You don't

need to measure it or to note it in inches. Just pay attention. Just have a

inches. Just pay attention. Just have a feel and travel behind the knees and feel the distance between the back of the knees

and the ground.

and the hamstrings and the glutes, the right side of the pelvis and the left side of the pelvis.

Pay attention to how exactly it's organized on the ground, the differences between the sides and try to estimate which leg is longer

from the pelvis all the way down to the feet.

Pay attention to the lower back. How

high is it off the ground? If there is tension around the spine there in the lumbar region, don't fall asleep yet.

Pay attention to the back of the ribs.

Pay attention to the shoulders and shoulder blades. Try to sense the

shoulder blades. Try to sense the shoulder blades. It's not that easy.

shoulder blades. It's not that easy.

Try to imagine how they are shaped on the ground and the differences between the sides, the back of the shoulders,

the arms around the tricep, the contact points, the elbows, forearms, the wrists, the palms.

Estimate the distance between the back of the neck and the ground and the back of the head.

And now take a moment to generally estimate the level of tension in your body, the level of discomfort, the emotional tone.

Just pay attention.

Remember more or less what you've seen.

And bend the right foot and the left foot. Make the knee stand.

foot. Make the knee stand.

and lift your pelvis up and place your right hand underneath the belt area and place the left hand on top of the right hand. And then lay back

down and allow the legs to straighten and try to find a place where it's not painful. You can slide the hands

painful. You can slide the hands slightly more out away from each other, lower or higher. Try to see if it's okay. Is it okay? Yep.

okay. Is it okay? Yep.

>> Good.

Now, we'll try to do something a little bit strange. We'll try to lengthen the

bit strange. We'll try to lengthen the right elbow to the right and into the ground. And by

doing that, we will gently rotate the body to the left. And you can watch me just doing it a few times. I lengthen

the right elbow and it rolls gently part of my body to the left. And I let go of this tension. And I repeat this action

this tension. And I repeat this action again. Lengthen the right elbow. Keep

again. Lengthen the right elbow. Keep

the body soft. Allow the head to rotate to the left. So you'll be facing the left in the peak of the motion. And then

relax the tension. And the body should be rolling back into position.

Don't do it with a large effort. maybe

20% effort very gently. But try to pay attention to what contractions in the body around the pelvis, around the abdomen, the lower back

are blocking this motion from becoming bigger. Try to relax them. Mhm.

bigger. Try to relax them. Mhm.

>> The legs will be soft, but naturally as you rotate to the left, the left knee might bend a little bit. Just softly as it lays on the outside.

And keep repeating this action gently lengthening through the right elbow, allowing all the bones to move away and

then relaxing.

and slowly increase that frequency and try to make it into a very gentle shake.

Tap tap tap tap. Just gently pressing in and rolling the body and the pelvis. If

there is something uncomfortable, you can bend the legs a little bit, but try to remain as soft as you can.

If it's too much at a certain point, you can let your arms come out. Take a

moment, rest, and then re return to this.

Try to allow your pelvis to follow the motion.

Exactly. Just like I'm rolling you gently there. Good. And relaxing

gently there. Good. And relaxing

everything as much as you can. Good. And

also allow the breast bone to follow as much as you can and softening this motion.

Now stop at the peak of the movement with the head to the left and keep pressing through the right elbow gently and feel how everything rotates away

from the right elbow. Feel that

transmission from the right elbow. All

the bones pressing you into the left and rotating you into the left. And then

release it.

And repeat again. Press and hold and release it. Press and hold and release. Press and hold

and release. Press and hold and release. Then go back to the gentle

and release. Then go back to the gentle shake. Tuck. Tuck. Try to really soften

shake. Tuck. Tuck. Try to really soften as much as you can. Whatever you observe that is tightening or fighting this

tendency that the body can the body can become more gelatinous. Keep everything

heavy into the ground relaxed and just this little initiation from the right elbow without any other further tension.

Okay. Now stop. Bend your knees. Raise

the pelvis up. Take the arms out. Lay

back down. Straighten your legs. Arms at

your sides. And immediately pay attention to how you feel.

Try to pay attention to all these areas.

Pay attention to your lower back, the pelvis, the distance behind the knees, the heels.

Try to see if the right leg is different now than the left.

Pay attention to your right shoulder blade. Compare it to the left. The

blade. Compare it to the left. The

length of your right arm, compare it to the left.

Try to estimate and feel the right side of your face and the left side of your face. Try to feel your right eye. See if

face. Try to feel your right eye. See if

it's the same as the left eye or it feels different. And just note it for

feels different. And just note it for yourself.

and bend the knees again. Raise the

pelvis. This time, place the left hand first and the right hand on top.

And lay back down.

>> Right hand on top.

>> On top of the left.

>> Right hand on top.

>> Yeah.

And lay back down.

And now we going to try to do it on the other side. So, gently lengthen from the

other side. So, gently lengthen from the left elbow and try to rotate your body to the right gently. But just with that specific gentle pressure

slowly getting into your frequency and do the motion as small as you need to do it to avoid discomforts and tension. What is king here is the ease

tension. What is king here is the ease of the performance. Not the size, not the range, not the speed.

a more as relaxed as you can the better it will work. So even if the motion is almost invisible from the outside it will work better if you put the

correct intention behind it. Slowly

start to find that frequency and allow it to form into almost like a shake. Your head will be turning right

shake. Your head will be turning right and come back. Right and come back.

Swaying with the rest of the body.

Gentle lengthening.

Feel how the breast bone, the sternum moves away from the left elbow as you press into the left elbow. How the rib cage is allowed to change its shape. And

now press and hold.

Make sure your right head the the head rotates to the right and gently helps the sternum to rotate away. And feel how

the pelvis rotates to the right and then release and press and hold again.

And release.

Press and hold. Feel the lengthening through the bones rotating you away.

And release. And go back to that shake.

In and out. In and out. Head rotating.

Find your frequency.

Gelatinous body.

Relaxing any tensions that you find.

Okay. And stop and bend your knees. Lift

the pelvis up. Let the arms come out.

Lay back down on the ground.

Relax everything into the floor and pay attention to the changes that are occurring in the body. Try to sense your lower back. Try to straighten the

legs now and try to see if you feel different around the pelvis, the back of the knees, the distance of the achilles

from the ground, the lower back, the rib cage, the back of the ribs, the shoulder blades, the arms, the back of the

shoulders. See if there is changes that

shoulders. See if there is changes that are occurring. Try to relax as much as

are occurring. Try to relax as much as you can to allow things to manifest.

Feel the back of your neck around your eyes, the face.

If you have a sensation behind the eyes which is unique and interesting.

What we note, what we pay attention to, we get to keep.

What we don't note will disappear very quickly.

The secret of changing how you move and who you are is by paying attention. The

missing power in the modern culture that we're living in.

And slowly roll into one of the sides, whatever side you feel comfortable rolling into.

And slowly bring yourself to sitting and from there to standing slowly. And

the first thing is pay attention to where the weight is placed on the feet.

You might feel like the feet are in contact with the ground a little bit different.

Try not to hold any habitual way. So you

we usually when we stand up, we immediately go into our frame. Try to

allow the body, you know how a baby learns how to stand and there is this sway because he's not holding. So try to relax the body and kind of almost like take a few steps back and a few steps

forward and allow the body to find its new calibrated point.

Good. Then take a little walk just around. And as you're walking, pay

around. And as you're walking, pay attention again to how the body is walking.

Good.

Good. Was there anything interesting happening there for you guys?

>> I felt my body pressure just felt different once we kind of moved and stretched a little bit. Felt like uh my contact on the ground felt a little different.

And what did we really stretch there?

>> Yeah, I don't think we did a lot of stretching necessarily. For me, it was a

stretching necessarily. For me, it was a stretch just to have my arms back like that. So, I had to kind of adjust. But I

that. So, I had to kind of adjust. But I

know what you're saying.

>> And for you, Nimo, >> after we did it the first time where the the first elbow, right, when I put my legs back on the ground, it felt like this foot was straight up while this

foot was like this. When I opened my eyes, they weren't it didn't they didn't look that, you know, that different.

Then when we did the other side, both sides felt like they were evenly relaxed when I was on the ground >> when I was seated.

>> But it's just the >> when I the feeling of the difference was much more drastic than the visual difference, which was odd. But

>> that's that's actually the the the change the change is very tiny. So if we orient ourselves by what we can see, we often get disappointed. You know that

that that thing I learned with my first girlfriend at the age of, you know, 10, >> the hottest girl in school.

And then comes my moment, first kiss.

And I'll never forget taste of chopped liver.

the difference between what we see and what we actually sometimes get which is often very different. But those little changes will later translate to

something bigger especially if we conceptualize how we got there cuz >> there is something about how we get there. Like of course you know all those

there. Like of course you know all those crazy demonstrations. Wow. Foam rolling.

crazy demonstrations. Wow. Foam rolling.

Mhm. Chinese medicine needles. Heat.

Yeah, you can do it. But after a few hours back sometimes something more delicate is easier to actually take into a major

change a change in organization.

In a culture of trying to talk about posture, I have rarely seen anyone really change their posture ever in all

my pursuits. I think it's one of the

my pursuits. I think it's one of the most difficult things to do. Yeah, you

can stretch up, you can put some muscle here or there, but that's not a postural change. Posture is an organization,

change. Posture is an organization, an organizational capacity of the body, an intelligence of the body, and the body resists that change tremendously.

So sometimes something very very tiny can start to occur. The reason why we did it in this way is because we don't put our hands there.

>> Mhm.

>> And when you do it, it puts it starts to put the body into a general internal rotation. I mean global

rotation. I mean global >> and >> I see people walk that way sometimes.

>> Yeah. You know,

the Chinese masters, you know, they have this walk, this cocky walk, right? The

old Yeah. Charles used to used to tell this joke. Yeah. You're you remind me of

this joke. Yeah. You're you remind me of an old Chinese proverb confus and men who walk with hand in pocket feel cocky all day long. [laughter]

So this walk this cocky walk but it comes from somewhere. What

>> what you guys are also pursuing, right?

You're trying to get that to move. So

when you put the hands here, >> you really feel how little you actually move. At the moment you do that, you're

move. At the moment you do that, you're confusing yourself. You're feeling, oh,

confusing yourself. You're feeling, oh, I'm moving a lot. I'm rotating a lot.

Actually, that would be my criticism about using the rope. I think it's a great tool, but

the rope. I think it's a great tool, but I think this is the limitation of it. I

I do it a bit differently. I prefer

people to move their arms. Then they will discover how poorly they move here cuz the rope I can always manipulate with very tiny joints.

>> So, there is a chance that you're going to get from it something. By the way, the heavier the rope, the more I like it, which you've probably naturally realized being more powerful and big

guys because you need that feedback in order to really work from here.

>> Mhm.

>> If it's tiny, it's going to be buddy Lee remember?

>> Yeah.

>> They're all American.

>> So, so it's so it's a great tool. I love

ropes. I love sticks. I like balls. But

I would sometimes with big people I would actually go to something else because of the potential for them to cheat themselves out of the real movement inside.

Uh good. So let's play a little bit. Um

>> question question. When you said you'd go to something else, what what did you mean by that? What like what what would you think about instead?

>> Predominantly what I teach and what I work a lot with is I I basically call arm work.

>> Okay.

You know, we talk about footwork a lot, but arm work super important. So, when I have to move my arms in the space, since I don't have that implement that has a projection

>> Mhm.

>> and I can manipulate from the small dexterity here, I'm forced to move a lot more.

>> Okay.

>> When I need to do this movement, I need power here. I'm not But with a rope, everybody can do this movement.

Did you just shoot a fireball?

>> [laughter] >> Is that we just >> So the the this is you remember I said when we met there I I I talked about maintenance and my frustration.

I don't I can't maintain all this stuff.

I I did too much. I I was in too many different bodies. But if I go to the

different bodies. But if I go to the core of it actually everything is the same in this way. So I prefer actually in c certain cases to move away from the

implement or with someone else I'll use a stick or a heavy stick, long stick.

This has been known in martial arts for a long time. It's not about fighting with sticks. It's a way to train your

with sticks. It's a way to train your movement. It's like a push-up. But many

movement. It's like a push-up. But many

martial artists did not understand, didn't get the memo. So they ended up you see a lot of uh sprinters uh sprint with a stick.

>> Yeah. stick overhead and they'll do high knees and just to like I think as you're saying they're trying to overexaggerate the movement of their legs and they don't want their upper body fl uh flinging around so much to distract away

from what they're trying to do.

>> It's another use but it's also >> it's from similar reasons >> or or have it on their back and not have rotation.

>> Correct.

>> You know >> also maybe what's important to say there is there is a backend change and a front end change. You know these terms back

end change. You know these terms back end front end like interface like we have a platform of online training for the people. So it's like something that

the people. So it's like something that we've developed and and built the front end the student sees >> also movement wise there is a back end thing. Now when I go to the outside what

thing. Now when I go to the outside what is viewed on Instagram I work with the front end in hopes fake it until you make it. If you're going to do these

make it. If you're going to do these movements with the rope or with a stick, it will affect deeply the deep the root of the movement close to your core, the

deep changes. Or if I'm going to put you

deep changes. Or if I'm going to put you I'm going to teach you how to walk in a certain way, you're going but this is mostly fails in my eyes because the

front end has to manifest from the seed coming from the back end. That is truly the behind the scenes of what happens.

So many times when you're working with something that is forcing you to do the internal change, the deep change, like for example to do this, you were very uncomfortable. You had to take your arms

uncomfortable. You had to take your arms out and we barely did something. I

stopped a third of the way in. But if

every day you will start to research this gently without hurting yourself in this way, you'll be amazed at the changes in the inner frame, not the

outer frame. The movements that nobody

outer frame. The movements that nobody sees. this movement

sees. this movement this movement and it's not it's not on camera that that's the problem also that all all of our training became this

camera things yeah >> good so let's let's take it from there so predominantly I like this slice and dice

approach I take a something I want to work on and I I slice it in a certain way and then I dice it in a different way trying to

the understanding one of those ways to slice and dice movement and you can look around. There

are two archetypes of people of movers.

One archetype is those that can maintain shape really well. The other is those that can change shape really well.

Power lifters that orientation is about maintaining shape, not collapsing under the load, finding a way.

NBA has a lot more shape changing demands and everything is somewhere in between. In NBA there is LeBron but

between. In NBA there is LeBron but there is also Kyrie.

There are different archetypes a little bit within even that sport. And even in powerlifting there are people who found a way to make it work with shape changing somewhat

micro micro movements that nobody else sees.

Now if if I look at Nasima here there is this basic position we call it neutral position B lateral position but we also

can call it ipsy lateral same side position. So if if I turn to the side

position. So if if I turn to the side it's clear that my right shoulder and my right foot or my right hip are aligned.

What is the other position that humans engage with upright mostly? What is the other one?

>> If this >> Huh?

>> Prone.

>> No, upright.

>> Oh, >> upright position.

See Mark, he's in he's in this ipssyal position, right? What would be the other

position, right? What would be the other option that communicates the other side of the spectrum?

>> Bilateral.

>> It's already bilateral.

>> Oh, and >> he's he's bilateral, right?

>> What would be the other thing?

>> How do you move? How do you How do you move? How do you move if that's the only

move? How do you move if that's the only choice? What are you doing?

choice? What are you doing?

>> Contrateral.

>> Contrateral. Okay.

>> Right. So,

>> I was trying to search for the word in my head. I couldn't figure it out.

my head. I couldn't figure it out.

>> Excuse me for asking the questions. The

questions are not to put someone on the line.

>> Yeah. It's okay.

>> The questions in my in my experience, they make you guys come along on the ride with me. I don't want to tell you things. I want to show you how I got

things. I want to show you how I got into things. That would be much better

into things. That would be much better teaching than me just telling you how it is and that's how I I teach.

So actually this there is ipsyal ipsy means same lateral side and there is contrateral opposing side. What is actually

opposing side. What is actually opposing?

>> Uh the rib cage and the hips.

>> That's one that's one way to look at it.

If I place my left foot forward, am I now in contraateral or in ipsilateral?

>> Ipsyateral.

>> Correct. What do I need to do to become contrateral? Move the other leg.

contrateral? Move the other leg.

>> Move the other shoulder.

>> Correct. So, actually, it's a relationship between my right shoulder and my left hip that are now facing forward. Notice my right hip is back and

forward. Notice my right hip is back and my left shoulder is back. This is

contraateral position.

Usually we think about the hands but it's not >> contrateral reciprocation, right? That's

what it's called. Like well each goes back and forth.

>> It's it's an application of the grand biomechanical concept. But the basic

biomechanical concept. But the basic concept is ipsilateral same side contrateral opposing sides. And it's

very large. Now I'm not talking about gate.

>> Mhm.

>> I'm I'm not the gate guy. I'm the

movement guy. Movement gate is part of movement and very important and very basic.

So in this case, check this out. Why it's not good to relate to the hands and the feet? What

position am I at now? Ipsy or

contrateral?

>> Ipsy.

>> Ipsy.

And now >> Ipsy.

>> Correct. You see why it wouldn't be wise to relate to the hands and the feet and now >> contrateral >> contra. So this would confuse you. It's

>> contra. So this would confuse you. It's

more about the relationship in this case between the shoulders and the hips. What

is the use of this alternation?

Uh torque for what? For what use? For what means?

for what? For what use? For what means?

>> Moving.

>> Moving.

>> Propel forward.

>> Propel forward. walk, run, sprint, throw, many times jump as well. Yeah, we

have also bilateral jumping. But you'll

be surprised that actually what looks bilateral is never bilateral. It's like

isometric training. No such thing exists.

There is no isometric training. It's

[ __ ] Why? You should know

Why? You should know >> even like overcoming isometrics too.

That's like >> never. There is nothing isometric.

>> never. There is nothing isometric.

Doesn't exist. Impossible.

>> Why?

>> Well, cuz you're always moving.

>> Exactly.

>> Okay.

>> Inside it's actually vibrating. It's

It's actually 1,000 miles an hour.

>> Yeah. It's actually myometric. It's

actually fluctuating. So, of course, we need the term. So, we use a term this is more within smaller buffer, but the movements are the same. If I do a concentric action or I hold this

position, I'm still fluctuating actin and myioine attempting to make connections and disrupt the connections.

Motor units, you know, fluctuating, etc. Remember contrateral, ipsilateral.

We're going to play a game.

You're going to step forwards and backwards alternating the feet.

Okay? Come next to me here.

So we alternate. So right, back, left, back. Simple. Right,

back. Simple. Right,

left. Okay. Now when you put the right forward, put the right shoulder forward and reach with the right arm forward.

That's ipsilateral, right? Let's

alternate in ipsilateral.

Make sure that the shoulder follows the right hip and there is a small rotation like a jab.

And very simple, you don't have to raise the arm in any specific way. The quality

of the movement is not that important.

It's more about the categories. Okay,

stop. Now we alternate contraateral. So

place the left foot forward and reach with the right hand, but make sure that the right shoulder actually reaches and go back and do it on the other side. And

feel how that rotation forms and creates that motion.

Great. All right. Sometimes when it >> feels good.

[snorts] >> We are not yet doing anything.

>> I know. But I

>> Yeah. It's just little little thing. By

the way, you can clearly see what is more comfortable for a person and where he gravitates more towards. But

actually, I don't want to make you better at contrlateral or ipsilateral. I

want to make the differential more available.

The the idea is not contraction. That's

half of the equation. The idea is not relaxation. That's half of the equation.

relaxation. That's half of the equation.

Movement is about the fluctuation, the differential, and it's control. So, for

example, powerlifting got half of the memo. It's it's a lot it's a lot about

memo. It's it's a lot it's a lot about creating tension.

In many other methods like yoga, it's very good with the relaxation.

probably the yogi should go do some powerlifting, lift something heavy and vice versa in order to get more into the movement game. And both of these

movement game. And both of these disciplines usually when I meet people from powerlifting or from yoga, they're terrible movers compared to, you know, dancers or

martial artists who are actually busy with the change that fluctuation between them. So now the game will be more

them. So now the game will be more tricky. I'll start with you. So, you're

tricky. I'll start with you. So, you're

going to always step forwards and backwards, alternating feet. You're

never stepping the same foot twice.

Okay?

>> You're going to do it slow. And I'm

going to give you a strain of commands.

IPSY or control. Now, whenever you receive the command, you're going to be here. I'm going to time it in a way that

here. I'm going to time it in a way that you're here. So, if I say ipsy,

you're here. So, if I say ipsy, ipsy, ipsy, contra, [laughter] There we go. Now we start. Now you're

going to you're going to struggle with it.

>> Yeah.

>> And I'm going to shoot at you. You're

going to watch and then your humiliation will arrive. [laughter]

will arrive. [laughter] >> I appreciate it.

>> The idea here is very simple. First, let

me establish it. If we How does it feel to get stronger?

>> Feels great.

>> But the process you feel weak all the time. Yeah.

>> Fatigued, right?

>> So, actually in reality, if if you ask me, how do I get stronger? I said,

>> you make yourself weak.

>> You make yourself weak.

>> How does it feel? How does it feel to get smarter?

>> You feel dumb.

>> Dumb. [laughter]

>> So, so already like when we establish it, this is movement intelligence, right? Like I'm challenging something.

right? Like I'm challenging something.

Of course, I'm you're not used to it. If

I am not used to it, I will be struggling as well. But we need to embrace first the fact it's going to confuse you. You're going to make

confuse you. You're going to make mistakes. So I'm going to I'm going to

mistakes. So I'm going to I'm going to use my timer.

>> Okay.

>> Just to give a time frame and you you work slowly alternating right and left and I'm going to give you the the next command in line.

>> Got it. Start now.

>> IPSY. IPSY. Slow. Contra.

>> Okay.

>> Contra.

IPSY.

IPSY.

Contra.

Contra. Contra

Ipsy ipsy contra correct it.

Contra ipsy ipsy contra don't change the legs just change the arms when you make the mistake. Okay.

Okay. Gotcha. So boom

>> stay b lateral. Wait for me. Batteral

contra contra Ipsy ipsy ipsy contra rich with the opposite correct contra

ipsy ipsy contra uh same foot twice >> here we go

>> contra ipsy ipsy ipsy Contra Contra Contra ipsy ipsy contra

[laughter] left.

>> There we go.

>> Ipsy contra ipsy.

Stop.

>> Ah, >> not bad at all. There was a moment. Did

you notice where things clicked and then it was lost again? came in a thought self-awareness something doesn't matter but beautiful work for first sec nice and he also clarified it to himself the

only thing that you can learn you can slow it down further you are in control of it don't react to my voice I'm giving you the command but in time take as much time as you need until you perform it

don't stop but don't accelerate because when I say control people tend to accelerate >> so you can do it like this ipsy ipsy contra Contra

ipsy contra and I'm making you adaptable to change. Isn't this what is happening?

When I'm in position, I go for a hip throw, I changed into ipsy. Or when I go for an arm drag, I change into a contra.

Or when I'm just walking and I'm about to bang into nima and I need this little change to pass by. It's constantly

there.

So gate for me is not about just this tuck tuck tuck cyclical activity but it's about variance ability to control and change. You want to try Mark?

and change. You want to try Mark?

>> I do.

>> Don't break an arm. I had a friend who once broke an arm in a chess game.

[laughter] It would be not far from it. So slowly

ipsy ipsy.

You have to alternate the feet. Oh,

oops. [laughter]

[sighs and gasps] Contra.

You have to alternate the feet. You step

twice with the same foot.

>> Just chop my toes off.

>> Right foot and contra.

Contra.

Ipsy.

Ipsy. Great.

Contra.

Yep. That's ipsy. Do it again. Right

foot and contra. Good. Contra.

Ipsy.

[laughter] Ipsy.

Contra.

Contra.

Ipsy.

Ipsy.

Ipsy.

Contra.

Contra.

Contra.

IPSy.

Contra.

Ipsy contra Ipsy ipsy

contra [laughter] >> no contra >> right foot and contra right foot forward contra good IPSY contrapsy

good work beautiful work. I'm not just saying. Why? A few things. First, you

saying. Why? A few things. First, you

guys up here in North America, you use too much time to comment about things and this creates further confusion. When

you make a mistake, simply drop it. I

tell my students, don't even acknowledge it with a nod like or this sounds ah no or this takes resources. So first you

work just cleanly with a little smile and just slowly figuring it out. Of

course we have to train it to make it more available. This is nothing to do

more available. This is nothing to do with the body. This has everything to do with the mind. What did you feel when doing it?

>> It felt fun. I mean I I like challenging things like challenging the mind and body at the same time. So it felt good.

>> What else? What else did you feel when doing it? Being honest,

doing it? Being honest, >> for some reason when I had to do contra on the left side, when you'd make me switch on contra with this foot forward, I messed that side up more times than contra on my right foot forward. I don't

know why, but I just noticed that that happened.

>> Good note. Make a note for yourself.

>> Yeah.

>> To me, it feels like it feels like play.

That's why I laugh and smile.

>> This is great. This is the approach. But

actually, what I what I was aiming at is to acknowledge that there is a discomfort.

And nowadays we talk about it's called limbic friction. When you're learning

limbic friction. When you're learning you're actually in duress in in in a certain discomfort and the way to resolve it is to become playful and to

understand oh that's the game now the game is called confuse me and I'm going to get confused because that's the real development of the skill of becoming more coordinated.

>> You need to be able to accelerate this for me to throw a chain of commands. And

then finally what we're going to do later it will be challenging but I would put you in actual functional tasks where you have to change like this I I tried

to address actually your request Mark cuz you said like I feel that when I was younger I was able to learn easier. So we are

really touching that a kid >> would would work really well with it very quite quickly but it's very cerebral. I won't be doing this with a

cerebral. I won't be doing this with a kid. Ipsy contra it's too top bottom but

kid. Ipsy contra it's too top bottom but I would find a similar way to do it still. So look what we're going to do

still. So look what we're going to do and [snorts] this is my little stick game. So you stand in front of me

game. So you stand in front of me in a certain distance from the stick.

This is a good distance. Now we talked about archetypes a moment ago. So let's

talk about stances.

So before we were ipsy and contra it's relationship between the upper and lower but stance is something else. Which

stances do you know?

>> Uh just being neutral balanced >> and you know kind of hanging out on one side or the other >> on the balls of your feet.

>> So what is that stance >> technically? I don't know what this

>> technically? I don't know what this would be called. I just Oh maybe uh this would be a split stance.

>> A ready stance, sports stance.

>> But I don't know like what balls on the feet would be called. So this was something that I kind of realized whenever I went between sports and stuff like everyone has these vague terms and

like everybody works with footwork in tennis in boxing but nobody know so I started to create a theory for myself about this one of the things that I realized is this stance or actually this

it's the same it's a lateral stance so if you stand a bit more open you would feel immediately without needing to do anything you're very balanced here it's much more trickier Right.

>> And also to exit into movement, you'll be very quick doing this, but in order to move forward, you're slow.

>> Yeah.

>> And then the second stance, what you call split stance, but it's not a good enough term for me, >> is the frontal stance. So if you take this stance now, you're very good.

You're stable forwards and backwards, but the sideways is weak, right? Like

you feel that weakness and you're very fast going forwards and backwards, but not side to side.

>> Yeah. It's going to take a second. Yeah.

And the third stance is multidirectional stance. That's the most important

stance. That's the most important stance. That's what fighters mostly use

stance. That's what fighters mostly use with little permutations.

And imagine I'm standing on a box.

Now I place my foot on one corner of the box and on the other, but I'm facing the front of the box. So it's not distance.

>> It has a little bit of the lateral and a little bit of the front and back. And

now I'm capable of moving to all directions. So whenever the game is

directions. So whenever the game is played in all directions, multi-directional stance and you don't start from day one, you go to grappling, you already realize, ah okay, I need multi-directional stance. You go to

multi-directional stance. You go to tennis basketball, >> right? Make sense? So first the game is

>> right? Make sense? So first the game is played in multi-directional. You're

going to you're going to place yourself in a slight multi-directional stance, not too deep.

>> Great. I'm going to drop the stick in 360°. The this point will never move.

360°. The this point will never move.

>> Got it? You're going to catch the stick as close to the floor as possible, [laughter] as close to the floor as possible without it slamming into the floor. And you're going to bring it up

floor. And you're going to bring it up to standing. And then I'm going to do it

to standing. And then I'm going to do it again.

>> I'm going to let my like I'm going to allow myself to move.

>> You can move in space everywhere. You're

free to move. You're free to But you have to catch the stick. Don't let it touch the floor and as close to the floor as you can.

>> Got it.

He has to adapt himself for all these options.

[laughter] Mind the stick.

It's okay.

Keep going. Breathe.

Keep on relaxing yourself as you do this. Not to allow the tension to build.

this. Not to allow the tension to build.

You notice I'm never throwing the stick.

I'm always dropping, but I'm confusing.

I'm I'm creating all these confusions, but I don't throw it down. There is no It's not a reaction game in that sense.

Keep breathing.

Good. Keep breathing.

Good. Keep breathing. Good. [snorts]

Excellent. Don't fall asleep. Yes.

Great. Good use of the hand. I like that you can do everything in all these different ways.

Good change. [sighs and gasps] >> I like that. [laughter]

>> First thing to to pay attention to is >> also the kind for me a minute and a half of this versus a minute and a half of

jogging >> because the chaotic nature of it builds a totally different endurance.

>> Mhm. Mhm.

>> It's not the same. you you can take a great runner is not going to do well in soccer. [snorts] There is there a lot

soccer. [snorts] There is there a lot more variance. So also our capacities

more variance. So also our capacities should be built more in relation to what we really want to do.

>> Okay, Mark, let's do it.

>> Um I'm trying to catch it low >> as close to the floor as possible. Okay,

within your possibilities. Yeah,

>> gotcha.

>> That's as close to the floor as you can.

>> That's as close as you can to the ground.

>> I think you can go.

>> Efficiency.

No, but address the the demands. Try to

go as low as you can to the ground. Yes.

Use whatever means you need to get low in there.

Good.

Great.

Good.

Good.

It's good that you don't allow it to drop, but try to get as close to the ground as you can with the catches.

Beautiful.

Move away and catch it low. Excellent.

Move away and catch it low. Great. Move

away. Catch it low. Good. Good. Clearing

that space. [snorts]

Good.

Keep going, Mark. Low.

Be ready to move there. Use your

multidirectional stance to move.

Good.

Excellent.

Good. All right. All right. Next step.

[snorts] When I'm going down there, change levels change. [snorts]

change. [snorts] There is two different choices. One we

call bilateral squatting. One is called lunging unilateral. Now I tell you which

lunging unilateral. Now I tell you which one you have to catch it with.

So I add the command squat or lunge. You

have to catch it. For example, squat and bring it back or lunge. Of course, each one within his capacities. I don't have to go very low. I do this with Alzheimer's patient. I come from working

Alzheimer's patient. I come from working with a woman in her 80s with Alzheimer's and the next day an MLB player and the next day a UFC fighter.

>> But I use similar tools which makes that woman very proud. So a

lunge to give you that it can be this but it can also be that >> any kind of splitting asymmetrical position. Squat have to be symmetrical.

position. Squat have to be symmetrical.

All right.

>> Got it. Yes, sir.

>> Squat.

Lunge.

Squat.

Lunge. Ah. Lunge.

Squat.

Lunge.

Lunge.

Squat.

Lunge.

Squat.

Lunge. Squat.

Squat.

Lunge.

Squat.

Squat. Great. Lunge.

Squat.

Squat.

Squat.

Lunge.

Squat.

Almost. Lunge. [snorts]

Lunge.

Great. Squat.

Squat.

Lunge.

Lunge.

Lunge.

Squat.

Good reflex. Squat.

Lunge.

Squat.

Hey, cheater. Squat. Good. Lunge. That's

the best compliment. Lunge.

Uh-huh. Lunge. Squat.

Squat. [snorts]

Good.

Good work.

>> Great job.

>> There were a few interesting things. By

the way, whenever I finish a set, I always [snorts] talk about it with the person and I ask questions because again, what you will pay attention to is

very valuable. The good first a few

very valuable. The good first a few things. What is this?

things. What is this?

What is that?

>> Metronome or >> pendulum?

>> Pendulum.

>> Actually, actually metronome is this >> most of the times. So, this is actually a reverse pendulum.

What doesn't move?

>> The bottom.

>> The actual stick itself.

>> The bottom.

>> Ah. So your reflex intelligence when he couldn't reach it he went to the source which doesn't move when I say cheater highest compliment

[laughter] highest compliment this is movement intelligence it's something innate and your hand went there and you also did something similar in many ways second

thing the quality of the lunges and the squat was very low you wouldn't accept this quality in other areas. You were making a lot of

other areas. You were making a lot of sounds. You were out, you were falling

sounds. You were out, you were falling off of the heels many times. This is

what we need to improve. But under these demands, it's much more difficult. So

the person who have a perfect squat in this control condition does not necessarily can do it move movement wise. Why would you ever do a warm up

wise. Why would you ever do a warm up like this if I can do this? It's

diverse. It's intelligent. It's smart.

It makes the brain work. It's superior

in any kind of a way, but it makes us feel uncomfortable and many times people move away from it because of that reason. By the way, you can even play it

reason. By the way, you can even play it with yourself. Try to go after it. Squat

with yourself. Try to go after it. Squat

and squat. Yes. Great. Lunge.

Squat. Beautiful mark. Lunge.

Lunge.

Nice. Lunge.

Lunge.

Interesting choices. Squat.

Oh, again. Squat.

Squat.

Lunge. Hey, [laughter]

lunge.

Good. Lunge.

Lunge.

Nice. Squat. Squat.

Squat again. Don't lunge. Equal. Squat.

Try to get the hand the feet together.

Squat.

Uh-huh. Lunge.

Lunge.

Squat.

Lunge.

Squat.

Squat.

Squat. Great work. I like it. Good. Both

of you are breathing through your nose with mouth closed. I like the habit.

You could make less sound with mouth open, but it's better.

>> Why do you like the habit? Cuz I'm just curious, if you guys, you know, we asked, we have talked to a lot of different coaches, right? Some some even combat coaches come in and say it's useless. When you get to high intensity,

useless. When you get to high intensity, you're going to be breathing through your mouth anyway. Breathe the way you need to breathe. Which I understand at different intensity. But some people

different intensity. But some people even go as far as to say it doesn't matter. So why do you why does it matter

matter. So why do you why does it matter however it matters to you? [snorts]

It matters tremendously.

The general tendency black and white that we move towards is an inhalation based

external rotationbased oxygenbased fight or flight based extensionbased direction. This is where everything in

direction. This is where everything in our life take us towards.

I want to take you to CO2 direction, not to O2. I want to take you to flexed

to O2. I want to take you to flexed general tone parasympathetic.

That would be the control breaks on the direction. The game makes you extended

direction. The game makes you extended stressed. When you're breathing through

stressed. When you're breathing through your nose, you're putting the control into your system.

I don't think that nowadays this hyperventilation direction is very good for most people. Yeah, it gives you some bells and whistles. So, you know, within two minutes I can make you see things,

you know, and you feel great. But this

this is just further adrenaline and we don't need that. Our we need the opposite. So, actually by breathing

opposite. So, actually by breathing through the nose, you create that minimization, that control. The foot is next to the break and you can always do that. Now, when you will need, of

that. Now, when you will need, of course, when you'll get maximum, you'll open your mouth. But as long as you can keep breathing through the nose and controlling it plus the filtering, the

nose hair everything. So it makes sense to do it. But usually people would avoid it because they make a lot of sound.

They become self-aware. They feel as if it's more it it makes them look more in effort >> and they want to stay relaxed. But no,

keep it.

>> I tend to hold my breath more, too. If

I'm going in in and out like uh just using my mouth more, I'm going to hold my breath more. And for this I don't for me personally I don't want to hold my breath during this. I want to try to be relaxed and reactionary.

>> Yeah you don't want to hold your breath for sure you want to allow the it's not maximal effort. There is a place to

maximal effort. There is a place to holding the breath but here you want to stay fluid and whenever you hold your breath an oxygen debt starts and then you have to pay it.

>> Yeah. I've noticed that habit for myself with mobility stuff. I go to move and then I go [laughter] and I like hold my breath and then I can't move any further.

>> Yeah. Yeah. All right. Let's do another one. I won't take you through much more.

one. I won't take you through much more.

You tell me if it's too much for you.

This time I'm going to give you another command. Not that one. We dropped that

command. Not that one. We dropped that one. Left or right hand catch.

one. Left or right hand catch.

Right.

Left.

Left.

Sorry.

>> Right.

Left.

Right.

Left.

Right, left, left, left, right.

Good. Right.

Good. Left,

left, left, left, left,

right, left. Great. Right,

left. Great. Right,

left, left, left, right,

right. Ah cheat. Right,

right. Ah cheat. Right,

left, right, left, right,

light, light, left, right, left. Great. Did you notice something?

left. Great. Did you notice something?

>> Light.

>> What? And what did you catch? I lagged.

And what did you catch with?

>> Right. I think I caught with Right.

>> Good for you.

>> Okay. [laughter]

>> It was a little test.

I do it with a lot of athletes. Good

sign.

>> Okay.

>> Why?

>> Awareness.

>> But why wouldn't you catch it with the left?

Most people will take the first letter L and that they will have to respond.

>> But you actually had enough time to think light is closer to right and caught it with the right. Like maybe

Mark he would have caught it already with the left because he would have less time to conceptualize. So it's a little test

conceptualize. So it's a little test like little diagnostic thing.

>> Yeah. We never listen to anyone.

We take we take the beginning of the sentence >> and we already start to wonder in our thoughts and we start to already it teaches you to be in tune. Yeah. I

played a little game with him. We I put a little Trojan horse in there. So I

gave him right and left, but towards the the the end I said light, not right.

Maybe he thought it was my accent, but what he did, he caught it with the right hand. And I said, "Good for you. It's a

hand. And I said, "Good for you. It's a

great sign." Most people would just take the and they would already take the left hand. But he had enough time, which

hand. But he had enough time, which means he has a buffer.

>> He had enough capacity resource to understand. No, it's closer to the

understand. No, it's closer to the right. Let's try.

right. Let's try.

So right and left. If I say left, you have to catch it here. Right here.

Uh left.

Left. Oh, [laughter]

right.

Right, left, left, left,

right. Great mark. Left,

right. Great mark. Left,

left, left.

>> Yikes. I hurt. O. Right,

right.

Right, left, left, right, right,

left, right. Great.

right. Great.

Left, right, left, right.

Left, right, left, right, right,

left, right, left, left,

right.

Good. Left up, right, right, right.

Good, good work. You saw how there was in the beginning a little stage of like adaptation and then you go >> in that stage. I think you are talking to yourself and this prediction.

>> You can hear that. [laughter]

>> Hopefully you didn't hear anything.

everything.

>> You know, when I was when I did >> this son of a [ __ ] >> When I did the Hooverman podcast, he mentioned something interesting. Andrew,

he said that you can actually if you if you amplify, you can hear people thinking. We we

almost always talk. Not when it's clear to us that we talk when it's not clear to us. So almost like in essence, what

to us. So almost like in essence, what does it make thinking into another movement practice? Because talking is

movement practice? Because talking is movement >> vocalization. So actually even our

>> vocalization. So actually even our thinking is movement like we're thinking with so much more with the body.

You can hear it sometimes when somebody is dreaming or something you hear all this vocalization coming up. Good. What

did I force you guys to do when I gave this instruction right and left? What

does this connect to from before?

>> Not reflexes. Uh well maybe some of the contrlateral movement >> beautiful and ipspy.

>> So when I say right and I drop it to the right you're inal. So I saw that you don't like this contrateral. So I gave you a lot of them >> forcing you to do that again.

>> Yeah.

>> Again if I'm going to make you do lunges or I'm I'm going to do it in a bit of more productive way. A few sets of the three to five sets of this would warm

someone up prime someone up. open the

lunging, the squatting, have reaction involved.

It's a winner on all fronts, right? So,

so simple again, like something so simple. We can play it with a heavier

simple. We can play it with a heavier stick, with a shorter stick, longer stick, or with a totally different implement. Usually, people see one of

implement. Usually, people see one of the scenarios that I use and they take it as a gospel, but I use thousands of scenarios without exaggeration. So,

actually, I don't allow you to specialize. I'll change the implement

specialize. I'll change the implement next time we meet. Maybe we will work on the same concepts but in a totally different way which for me will eventually bring you to the the real

movement capacity not the specialization. The specific component

specialization. The specific component always is adjacent to a general component.

In the beginning of studying a new discipline you get a lot of the general component and little bit of the specific. That's why I stopped

specific. That's why I stopped specializing on things. BJJ first three years until you get your purple belt.

That's the greatest movement stuff you're going to get. Once you went through that, it's becoming a lot more specific even in relation to a fight as people know because you don't need to be

a black belt to be a UFC champion.

>> It's quite easy to solve the to defend that than to actually do that. But then

also as a human being, I'm going to learn to juggle balls. So I can juggle balls and do things, but I I don't juggle five balls. The reason is I could

I could train it. It's too specific. I

just need you to be able to handle two balls, maybe three in some kind of ways, four maybe in some that's it. I'm not

interested in that specialization. I can

do one arm handstands, but I realized it's not very beneficial for people. But

to be able to hold the handstand >> for 60 seconds, it's pretty nice. I I I I used to do military presses behind the neck with 200 lb in a body weight of,

you know, 140 lbs.

>> You know, no push press, no push press.

Like I So it's it translates. There is a lot there. But once you take it to that

lot there. But once you take it to that level that you start to move away from the the general stuff, right?

>> Yeah.

>> Good. I hope you enjoyed that.

>> That was great. I have I have a question and to tell me everything I need to do to improve it is not worth it. But my

movement quality you mentioned when we were doing the lunging and the squatting bad movement quality. I even know like if I want to get into a squat I can't cleanly get into like a perfect looking squat. You'll notice I'll I'll go here

squat. You'll notice I'll I'll go here get >> this is not a perfect looking squat >> even even so there's a lot of that's what I'm saying I'm missing a lot of quality there. So my my curiosity would

quality there. So my my curiosity would be like what would be a lane a maybe a conceptual way to think about improving the quality of that movement. What would

be maybe a few things I could start?

>> It's a subject for years. We we we will talk about it for years. Yeah.

>> And um and maybe we will and develop a friendship and and develop it.

>> He's that far off, huh? [laughter]

>> It's but but I'll give you something pragmatic.

>> Mhm.

Sound is the mark of inefficiency.

Unless you intended to do the sound.

>> Yeah.

I Why am I No, you only weigh 120 pounds. [laughter]

pounds. [laughter] >> Right. You can be a huge giant. I have

>> Right. You can be a huge giant. I have

students giants, but they move it. And

And then what I can do, I can place the iPhone next to us with that decibel measurement and I can do the same thing.

And whenever it goes beyond a certain level of sound, it will give you a beep and ah you will experience almost like a discomfort or pain. Ah, I made too much sound. And I'll continue to challenge

sound. And I'll continue to challenge you in this way. It's easy to move softly when you're alone when somebody does this, but you can still maintain that quality.

>> Got it?

>> Yeah. Movement quality is something else. It's not beauty, but it it

else. It's not beauty, but it it correlates with beauty to a certain extent. Wow, what a beautiful movement

extent. Wow, what a beautiful movement because it hints of efficiency.

We learn to recognize it through evolution. It's like, wow, look at how

evolution. It's like, wow, look at how he moves. Basically means, hey, watch

he moves. Basically means, hey, watch out. You don't want to fight with that

out. You don't want to fight with that person or you want to be in that tribe.

Go there. Or, whoa, she looks capable.

She looks strong. I want to have children with her. It's the same idea.

We recognize it. But what do we try to do then? Beautify our movements. This is

do then? Beautify our movements. This is

again committing the sin. If you take Roger Federer, the tennis player, and you try to beautify his movement, you destroy his game. He has beautiful movement, but if

game. He has beautiful movement, but if you try to make it like a dance, like a dancer, you'll destroy his game. So, I'm

not in the business of beautifying the movements, but I'll go with some things which will improve the beauty of the movements to a certain degree.

>> Yeah. For you, you're quite heavy in some places, which means to me that the back system, your back system, which is something we can talk about later, is

less connected than your front system.

And it makes you drop into the heels and make sounds. And another thing is which

make sounds. And another thing is which you mentioned, this is not a perfect squat. This is a good resting squat.

squat. This is a good resting squat.

This is a good pooping squat.

>> Yeah. In Scandinavia, nobody can do this. You know, like many many people in

this. You know, like many many people in Scandinavia, they're built different, right? They're meant they're more of

right? They're meant they're more of deadlifterss than squatters.

>> And it's a it's a different archetype.

But >> yeah, for me, when I squat down, my he my heels are always up. I got to kind of hang out here.

>> And and and this doesn't necessarily mean it's a bad squat. For movement, for loading my spine, I'm going to use that squat. Flat foot.

squat. Flat foot.

>> Yeah.

>> But it's a specific use. But now in this game, this squat is a lot more efficient.

and bouncy. And that's how Mike Tyson moved.

>> You won't see you you won't see flat foot movement there.

>> You will see him gliding over the floor with mass.

>> How are you not like is there a way for you to describe how you're not making noise?

>> Well, amortization. Amortization.

amortization. Amortization.

The specific control of how we reach the floor, how we make contact with it, and how we land by paying attention. because

somebody in a quiet room, not in a noisy gym, trained me and required it from me and I can now do it do the same to you.

Sometimes I go into these gyms and I I can't work on certain attributes. That's

why I'm I'm I'm not I don't hang out in gyms. I hang out in movement facilities which we try to design very differently, but they also have weights. They also

have a lot of these implements, but they also many times don't play loud music.

And there is moment to lay on the floor and to pay attention to what is happening and meditation. But then the moment after like lifting heavy and you know doing handstand push-ups, one arm pull-ups or you know lifting weights,

sandbags manipulations.

It's just requires different scenarios.

>> Yeah. And and when you pay attention like if I'll ask you, you know, you come back home when you're 16, your parents are asleep, you know, you know, you you're going to walk stuff like you can train it everywhere.

>> Yeah. And you're you're catching yourself, right? like when you're

yourself, right? like when you're jumping and moving back and forth, you're kind of catching your >> instead of slamming into the ground.

Again, like something that I learned doing acrobatics, you know, since I was 15 for so many years on on concrete.

We're not gymnasts. So, you slam your feet from a backflip, high back flips.

It's a slam. If a person feels for the first time the slam, you you're just like you're cringing.

>> So, you learn to land like stealthwise, you know? You can you can train it. You

you know? You can you can train it. You

can you can practice like jumping and reaching for the ground. You see

like I'm not I'm not landing like this.

I'm reaching for the ground so I can create that connection. You can practice it while running. You can you can do it in all kinds of ways.

>> Good.

>> Yes.

>> Yeah.

>> All right.

>> There's there's a lot there. I think one thing there that's really awesome is for people to think about is reaction time when it comes to certain things. Um

because I think when a lot of people are training, they forget about that capacity of being able to react to something. Um and then there's also the

something. Um and then there's also the reacting to what somebody is telling you to do. But just that capacity, multiple

to do. But just that capacity, multiple aspects of being reactionary, I think is important and it's uh something a lot of people don't really do when maybe they're focused on life and then

training in the gym. That kind of gets lost. And as we age, that's super

lost. And as we age, that's super important. I mean, it's it's important

important. I mean, it's it's important whenever, but like especially as you get older.

>> I haven't had to react to anything in years, like literally other than like maybe chucking around a football with my friends or something like that, but I haven't had to react to anything quite like that. I mean, I've been running and

like that. I mean, I've been running and stuff, but that's just me just going straight, you know, and I am jumping and doing other things. I'm getting, you know, lateral movement and stuff and I I'll do little like fakes and stuff and

I I I do certain things but to react to something another object or another person I haven't done anything >> great so good for you will make you young will make you feel young.

>> It's something that like >> it felt unbelievably fun.

>> Yeah. First that's that's the thing you know like the fun of it is almost like nature's way of telling you you got to train. You got to train. What is train?

train. You got to train. What is train?

practice everything wants you to evolve.

So it install this pleasure, this fun, but we sometimes even go around it by being self-aware and ego-driven and then people can't have fun. You guys are great. You're just like you're flowing

great. You're just like you're flowing with me. We are we're in a good and I

with me. We are we're in a good and I always try to establish a scenario where both I'm going to challenge you to failure all the time in the right

dosages. For example, when I dropped the

dosages. For example, when I dropped the stick, I was minding more or less 80% success rate.

>> I wouldn't let you drop the stick 10 out of 10. Not even six out of 10. I was

of 10. Not even six out of 10. I was

very mindful. What do you need? What you

need? That 80% success rate is the height of the learning curve. And then

you have fun. If I smashed it all over the place and very fast wouldn't be learning curve and we we won't get the effect. So what is it about? Something

effect. So what is it about? Something

else maybe.

And it should be fun. It should be and you should react and you should interact with the environment. And you know another thing that you can do since you're into running. And I don't know if

you have a scenario here, but I used to either go to the forest where there are many logs and just like run on the log.

>> I have all kinds of stuff around here like that >> or or rocks of course. And this is a lot different than doing an hour of that is a lot different than an hour jog. Or I

do it with the sidewalks. You know how kids, you know, walk on the on the lines on the ground. They invent for themselves these games. This or the game. How how do you call it? Chick.

game. How how do you call it? Chick.

>> Oh, yeah. Yeah. How do you hopcotch?

Hop. Yeah, that game is that's where it comes from. Of course, it's a bit too

comes from. Of course, it's a bit too strict for me. Just like the agility leather. It's a it's a bit too linear. I

leather. It's a it's a bit too linear. I

would much rather >> place much more diverse scenario on the ground that is changing all the time. The

agility ladder always looks the same.

Yeah, I can change the patterns but I get used to that look that thing or this game, you know, like stepping on the feet that no, it's a children's game like you

just like I'm going to step on your feet and don't allow me to do it and you move around. Basic game and you know who

around. Basic game and you know who plays that? World champion boxers. Yeah,

plays that? World champion boxers. Yeah,

>> gold medalist they still play this in Kazakhstan Vasil Machenko. Yeah, that boxer that's

Vasil Machenko. Yeah, that boxer that's movement approach that does not mind anything. Just result

anything. Just result does not take any ego into account how it looks or what it he juggle balls, he plays game, does math, he dances, he

does math, he does wrestling. He's not a wrestler but they play wrestling games.

all kinds of things and and this opens the nervous system, opens it again. The

nervous system closes around what you do daily and now I just open something a little bit just like a muscle you start to work deeper in.

Have you always been open to like this idea of play or were you like at some point like more rigid? Did you think you know you need to learn some of this stuff through strength and conditioning or something like that? kind of

fluctuated. But since I I met Capoiraa so early on, it took me a lot into this playfulness. But again, like I met

playfulness. But again, like I met Charles Polyqueen and I did a lot of heavy training and and you know, military and stuff like that. So it's

also pulled me in other directions for certain periods of time and you know walk walking around you know but uh yeah just it's good to experience a mix of both probably.

>> Exactly. Exactly. Because to maintain shape is also very very important and to be able to hold ground and to insist.

For example, this game is a lot about ch like changing. You got to go. Like I

like changing. You got to go. Like I

dropped the stick there, you got to go.

But conceptually, you don't want to go.

Drop it here to me.

>> Yeah.

>> But then it goes there, you got to go.

And I force that change. Oh, [ __ ] I have to go again. That laziness that we have, that also is something that destroys our body.

uh we we we move away from what we need to do and into what we like to do or what we do. Well, if you see me practice, I practice every day most of the days. Unless I'm teaching, I'm

the days. Unless I'm teaching, I'm practicing.

>> You said 10, 12 hours a day.

>> Yeah. Sometimes more officially, sometimes I practice officially 12, 15 hours, but this includes sumatic practice, meditation, everything. But

from the morning, from the moment I wake up until the moment I go to sleep, I'm in some practice. And then unofficially I also practice underneath the table while sitting doing something. I live

this because it's fresh, because it's fun, because it's great. I I got free in all these ways like I I got free on the level of finances. I got free with the

skills that I have or popularity or whatever it is. So, but the then the deeper questions came in. It's like so what shall I do, you know? Okay, I got a one- arm handstand. What's next? Another

skill? Is it really where the meaning is? Okay, I'm going to get a black belt

is? Okay, I'm going to get a black belt in BJ. Is this it? And what happens when

in BJ. Is this it? And what happens when you get it? This question started to open a different way of living, practicing.

I think this is also in traditional cultures very available. Recently, I've

been in an expedition. I led an expedition into this tribe that is quite secluded in Indonesia

and trekking in, trekking out. One of us almost died. Like serious serious stuff

almost died. Like serious serious stuff there. Everything is like these logs.

there. Everything is like these logs.

They don't have roads. Logs of wood floating in deep mud. So the logs are not even held. So you're like for hours, I mean five, six hours walking on logs, dropping into mud this height.

>> My god.

>> We got there. These people never saw a straight floor sprinting. You know how we have those wa

sprinting. You know how we have those wa traditional cultures they never sprint.

There is no place to sprint on their island.

>> It's all jungle. So they don't even have running mechanics. How far we are that

running mechanics. How far we are that we have these romantic you know things.

That's why I go out and I go to see. And

what I saw there was this extreme diversity of body shape. Since

everything is uneven.

We went to hunt with them. forget about

it.

We destroyed their hunt. They had to wait for us every every hour. They had

to wait for us to We are with the equipment with shoes. They are barefoot.

The guy is taking out a nail, you know, this size of a thorn from his barefoot and keeps going like and their feet.

>> Yeah.

>> How they feet look look like. And when

you touch it, the shock it's soft.

No calluses. It's soft cuz they're in a jungle. It's not like concrete or

jungle. It's not like concrete or something that will create again all these things that I thought until I went there.

>> You see how their body is designed. You

see a 60-year-old person there and you see our 60-year-old very very different.

You see how they deal with injuries. The

closest hospital four days away.

Guess what? Little scratch. So they know how to take care of a scratch.

The guy who took us there split his heel a few days before going to the expedition went to the hospital and they put his bandage and you know connect you know put all this stuff and he went

there when he reached there the tribe the tribes people take it off took it off took a bunch of herbs mixed it put the next day it already started to close he said I never seen something like it

they now do research on them the university >> to try to find out what they do we when we went to the hunt like poisonous arrows, how they prepare them, their

movement capacities and skills with the weapons, the kids, everything very different sometimes than our romantic ideas. There are so many different

ideas. There are so many different populations, the desert people moving totally different than the jungle people. You know, my father is African.

people. You know, my father is African.

So, you know, 11 brothers and sisters, totally different physiology to mine.

You know it's like totally different outlook, way of being. His skin is different. The thickness of his skin. I

different. The thickness of his skin. I

always felt it like my dad is not the same as me and his movement capacity is very very different as well. It gave me this point of view rhythmicality. You

know, you don't get to eat unless you can make the rhythm on the plate with the cutlery. You know, they play games

the cutlery. You know, they play games like of of rhythm of of of awareness.

good lessons.

>> Very cool. All right, we'll uh maybe break for a little bit and then we'll podcast.

>> Yeah, let's do it.

>> Yeah, great. Thank you so much.

>> Thank you guys.