Fascia-Oriented Training

Welcome back to Palladio's anytime. I'm Elizabeth Larkam, delighted to be with you and delighted to be with my two colleagues, Rhonda [inaudible], who is the owner of fit wise, PyLadies and wellness in El Sorito, California and Norris Tomlinson. He's the owner of serum Palase in Chicago. We're here to work with you on a Fascia oriented training program for the pilates reformer and you can see we have two different kinds of reformers of the balanced body, allegro too, and the balanced body studio reformers. No matter which reformer you're working with, you'll be able to follow one of us for an easy understanding. We'd like to remind you that that the props that you may find useful, first of all, if you'd like to have a little bit of cushion underneath your head to keep your cervical spine in neutral, you can have a towel or a series of towels folded to give you just the right height for your head and your neck. Second of all, we'll be making ample use of the foot plate because there's a lot of elastic recoil work in this workout.

And for that you'll need a foot plate or a jump board as it's properly called. We'll also make use of the sitting box and we have our sitting boxes close by. If when we're sitting on the carriage, you would like to have a little lift underneath your sitting bones rather than a phone book. We'll make use of the moon box or um, perhaps you would like to have something, a platform of firm platform for your sitting bones that's not quite as high as a moon box. All right, so I think that we've got this all organized. Now the very first aspect of this will be to prepare your nervous system for an ease of rotation of the spine and also to connect your eyes with the souls of your feet. For that, we'll use one red spring on the top. If you're a little stronger as Norris's, you'll use a red and a yellow spring on the top.

Now slide to the edge of the carriage, both sitting bones off the edge and then come to lie on your side and then lie on your back. I'm just going to get my loops out of the way, so here you are. Lying on your back. You'll have the souls of your toes on your metatarsal heads on the foot bar. Rub your palms together, warm up your palms, and you can place your left palm on your throat and your right palm on your forehead. Now the fingers of your right hand are pointing to the left and your left leg right little finger is parallel to the line of your eyebrows just above.

Now you'll note that Norris and Rhonda are on reformers where the shoulder rest stay in place. Unfortunate to be on this reformer where I can take the shoulder rests off, which I'm going to do. Now, if you can remove the shoulder wrists, I'd recommend that you do that line on your back. As you exhale, send your heels underneath the bar into Dorsi flection. Turning your head towards the left with your right arm, your right hand. As you inhale, rise to your toes, lower your heels and bring your right arm, your right hand back to the center.

As you exhale, move your gaze to the left corners of your eyes. Sockets. Inhale to rise so your head is turning is being turned to the left by your right hand. Second variation, keeping your gaze directly ahead. At one point on the ceiling. Your neck is the passive recipient of the movement from your right arm. Your right hand. Again, next same variation.

Keeping your gay straight ahead at one point on the ceiling. Rise to your toes and lower your heels. Now the third and final variation is turning your head to the left. Move Your eyes to the right corners of your eyes, sockets, keeping your eyes to the right corners. Lift and lower your heels and come back to center once more.

Using your left hand to warm your neck to warm your throat. Move Your eyes to the right corners of your eye sockets as the hand on your forehead is turning your head to the left. Close your eyes. Bring your arms down beside you. Continue that motion of your feet and ankles and now with your eyes closed as if your eyes could rest into the back of the eye sockets, the recesses of your eye sockets as if your eyes are resting in your meditation sanctuary with a minimum of force. Turn your head to the left. That's the direction, the familiar direction that you're right-handed helped with previously.

Come back to the center and now for contrast roll. Turn your head to the right. There are differences between sides. There always be differences between sides, but maybe you can feel an extra difference. Now Open your eyes. Put your left palm on your forehead so that your left little finger is just above your eyebrows and your left fingers are aiming to the right. Using your left arm, your left hand, turning your head to the right. Moving your eyes to the right. Also rise to your toes, lower your heels, and use your hand to steer your head back to the center.

Once again, as you let the air out, let the back of your lungs rest into the basket of your ribs. Your eyes are the advanced team of your spine. Move Your eyes to the center now keeping your gaze at one point on the ceiling using your left arm, your left hand. Turn your head to the right. You can feel with your hand on your knee, your right hand on your neck. That's you're warming, your neck, your throat, and that's your neck is on vacation. It's the passive recipient.

As you keep your gaze straight ahead. Now turning your head to the right. Moving your eyes to the left corner of your eye sockets. Keep your gaze to the left corner of your eyes, sockets as you lift and lower. Come back to the center. Last one here. As you let the air out, all the abdominal layers come into your spine.

Inhale to the back of your roots, lower your heels and come down. Rest your arms alongside. Close Your eyes, rest your eyes into your meditation sanctuary deep into the recesses of your eye sockets with a minimum of effort and a minimum of force. Turn your head to the right. Moving your eyes to the right corner of your eye sockets. Feel the ease with which I hope that happens now, and then turning your gaze, your eyes to the left, your nose to the left.

Also keeping both shoulder blades easy and contact with the ground. Now Eyes Open. Roll to your side and come up to sit in. Now we'll take a rotation for the thoracic spine. For this you'll need one yellow spring. At the top, please put on one yellow and it's time for the box. So I'm going to install the shoulder rest while Norris and Rhonda go get their boxes and put the boxes perpendicular to the carriage.

When the box is perpendicular to the carriage, you'll be able to kneel on the box. Place the box so it's very close to in alignment with the spring edge of the carriage. That's the first place. None of the box. Now we're not going to be using the towel for the time being. So just tuck the towel underneath the reformer so that it's not in your way or anyone else's site lines. Now here you are on your knees with your spine perpendicular to the carriage.

The the yellow spring has been in place just to keep the carriage steady for the moment. Now we won't need the yellow spring at all, so please take the yellow spring off and with your right hand, reach across and take a hold of the shoulder rests that's closest to you. Now bring the top of your head towards the very edge of the carriage and puts your left hand on the free shoulder rest. Here you are lying on the side of your shoulder, right shoulder with the side of your head on the carriage as well, pulling towards you with your right head and pushing away with your left. As you inhale, slide, turn to your left and slide the carriage to your left. Moving your eyes to the right corner of your eye sockets and as you exhale, return moving your eyes to the ceiling as you were 80 we're inhaling or exhaling one of the two, but I seem to be confused about which it is.

Exhaling to slide to the left and inhale to come back. We'll do two more of those as exhale. Slow. Turn to the left and slide to the left. As you inhale, come back. Now your eyes could either look in the direction that you're going or your eyes could look in the opposite direction. Subtle and important differences. Ring your left hand to the same shoulder. Rest as your right hand.

Push away with your left hand. Pull towards you with your right as you inhale, slide to the left. As you exhale, come back to center. We'll take three more of these. Inhale to slow. Exhale to return. Meanwhile, back at the left shoulder blade, it is sliding down away from your neck and down away from your ears. This is thoracic rotation with a bit of lateral translation. Leave your right hand where it is. Bend your left elbow, push it up on your left forearm. Here you are on all fours.

Looking down between your wrist, between your thumbs. Check your knees, make sure that your knees are greater trocanter with but not too close to the edge of the of the boxes. No accidents here. As you inhale, slide off to the left. On the Exhale, draw your left elbow towards your right knee, puts your right knee down and hover your left knee off the car off the box. Exhale to slide. Inhale to come back. It's like girlfriend, would you make up your mind? Are we exhaling to slide, which should be fine and inhaling to return or for that matter are we inhaling the slide, which is also good. Whoa, I'm almost off the edge. Okay, so you'll notice that probably on the inhalation you'll go a little faster. Careful cause no one's tethered to the dock. Now part two, chapter two. Now put the yellow spring on the lower deck. Put the yellow spring on the post and bring relocate the box.

Now the box will be perpendicular to the carriage. The middle of the box is in line with the shoulder rests. Here you are kneeling on the box again. You've just had an introduction to thoracic rotation. Unusual I grant you. Now here's [inaudible] for your golf swing will grow even more thoracic rotation. Your close hand, that's your right hand in.

In our case is aiming in the direction that you're going. Your left hand is on the far shoulder rest. The light from your chest bone is between the shoulder rests. Now I think that Xcel will work better here, but we'll try both. Heaven's nose keeping the access of your spine right where it is.

Press with your right hand to the left. Think tail up and spine long. Continue with your elbows straight and you will notice it's more and more and more rotation. Now the right side of your shoulder will come down onto the carriage. I'm going to steady myself on the box with the feet to the outside of the boxes.

Here you are cold. Sing a little bit of rotation, a lateral translation, the left and a lateral translation to the right. It's rotation but more rotation than previously. Now Return. Swing on up. We'll do three more of these as you exhale, rotate, keeping the top of your head where it is in space, and then lowering your shoulder, turning your head, neck and eyes to see the ceiling above you and return twice more as you exhale. It's the right lung is turning to the left, bringing the whole right side of the ribs with it. Come back in.

This time will stay low with a few more lateral translations. Exhale to rotate while you're here. Inhale to slide left. Exhale to slide right. Meanwhile, back at the left shoulder, slide your left shoulder blade down towards your right side of your pelvis. Now make yours bring yourself all the way up. Been there, done that over it and moving on. Leave the spring where it is and relocate your box to the new side of the carriage. So pick it up and hoist it on. Over.

Norris goes first. I'll fall a second place to your box so that the edge of the box is even with the spring edge of the carriage. Now it's coming up the butt shot. Here we go. Here you are on your knees. Take the spring off the, um, take the spring off. Now keeping the carriage in place. Reach across. It's the thread, the needle, but it's not your grandfather's thread.

The needle indeed not reach across with your left hand to take. Take the shoulder rest and now your right hand is on the far shoulder rest. Pull towards you with your left hand. Push Away with your right and bring the top of your head almost even with this, the carriage edge of the, the edge of the carrots near the frame. Now pushing away with your right hand, pulling towards you with your left.

As you inhale, rotate to the right and slide to the right. Exhale to return sliding left. We'll take this again. Exhale to slide. Inhale to return as perhaps should be more systematic about the breathing, exhalation, and then inhalation or inhale as you sly. Exhale to return. Now relocate your top hand, which is your right hand in our case, onto the other shoulder. Rest.

Now pulling towards you with your left hand, pushing away with your right as the carriage slides. Move your gaze to the right corner of your eye sockets. Look to the left corner of your eye sockets and come back. Do that again to notice that your eyes are the advanced team of your spine, guiding the direction in which you're going. Second variation. Move Your eyes to the left corner of your eye sockets.

As you slide the carriage to the right. Move Your eyes to the right corner of your eye sockets as you return in this case, using your gaze opposite the direction in which you're moving. Now bring your right forearm down onto the carriage. Here you are creating a neutral pelvis neutral spine, checking to see that your knees have plenty of room on either side because you're going to go to the outside of your right knee. Exhale to go to the right side. As you inhale, pull your right elbow back to your left knee and hover your right knee off the carriage.

This is keeping the light from your right kneecap directly towards the box. This is not a fire hydrant visit. Okay. As you exhale, slide out. Inhale to return and hover. Now you'll go further. A few inhale, careful cause they on the box. Inhale to go. Exhale to return. We'll do that again. Inhale facilitates the slide and the exhalation facilitates pulling your left elbow towards your right elbow. Tote, your inner left knee and hover that last bit of elbow towards your knee.

That activates the Anterior Oblique sling system. Just in case you're tracking that material. Now we're going to steady the carriage with a yellow spring and we're going to relocate the box, putting the box so that the middle of the box is even with the shoulder rests. Now here you are straddle with your knees on the box with the yellow spring even though it's not here I am speaking to you. Sorry. With the yellow spring with the yellow spring on the bottom, I find that I need a little bit of a stability on the box so you can see as if a little bit of horseback routine. Uh, I have my hands on the outside of the box.

Okay, now bring your left hand. That's your close hand onto the close shoulder rest and your right hand is on the far shoulder rests. The light from your chest bone is directly between the shoulder rest. Now keeping your elbow straight as you exhale, use your left hand. Your left hand is the guiding and it's your left lung that's turning to the right, left lung spirals around to the right, wringing out your ribs, wringing out your waist, pulling towards you with your left hand and pushing away with your right.

Exhale to slide to the right. Inhale to come back. If it is comfortable for your shoulder and your head to be in contact with the carriage they could be, there is however, um, it's not so comfortable. You certainly don't need to rest your head and and a shoulder on the carriage. Now return towards vertical and we'll do three more of these. As you exhale, think tail up and spine long.

The pelvis is on the way to an anterior pelvic tilt. The thoracic spine is in neutral, sagittal, neutral or on the way to spine extension. Exhale to slot in. Hail to return. Last one. This time we'll stay down again and then it'll be a little lateral translation and return coaxing a little bit more length of the connective tissue.

All the connected tissue between your lower ribs and your pelvis. Return. There we go. Now the characters tethered, so that's fine for safety. We're going to get rid of the boxes now and this time you'll put the box neatly at the back of the carriage back of the frame so that it's not in your way or anyone else's. [inaudible] no having addressed thoracic rotation. We'll now go to mobility of the hip joints.

And for this we'll need three red springs on the top and you can add a yellow if you would like. Okay. Yeah. We'll need the long loops around the back of your knees. So rolling from your side onto your back. Here you are with the long loops around the back of your knees.

Okay. With your um, internal rotation at the hip joints. Knees are touching inner knees together and heels are apart in Dorsey flection as if the little toe side of your foot get come up to touch the head of your fibula. As you exhale, bring your heels down into the springs. As you inhale externally rotate. Bring your knees wider to the side and your feet will separate.

Anchoring the corners of your pubic bone down to the carriage for a neutral pelvis neutral spine. Exhaling. As you exhale, all the abdominal layers snug up to your spine. Inhale wide to the side of your lungs, deep to the back of your ribs. Twice more. Exhaling knees together and then inhaling knees wide planter flection when your knees are touching its Dorsey flection at your ankles. Extra. Work for your lower abdominals and inhale wide apart.

Now reverse the direction as you exhale, the little toes come together in the springs and then knees together, heels apart. As you exhale, plant or reflection and external rotation. Inhaling to come around. You may place the pads of your feet. You can. You met mother May. I know you may. You may place the pads of your fingers on the corners of your pubic bone to remind the corners of your pubic bone to be waited to be heavy down towards the carriage so that you keep one more so that you keep a neutral pelvis neutral spine with the one finger with the space opposite your naval between the spine and the mat. All right, bring your shins parallel to the ceiling. Place your palms on your thighs.

Press your thighs away from you so that your thighs are perpendicular to the carriage and your shins are parallel to the ceiling. Now when you open your left leg to the side, anchor the back of your right pelvis on the mat. Exhale to close. As you inhale, anchor the back of your left pelvis and your right knee opens wide to the side. Exhale to close as you inhale, fill up y to the right lung and that will help to keep your right pelvis steady. Exhale to close as you inhale, fill up wide to your left lung.

That will heat to help to keep your left side steady. When you open your left knee to the side, pull your toes back. Dorsey flection activates the deep abdominals on that side. Plantar flection activates the superficial backline, the hamstrings, and the other structures that will help to stabilize that side. Oh, lots more where that came from. But we're done with that. Moving on. Take these loops off of your knees.

Now we've prepared the hip joints for mobility and jumping later for now we are finished with these loops and we're going to put them out of sight, out of mind to put them over the risers. So stow your, um, stow your foot loops outside there. And we'd like that for two reasons. One, we're not going to need them anymore. And two, we don't want any metal clanging around. Okay, now it's time for, um, more thoracic mobility. And for this we'll need a red spring at the top. Take all the other springs off, Norris and Rhonda. And those of you who are using reformer similar, please put your foot bars all the way down, given that balanced body generously. Um, let me borrow this allegro two for today. I'm going to foot, put the foot bar somewhere else just because I can. All right, so we're going to move it back here. And those of you, you working with an allegro too, you're going to put the dimple ha. Um, not all the way back near the shoulder rest, but there's a dimple, a little notch in the frame that shows you exactly where this goes and I will use that later. Now, um, north San Rando will keep their shoulder rests on.

I'll take mine off again just because you can. Okay. So here you are. I'll be facing the camera and uh, that means my left hand is to the um, yeah, the right hand is to the standing platform and Norris and Ronda. You will also have your right hand to the standing platform. Now those of you working with this extra, um, Rhonda, if you would show to this extra foot bar, uh, for the Rigo, just move it up out of the way so it's not in the way of your knuckles of your hand. Is that ever in north? Okay. There we go. Adjusted as you need to be. All right, your hand is, I'm either in the plaintiff scaption directly out to this, to this, the plaintiff's scaption, not in line with your shoulder, but a little bit in front of your shoulder where the scapular would aim if you would take a plane out from your scapula.

Now that's one place to have your hand and that would be the place to start for the more after you become familiar with this, and if it's fine with your shoulder, you could take your hand back at the back of the standing platform because that will encourage more rotation. Okay? We'll start conservatively and then move on. All right, with your left hand at your pelvis, as you inhale, the pelvis starts the motion turning your pelvis to the right. Turn your pelvis rub, shoulders, neck, head and eyes. Looking over your right shoulder and wave your left toes. You might see them in your peripheral vision.

Then bring your gaze down towards the floor and aim your left sitting bone in the direction of the ground. As you inhale, your gaze sweeps the ceiling, turning your pelvis, rub shoulders, neck, head and eyes. As you exhale, reach back and down with your left sitting bone. We'll do this once more. Inhaling, connecting the movement of your pelvis with the movement of your spine and the movement of your eyes. Exhale to return. Now we'll reverse the direction as you exhale, bring your gaze down. Turning to look over your right shoulder. Inhaling gays sweeps the ceiling. One more of these exhaling.

Here's an under curve with your gaze and inhaling. Here's an over curve. Now bring your left hand to your right shoulder. Remind your right shoulder blade to glide down away from your neck, away from your ears, side bending. Reach up, fanning the ceiling with your left fingers and bringing your left fingers in the direction of your right hand. Drawing all the abdominal layers up. Rotate both hands are wide apart. As you inhale, shift to your right and turn to the right. Bringing the light from your chest bone up. Looking over your right shoulder.

Exhale, go back ears between your upper arms. Again, shift to the right and turn to the right. Looking over your right shoulder. The light from your chest bone is up. Exhale to come down. Shifting your left hand next to your right. Inhale, it's more lateral translation and rotation.

Exhale to come down. Then again, inhale, shift to the right. Yeah, that doesn't work so well does it? Yeah. Otherwise the um, the foot bar is playing a harp on the springs. Now it's push away with your right hand and turn towards the uh, front again. So your left hand is next to your right hand. Reach out with your left hand and come all the way up to vertical. Leaning onto your right hand. Shift your pelvis towards the right.

Now Rhonda Norris reached to the back shoulder rest and because I can, I'm going to reach towards the foot bar. So here you are holding onto the shoulder, wrist. As you inhale, bring your right palm to the ceiling, left ears listening towards your hip joint. Shift your ribs to the right and poke your right palm up to the ceiling. Elbow up to now rotate Rhonda Norris. Take a hold of both shoulder rests and I take a hold of the foot bar. Hmm.

Rhonda Norris continue to rotate. And those of you working with an infinity foot bar, you have options. Inhale to glide into extension. Exhale to go back. Inhale to glide. Exhale to go back. Everybody rotates to everybody skate, everybody rotate just a little bit more and then easy.

Bring your gaze towards the risers. Rhonda Norris unwind there. I will unwind the same and flip around facing the risers. Here you are on the new side. Okay, now here you are. You could have your hand in the plaintiff's scaption or your hand back at the edge of the platform. You're free hand.

That's your right hand in our case is at the hip joint. Now you aim your sitting bone towards the, sorry. Why? When I have my back to am I inspired to give a lecture. When you aim your sitting bone towards the ground, good intentions are sufficient. It's not a requirement. There's your sitting bone. Touch the carriage. It's having the aim.

Good intentions are sufficient in this case, not always, but now no points deducted. Okay? As you inhale, lead with your rights sitting bone, turn to the right. Turn your pelvis, ribs, shoulders, neck, head, and eyes. Looking over your left shoulder. As you exhale, reach back and down with your right sitting bone. Now scanning the heavens for signs of intelligent life when you're gay is across the ceiling and then looked down towards the ground. Exhale here. We'll do that once again because you're thinking that I hear her say that. Yes, you did. Inhale to rotate and exhale to come back. Reverse the direction now as you exhale, turning your pelvis, strip, shoulders, neck, head and eyes. Waive your right toes.

You might see yours and if you're teaching, if you're teaching a group class, you might not see yours, but you might teach. See somebody else's, so that's good. To rotate here and then scanning the heavens. Bring your right hand to your left shoulder. As you exhale, push away. As you inhale, comb the ceiling with your right fingers. It's sod bending lateral flection. As you exhale, lift all your abdominal layers and rotate to face the ground. As you inhale, shift to the left and turn to the left.

Looking over your right shoulder there, you toe left shoulder, waving at you, looking over your left shoulder and she inhale. It's a lateral translation, a rotation and extension. Looking over your shoulder. Exhale to come down. Bring your right hand next to your left hand, right hand next to your left hand and hail to rotate. Exhale to come back and once again, inhalation facilitates extension and rotation. Lifting the light from your chest bone and come down. Stay low. Stay really low. Turn towards the front.

Now your top fingers are streaming towards your bottom fingers. Reach out, lengthening, and reach up to the ceiling. Using your left hand as a help. Push your right foot against the shoulder rest. Shift your pelvis towards the left. Now this is where you can hang off the shoulder rest as if windsurfing and I can hang off of the infinity foot bar. Poke your left elbow up to the ceiling.

Fingers wide and palm spread. Here you are inside bending and lateral translation. Right ear is listening to the ground, to your hip joint. As you exhale, rotate. Put both hands on the shoulder rest or on the infinity foot bar and Norris and Rhonda continue rotation and because I can, I will add a little bit more to this exercise that already takes half a day. So you see you do the exercise on one side, you do the exercise on the other and the class is over. Alrighty, we're finished with that.

Now spin around towards the shoulder rests and come all the way off of this. Now it's time for bridging. We're going to take all this rotation we've addressed now and put it with the pelvis and the lumbar spine. Please put your foot bar up to its middle position and I'll restore my foot bar. We're going to use two red springs and the headrest is down.

We're fine with that. Now to move this foot bar, we should probably have a little bit of a, a lesson on how to move this foot bar. You place your hands in the middle of the foot bar, pick it up when it's slanted back towards the risers. It's in its movable position. And then as if it were a well trained dog, you walk it carefully with your hands from the middle of the foot bar in a stately fashion. [inaudible] walk it all the way down until it locks in place. Bend both knees. Good mechanics. Now pick it up. If you keep it here, it's going to be probably a little bit too short.

Knees to your chin. You should be an expensive sports car, not on an expensive reformer. So pick the bar up one notch and this is where we'll be. Okay, now come to lie on your back to red springs at the top and you have the front of your heels in contact with the foot bar and your heels. Pardon me. Your heels are sitting bone with the part leaving, um, leaving your left heel, the front of your left heel in contact with the foot bar. Cross your right foot behind your left. Now the side of the little toe side of your right foot is resting on the foot bar like a kickstand of a bicycle.

As you inhale, open your right knee to the side. The opening of your right knee. Your right leg is an invitation to your pelvis to lift and rotate, so it's a neutral bridge and then it's rotation. Keeping your head, neck and eyes directly at the ceiling. It's a single leg bridge with rotation. At this point, there's weight on the left foot, but there is not a very much weight on your right foot. Now swing your right knee towards the ceiling and land your pelvis down on the ground. Sorry. When I get excited about something, my voice rises. So calmness, Elizabeth gets your voice back in your meditation sanctuary. As you inhale, open your right knee to the side. As you exhale, shift your pelvis to the right and turn to the right.

You're turning your pelvis around your left Femur head, wringing out your abdominals, and then aiming your knee back to the ceiling. Land your sacrum. We'll do this once more on this side. As you inhale, open your right knee to the side. That's an invitation with your whole right leg, that it's time to turn your pelvis, your lumbar spine, and the lower thoracic spine. So the light from your navel is shining to the right and there's a delicious opportunity to get some rotation around the Thoracolumbar junction. Don't miss out on that one. Now change to the new side, but the front of your right heel and contact with the foot bar and bring your left foot behind your right foot so the little toe side of your left foot is resting. As you inhale, open your left leg to the side.

You'll notice that if you just lift and turn, you might shift your pelvis to the right before turning to the left. No, no, no, no, no. As you inhale, open your left knee. Now have the idea of shifting your pelvis a little bit to the left and then turning to the left and that will help to ensure that you stay in congruent with the access of your right femur. Turning around the head of your right femur. Swing your left leg up and land on your sacrum. Inhale to open. Exhale to row. Tate. Now you keep your head, neck and eyes directly at the ceiling.

I realized that I was breaking Pele's. Rule Two oh one meaning that here I am in a bridge turning my head, nick and I used to smile at you. That is so wrong for the cervical spine. Don't do that. You keep your gaze ahead. Okay. Especially on this next part. We're back to the first side again, the front of your left heel in contact with the bar, your right foot resting on the bar behind your left foot.

Scoot a little scoop down a little bit away from the shoulder rest so you're not in Pale there. And as you inhale, open your right knee. Starting the same. Exhale a little shift to your right and turn to the right. Now stay up as you inhale, push back, adjust your right foot so that you can safely bear a little bit of weight on your right foot. And your right thigh has scissored into meet your left. Inhale to open. Leaving your right knee to the side. Exhale to close. Okay, so excalation would work all right here and do this again. On the exhalation, you can increase the rotation. If you inhale to scissor, exhale to return and once more, inhale to push back.

Stay here please and remind yourself that the lowest front ribs drop away from the ceiling. We're not aiming for hyperextension of the Thoracolumbar junction. There's more activity of the appropriate leaks in the intercostals come forward. Swing your right knee up to the ceiling, land your sacred and change to the new side. Plant the front of your right heel. Make certain it's in line with your hip, with your right sitting bone. What I've observed with my clients is they tend to conveniently placed their foot in the center in line with their pubic bone, no place at the front of your right heel in line with your right sitting bone.

Then your pelvis will turn around the head of your right Femur as you inhale open as you exhale, shift to the left and turn to the left. Now you keep your head, neck and eyes directly at the ceiling, making the adjustment of your left leg. Your left leg will come into a little bit of more internal rotation and then into external rotation. Inhale to close. Exhale to open or exhale to close. Inhale to open as you lift the front of your pelvis to the ceiling.

Drop your lowest front ribs. One more here. I got a little carried away because there's so many important things to tell. You. Swing your left knee up and land your pelvis. Now put both heels in line with their respective sitting bones. Scoot away from the shoulder rests and as you inhale, it's a neutral bridge.

Lift your pelvis straight up and you will be surprised, delighted and amazed how easy it is now to rotate your pelvis around the head of your femurs. Hmm. Now as you turn your pelvis to the right, Dorsey flex your right foot and plantar flex your left in other language. Flex your left foot when you turn to it and point your right foot. When you turn away from it, flex the foot that you're turning towards. Point the foot that you are turning away.

It's surely the ankle that's doing that motion. But anyway. Now while your pelvis and feet are taking a pelvis and lumbar spine and feet are taking a walk, interlace your fingers, have your elbow straight, press the little finger side of your palms against each other directly above the bottom of your chest bone. When you turn your pelvis to the left, press your left hand into your right hand and notice the Anterior Oblique sling system at work. When you turn your pelvis to the right, press your right hand to the left side. Yes. When you turn your pelvis left, the left hand presses right when you turn your pelvis and lumbar spine to the right, the right hand presses left and you can feel with that activation you're activating one side of the obliques thing system and then the other come back to the center and land your pelvis. Now just because you can, I would like to make up one additional point. Um, if you're a fan of Yoga Mudras, Mudras, yoga in your hands as am I, um, you could extend your middle fingers so that the, all the other fingers are engaged and just your middle fingers are pressing up. And what I read is that that helps the two hemispheres to have the brain to work better together. I don't know, but you could try it. Alrighty. So enough of that sidebar, letting go of this roll to either side and come up to sitting. Okay.

Now we're so well-prepared. We've got the eyes organized with the nervous system and the movement of the eyes and the cervical spine connected with the feet. We Heavens knows we've got the um, pelvis rotating over the femur heads. The femurs rotating in the pelvis and the thoracic spine has been inside bending rotation, lateral translation in extension. What's left? It's time to jump. Please put a yellow spring at the top off with the two reds and snug the foot bar all the way up into its highest location.

So Norris and Ronda, you'll bring the foot bar to its highest notch there. And I'll do the same with this one. Lifting this up locked in place. Now hold up my pants and we are ready to go. Here you are on all fours with your sitting bones wide towards the shoulder, wrists, and a suggestion I should requirement actually that you press the tops of your feet and ankles down into the carriage. I understand. I'm usually in this position on the carriage. It's time to have um, Dorsey flection with your heels. Press against the shoulder, wrists. We're about to jump now on a very light spring with arm jumps.

If you have your feet like this, that will throw your weight forward towards a nosedive. Save your teeth, keep your good nose and don't put your feet like this instead. But the tops of your feet on the carriage, if you can snuck your toes up underneath the shoulder, rest as if your toes could activate the plantar surface of your foot all the way up to your sitting bones, your hamstrings, that would be preferred. A preferred. Now bring your spine parallel to the ground and spread your sitting bones wide. A neutral pelvis, neutral spine. We're going to jump here, so let's do a trial run, jump and land. Now, just before, keep your hands on top. Just before you take off, not after, just before you take off all the abdominals come in and they stay in [inaudible], so that's one point of attention would be all the abdominal layers come in. Now, just before you take off, not after it's too late, the cows are out of the barn. Just before you take off your shoulder blades, slide down the back of your ribs and you make a connection between the little finger side of the heel of your hand and low in your shoulder blades.

If you take off without stabilizing your shoulder blades, we're going to have a situation and no one needs any more of that. Okay? Now we're going to alternate. We'll do it together, landing once on the top and then once on the bottom, palms underneath. Here we go. Inhale to push. Exhale to land or exhale to push off in to land. Two more of these. I prefer the excalation on the takeoff inhalation on the landing.

Both are beneficial. Last one because I lost count widened. Good. Now both hands are going to land together. At the center of the foot bar, the thumb side is touching and the little finger side is touching. Now continue this action you will find. It's a lot easier to come up and come down. Try that come up and come down so you can choose if you want to be photogenic, OK, and come up and down. Or if you want to get a better workout.

Lots more work for your a spine extensors. Lots more work for your deep abdominals. Lots more work for your superficial backline. Now both hands are going to the left side and they stay on the left side. Palms up. Now both hands go to the right side and they stay on the right side. Palms up. Do that again.

A suggestion to minimize your risks. Compression so you have the heels of your hands in a position that decreases the angle at your wrist as if you could keep your wrist in neutral. Now crossing your right forearm on top, right palm down, left palm up, and you will find everybody has a preference. You might ask yourself, why do I feel more at home with one arm on top than the other? The answer is usually in the organization of the thoracic spine. It has an easier time in side bending and rotation to one side than side bending and rotation to the other side. Left hand by itself.

Put your right hand behind and now right-hand by itself. Land on your right hand. Now the left hand lands palm up and the right hand lands palm up. We'll do that again. Left hand lands palm down and you don't have to do all this fancy stuff putting your hands somewhere just as long as you just keep your arm out of the way. That's right. Lowest ribs collected towards your spine. Now the left hand gets its own term landing and you'll have your hand just wider than your shoulder.

The hand just wider than your shoulder will help to activate the scapular depressors other side. Now your right hand gets a turn and I don't know about you, but I have to constantly remind myself to keep my central axis weight equally distributed between the knees because it's my tendency to shift to one side for good reason. And I said, ah, suggest that it might be your idea to, to shift to one side because it's easier not because of you have my anomaly but everybody has their own structural differences. Now it's time for a single arm jump seated on the carriage with your side to the, to the side, to the foot bar for this. Um, we recognize that, um, not everybody is comfortable in that, um, Mermaid seated mermaid position. Some people will prefer to be seated with their feet on a skateboard, maybe so that your feet are off the floor. Norris has a moon box and he'll be seated cross-legged on this platform. If sitting on the moon box feels to you that you're, you know, in the high wind, a skyscraper in, you're in a skyscraper in the high winds in Chicago, then that would not be good. And you could use a a lower platform as well.

A foam book works really well, but if you don't have a phone book, then you use some other firm surface for your sitting, for your sitting bones. So you could, depending on your preference for your, the Organization of your hip joints, your knees, your lumbar spine, et Cetera, you could sit on a platform like that. Or You could be a with Rhonda and me like so now your right hand is in the plaintiff's scaption, just a little in front of your right shoulder. If that is not so comfortable for you, then place your right hand. I'm slightly behind as you wished there.

What we'd like bring your left hand now on the right side of your ribs with your left hand underneath your right ribs, remind your right shoulder to slide down towards your fingers. And that's where your shoulder blade belongs, not up to your ear. The vectors of takeoff are going to push your shoulder up to your ear. Override that by inviting your shoulder down to your fingers. Alrighty. Now you could put your free hand on the back shoulder rest as an additional stabilizer or someplace else. Inhale, depress off.

Exhale to land. Keeping your right hand palm down. We won't take the palm up and down here. One more here. Now it's time to rotate. Turn and land with both hands on the bar. Why apart? Look where you're going. Turn, turn, land, turn, turn the land. Bet You're happy that we did all that thoracic rotation. Yep.

Two more of these. Look where you're going before you get there. The eyes are the advanced team of the spine. Now both hands are going to land together at the back of the foot bar. Turn. Turn. In this case we're asking the left lung, the left ribs to turn around to the right. Two more turn, turn, turn, turn.

Now you alternate landing apart and landing together at the back of the bar. Landing apart and landing together. Now we're going to alternate palms down apart and palms up apart. Palms down together and palms up together. Last row, palms down apart, palms up apart, palms down together and palms up together. As Fun as that is, it's time for the other side. Flip around, face the risers.

And here you are on the news side. I of course, think of a lot of things I'd like to tell you. Um, but my back's to you now so it's better just to move. Here you are. You're right. Sitting bone is aimed in the direction of the ground, but it needn't touch. Alrighty. Find a comfortable place for your left hand and remind your left shoulder blade to slide down your rib wall. Your shoulder blade makes a dissent and then push off. Here we go. Inhale to land, keeping your palm down.

Inhale to push excellent and land. If you exhale to push, continue this action. The exhalation will encourage your shoulder blade to come down. Now the inhalation would be low to the left side of your lung. All right, last of this. Now both hands are going to land on palms down apart.

Keep your arms, palms down, rotate and land, eyes and lungs to right eyes and lungs left. Look where you're going. Look where you're landing. Look where you're going. Look for your landing twice more because it's fun and because your collar bones can be wide, no hands will go together at the back of the foot bar. Rotate twice more with this one and now alternate palms wide apart. Look where you're going. Palms narrow, palms wide apart when you land, palms narrow.

Next variation. Alternate palms down, wide, palms down, narrow palms up, wide palms up, narrow. Another round, palms down, wide palms together, narrow palms up, wide palms together, narrow. Been there, done that and moving on. Now it's time for the next chapter which involves jumping with your feet and that will require having the foot plate, the jump board in place. So we're going to take a moment to install our jump ports and put the sitting box at its short box position on the carriage. After you wrangle your props, we'll be right back. Welcome back. Here. You can see that you have your box at the short box location in front of the shoulder rest so it won't go sliding away and you can see that the foot plate is in place. The jump board is in place. Now please put a blue spring on.

I recommend this first round of jumps with the blue spring. If after you try the blue spring, you prefer that to have something heavier. By all means put on a red. Now you'll be on all fours, so climb the board. You're thinking to yourself [inaudible] it's not even economy plus it's just economy, not a lot of seat room here. Okay, are a a lot of leg room. Keep your left side against the box and slide your right knee until it's almost at the spring edge of the carriage, not on the edge of the carriage, but almost at the spring edge.

Take a look in the rear view mirror and make sure that your right heel is in the same line as your, the same lane as your right sitting bone and your right toes are all the way down at the bottom of the plate. That way it's likely that you'll be able to have your right heel in contact with the foot plate. If you don't have your right heel and contact, no problem. Please don't force it there because that will move your, distorts your ankle and foot alignment. Now come onto your forearms and place the pads of your fingers and thumbs touching. Here you are on all fours, collecting your abdominal layers in order to support the suspension bridge of your spine, particularly the area of the TL junction, um, teed, uh, 11, 12 and l one. Now in a moment, keeping your right knee in contact with the carriage and it's as if you were going to strike a match. Go ahead north and Rhonda or kick some sand, bringing your right heel towards your right sitting bone. You can feel that before you take off all the abdominal layers come in.

Meanwhile, back at the lowest ribs there, collected up. Bring your chest bone up to the spine between the shoulder blades and press into your elbow points so that you have a strong support for your shoulder girdle. Now change to the new side. Bring your right thigh up against the box and bring your left toes down towards the bottom of the foot plate. Look back into your rear view mirror and check to see that your left heel is in line with your left sitting bone.

Now regarding the alignment of your foot and ankle, what I've noticed with many of my clients is that when they jump off, they tend, when they jump, they tend to eat, hurt the foot, flicking towards the little toe side of the foot. It would be preferable in that case to think of aiming your left big toe slightly to the right. Unless of course you're already sickling your foot, in which case don't do that and just bring your, get a friend to come and support your foot. So that's another situation. Anyway, just wanted to bring to your attention that we're aiming now your, um, heel to your sitting bone and your second, third toes in line with your knee. Here we go. Exhale to push off. [inaudible].

The higher your heel comes to your sitting bone, the more all the abdominal layers have to activate. Now, over time, this could get tiring for your shoulder girdle and that's part of the benefit here for um, pet jumping is the training that it can give for core control and core support twice more. Here, when I teach this in a group class or with a real practice myself, I usually aim for 24 to 30 repetitions of that. Okay? That's what I call strike a match. Or Rhonda calls it kicking the sand, I think. All right, now please take your box off your short box off and put the box at the riser edge of the carriage. We don't need it for the moment. Keeping the blue spring, it's time to lie on your side. So bring your left side towards the shoulder.

Rest and slide both sitting bones off the edge with both sitting bones off the edge. It's your left hand that slides along and just at this moment I remember the cushion for your head so close by. We trust there will be a towel or a head cushion and it will be useful to a fold this towel up so that when you place the towel between your head and your upper arm, your cervical spine is better supported in neutral resume sliding both sitting bones off the edge, sliding your hand along the carriage, Nestle your head against the towel and then bend your left elbow so that your fingers won't get nicked on the carriage frame. Now it's your top. That's your right leg, your ceiling leg. In most cases here, that's in contact with the foot plate with the jump platform. Check to see that your right heel is in line with your right sitting bone.

Now lift up your ribs and lift up your waist, shortening the bottom waist and lengthening the top waist. Lengthen the whole top waste. Puts your hand now on the side of your pelvis, the ceiling side of your pelvis, and remind your Asi us Anterior Superior Iliac spine reminded to roll a little bit forward. You will notice as the jumping continues, that there is a tendency to lounge back. You aim your left, right. Asi is forward now to keep yourself from going through the goalposts of the risers, puts your hand, your right hand on the shoulder rest. After all that, take a breath and it's time to jump. Aim your right heel in contact. And here we go. Push and land, pushing land. Steering Your right knee over your second and third toes.

Lift up your ribs and lift up your waist. Six N, twice more, seven and and eight external rotation. Now it's your right Asi s it's aiming forward and here you are striking a match with the sole of your foot. So your right leg is moving into hip extension with a little bit of abduction, whatever I know now, internal rotation, pigeon toe your thigh and now you have a little bit of a, you have internal rotation with extension and abduction twice more. Seven and and eight finish part two. Lift your head a moment and look back so that you can see that the souls of your toes and your metatarsal heads are in line with the back of the jump board.

You will notice that when your hip is in hip extension, that 10 it's so convenient to splay your ribs forward, but that's not what we came for. So lift up your ribs and lift up your waist. Collect your lower ribs towards your pelvis, draw from pubic bone behind your chest bone and make sure that your asi is on the right side of the ceiling side is forward. Now bending your right knee, only you. You land only on the souls of your toes and your metatarsal. Kick back a little bit and a support from the upper row bleaks and the intercostals twice more in parallel. Now externally rotate turnout. Steering your right knee directly over your second and third toes. Meanwhile, back at the pelvis and keep it forward.

Lift up your ribs and lift up your waist. Six. Send twice more. Seven and now it's time for internal rotation, pigeon toe your thigh. How fortunate that's you're so well prepared. I hope having done all of the rotation previously to make a good line of force from your hip joint to your big toe. Now using your right hand on the shoulder rest, push yourself up, rescue your towel, spin around and the new side of weights up and over the top slides so that both sitting bones are off the edge and your right hand slides right down between the shoulder rests. Come to line your side, supporting your neck, supporting your head with the towel. Look down and make sure that your left foot is in the center of the jump board.

He left heel in line with your sitting bone. Big dramatic gesture up to the ceiling with your left hand and then pick up your right ribs. Pick up your waist. [inaudible] remind the left side of your pelvis to be forward and puts your left hand on the shoulder rest in front of you. Here we go. Eight jumps in parallel. One end, fold up your right elbow so your right hand won't get jumped into place. That's right. A little bit of push back against the foot, the jump board, external rotation, keeping your left eye. S I. S. I. S. Forward.

It's your whole left leg that comes into abduction and extension. Activating the intrinsic muscles of your feet internally. Rotate pigeon toe your thigh, steer your left knee directly forward over your second and third toes. Meanwhile, back at the ribs and waist. Pick them up, seven and and eight pause to relocate. Look up, find the back of the plate.

It's a little bit like doing backstroke down the pool lane without the flags above the lane. You really don't know when you're approaching that concrete side of the pool. Okay. Bending your left knee. It's the sole of your left toes and left metatarsal heads. Remind you, remind your low ribs to come in.

Push and land and pushing land three and for extra abdominal action to support the front of your lumbar spine and your pelvis external rotation. Now I find that with this leg, which obviously is my less capable one, I'm constantly um, getting away from the back edge and have to remind myself to get into hip extension, internal rotation, pigeon toe your thigh. Move your whole femur up into extension and out into abduction. Four more here, six and seven end and eight finish bending sneeze. Come on up from here. Now it's time for the, I'm all fours, a quad or pet jumps. Again, we're going to use the box, so find your short box. You don't need the towel at this moment.

We'll keep the same spring. That's the Blue Spring and put your short box in place right in front of the shoulder rests. Now previously you had both knees in contact with the carriage. Now it's only one. Your left thigh is up against the shoulder, the up against the box. Look back in the rear view mirror. I know you don't have a rear view mirror. It would be very uh, convenient to have one in this exercise.

I think do your best to look back this way or that way and see that your heel is in line with your sitting bone. Now you can see that this will be a full leg jump, not just a lower leg jump knee fluction where we were previously. When your forearms are on the box, place the pads of your fingers and thumbs against each other. Level your pelvis and support the suspension bridge of your spine with all your abdominal layers. Now a test run. Bend your left knee, keeping your bend, your right knee, keeping your right heel, your right foot in contact with the foot plate and do one jump jump and land. Okay, so now we'll do eight of those parallel turned out and turned in your prepared.

Exhale. The preface to the light from the top of your head goes above the risers. For more of these on the second four, you could add hip extension if you'd like. External rotation. Now in turnout, aim your right side of your pelvis, sets the right Asi es towards your inner left knee, drawing your right thigh towards the left into abduction. And a little bit of a length up towards where the ceiling meets the wall.

Internally, rotate pigeon toe your thigh and moving from your hip joint. You're moving into internal rotation and abduction. Steering your ride. Asi as towards your inner left knee and did we even talk about the shoulder girdle? We will on the second side. Okay, change. Now bring your right thigh up against the box and be sure that your left heel is in line with the very contact with the very top of the foot plate.

Now here you are pressing your forearms and your elbow points into the box. Do a test run. Steer your toes and do one jump and then land as if you had a suction plate on your heel. Suctioning your heel onto the foot plate. Here we go. Suspended land two and pressing the little finger side of your hand as hands against each other. That will remind your shoulders to be down from your neck and down from your ears. External rotation, brush across extra abdominal oblique work.

When you do pressing your forearms into the plate, collect your lowest front ribs up to your spine. Looking down between looking down at your thumbs, internal rotation, pitch and toe, your thighs as you Xcel all the abdominal layers. Lift oh the shoulders come down twice more, seven and eight grand. Now come up from here and park the box again at the riser end of the carriage. Now put your head rest all the way up or you can choose some more cushions, pillows, and towels to support your head.

We'll do the short hand version of this, which is a head rest up and we're changing springs. Now we have been using a blue spring or as you'd like, maybe you were using a red. Now we're one red spring at the top, so here you are with one red spring at the top. Finally something familiar jumping on your back. Slide both sitting bones off the edge. Come to lime, your side and roll onto your back. Here you are lying on your back, starting with your heels at the very bottom of the foot a plate. Now it's a time for some how to strengthen the intrinsic muscles of your feet, or it's actually time for a little intermission from jumping to activate your feet, placing the pads of your fingers on your lower abdominals.

Perhaps you could place the pads of your middle fingers on the corners of your pubic bone, planting the souls of your toes. Keep your toes where they are and have the idea that you could shorten your foot by drawing your heel. That's your rear foot towards your forefoot, towards your toes. Leave your heel, lift your toes, plant your toes and bring your heel. Here you are doming on parade or the Yonda j a n d, a, the checklist of Aki in the late chest at the second Slovakian physiotherapist, Yonda short foot on parade. You can feel that as you draw your heels forward to your toes. That activates the abdominal, so deep abdominals.

Now when you do the reverse planning, the tips of your toes and vaulting off them towards your heels. Keep the toenails visible towards the ceiling. It's not so much the abdominal activation here, but we had to get to the bottom of the plate. Okay, now we're going to go into v-shape. Your toes will stay directly towards the ceiling and you will do an abduction at your hip joints, keeping the little finger side of the little toe side of your foot parallel to the outer edges of the foot plate until you reach the top of the foot plate or until you get tired of try and then reverse the direction and come down in a V, a force of ad duction activating all the intrinsic muscles of your feet. Now both feet are going to move together to the upper left corner.

The all notice that when you keep your pelvis and lumbar spine fairly, that's asking the right leg to cross over the midline, crossing over the midline into abduction and reverse. By this time, these feet have had a lot of practice and now it's time to go up to the right so when both feet travel up to the right corner of the foot plate, don't let your pelvis go with them. Aim Your right tail. Aim your right pelvis towards the left so it doesn't wag to the right to follow your feet some time this afternoon I will get there and then reverse the direction. Uh, connecting the connective tissue from the soles of your feet to your inner thighs to the pelvic floor. Now I'm glad that's over with, but it was time well spent. It's time for pushups, for your feet.

That means jumps without bending your knees. Get yourself organized here with your heels at sitting bone height or slightly above. This is like doing the open kinetic chain hundred over and over again. Lots of demands on the abdominals and the hip flexors without bending your knees. Here we go. Push land. Two end three and four. Suspend, append six end seven and eight external rotation.

Drawing the tops of your inner thighs towards each other. Internal rotation, drawing the tops of your inner thighs towards each other. Five and six end right leg gets its own turn on end to end. Three right leg and external rotation, right heel in line with your left sitting bone. Internal rotation. One end to end. Three.

Must be left legs time one end to end in parallel in external rotation, crossing over the midline and in internal rotation, aiming your right sitting bone towards your inner left ankle. Pause. It's time for a hip flexor intermission. Roll to your right side. Come up on here and then holding onto the foot plate to the jump board and the carriage, a reach for your towel that can provide some additional cushion for your knee and snuggle your left knee into the crease between the shoulder rest and the carriage. Now back on up and your hands can rest on the frame on the carriage, on the foot bar, on the jump platform. Hold on to something that's easy to reach and slide back and forth.

One of the reasons that I'm really fond of, um, quadriplegic jumps and sideline jumps is that it gives an opportunity for the hip extensors for the superficial back line of the mild fashion Meridians to be activated when we stay in Supine for jumping. As beneficial as that is for so many structures, it really tends to overload. I think the um, hip flexor up the hip hip flection option and a little too much focused on the superficial and deep front line staying in hip fluxion. And in this time I seem to have a lot to say about this and in this time in our society when there's so much sitting laptop, neck and computer, shoulders, so much sitting, um, we need a little bit more length at the other side. Now having overstayed my welcome, it's time to rotate. Bring your left hand onto the jump board. And if all is going reasonably well, rotate to the right. We have done quite a bit of rotation.

Reach around and take a hold of something that belongs to you. It could be your pant leg. If you have long pants, it could be your ankle, your Shin, your foot. You could even use a yoga strap, coaxing a little bit more length if you had an eye at your left hip joint that I would see the floor below you. In our case, I'm really fortunate to look at the radiant blue sky. Now easy coming up from this place your hand on the frame. Push yourself up, slide your knee along. Appreciate that there's some differences between sides and relocate yourself.

Here you are on the new side. Nessel your right knee up against the shoulder rest, placing your left hand on the frame, your right hand on the carriage coaxing a little bit more length. They're appreciating that there are differences between sides. There always will be differences between sides because that's the human condition. And um, nevertheless it seems to be beneficial for the brain to, uh, to try to do a things have somewhat symmetrically realizing that anatomically it's not possible because we're not made symmetrically. Now, uh, I know this is uh, not an equal opportunity because I decided to deliver my lecture previously. It's time to rotate now and then reach around.

You can certainly have your palm on the back of your thigh. That's one option or catch a hold of your ankle, your Shin, your foot, your pant leg. As you inhale, bring your right lung, your right ribs around the left as you XL. Collect your lower front abdominals into your spine. Coaxing a little bit more length for all the connected tissues along the front of your thigh, along the front of your hip joint and along the front of your spine. Easy. Now make your way up from here and it's time to either put the towel underneath your head if you'd like a little extra tight there or to get it out of the way, which I'll do now because it's probably looks better without.

Come to line your now and it's time for. Let's see, we've done pushups for the fee. It's regular jump time. Palms can be on your lower abdominals or hands. I'm beside you on the carriage. We'll do h jumps with your heels, sitting bone with the part legs in parallel and then external internal rotation. Here we go and suspend and suspend as if the souls of your feet could strike a match or move some sand down the jump board.

Seven and eight external rotation turnout here, drawing the souls of your feet in the direction of your pelvic floor. Five and sitting bones, narrow sitting bones widen, internal rotation, pigeon toe, your thighs broad across the back of your pelvis. You can appreciate that there's a lot more demands on the abdominals in internal rotation, keeping the tops of them, your thighs, right leg gets it's own. Turn. H jumps on the right leg to suspend, then suspend for more. It's as if the top of your head could go through the goalposts, the risers, and stay there. External rotation with your right leg, bringing your right heel in line with your left sitting bone staring from your rife hip joint through your knee, over your second, third toes.

So seven end internal rotation. There's an internal spiral, uh, starting from your lumbar spine and pelvis actually rotating down and your right femur head is dropping back into your hip socket. Left leg gets it's own turn. Suspend two and three and four. Meanwhile, back at the landing gear. Let's consider that before you land extra work at the top of the back of your leg. Externally rotate. You can externally rotate both legs.

Steer your left sitting bone where your right heel would be on the foot plate. Seven end and now internal rotation. Pigeon toe, both thighs internally rotate three and long in the back of your neck, sliding your chest bone towards your pubic bones. Seven and and eight pause. We're now going to [inaudible] crossover the midline with both legs. Jumping in a pattern up right up. Left down, right down.

Left up, left up, right down, left down right. You'll have your toes straight up to the ceiling on the first variation your toes to the outer corners on the second and your heels to the outer corners on the third. Yeah. Okay. With both feet in the center of the foot plate. Bend both knees all call it both legs. Upright, upright. A bluff downright downloads both feet up. Left up right down, left down right. I'll toes to the outside. Upright up.

Left down, right down. Left all toes up. Left of right down. Left down right heels to be outside. A bright up left down, right down. Left up, left up right. Meanwhile back at the lowest ribs there in contact, right leg only. Upright uplift. Toes straight up to the ceiling. Down right down, left toe. Straight up, up. Left up, right down. Left down, right toes to the outside.

Upright up. Left down, right down. Left toes to the outside. Up. Left up, right down. Left down, right heel to the outside. Upright up. Left down, right down. Left, right heel to the outside. Up. Left upright. Get ready now for the left foot, only in the upper left corner up. Left up, right down. Left down, right up, right up. Left down, right down, left, left toes to the outside. You could, while you're doing this, interlace your fingers. Elbow straight up, right uplift. Pressing the pads of your heels of your hands against each other. Heel to the outside. Doing this with your arms. We'll help remind the lowest ribs to connect with your pelvis.

Now roll to your side. Come up from here. At this junction you certainly have the option of doing another hip flexor stretch intermission, or you could join us for the comprehensive downward facing dog. Stretch to calm down after all this jumping. So you have a red spring while you're here at a blue to it. So you have a red and a blue at the top.

Now's the time to take the jump boards off. So take a moment to do that. Tend to put the jump board out of the way. Welcome back to finish off this um, fashion oriented training series. You'll need the headdress down and we have a red and a blue spring at the top notch and the foot bar is not in its most upright position, but about halfway down. Now come to stand on the carriage with your hands on the foot bar.

Have your hands wide apart on the outer edges of the foot bar. Start with both knees bent. When your knees are bent, your sitting bones can be wide and you can put weight back to your heels. So press your hands into the foot bar and weight back on your heels. As you inhale, slide the carriage back, moving in the direction of knee extension. Exhale to them. And as you inhale wide to the back of your nostrils and deep to the back of your lungs, you also aim your sitting bones up and back and broaden between your shoulder blades. Now if all is going reasonably well, you could keep your knees extended and now you're moving from your hip joints into, into hip IX in the direction of hip extension. And then hip fluxion, which I suspect is coming relatively easily to you.

Given all the attention we've given to mobility at the hip joints. Cross your left foot in front of your right and aim your left heel down onto the carriage. Bring your right hand next to your left and slide back and forth on this dye. Then all making the longest distance from the little finger side of your left hand towards the outer aspect of your right heel. Change now to the new diagonal. Crossing your right foot in front of your left, bringing your left hand next to your right hand.

Exhale to slide back. Inhale to return. Lengthening the left side of your waist. Now bring your feet back to their respective shoulder rests. You can have your knees bent as you prefer or your knees extended. Lead your left hand where it is and bring your right hand down in the direction of the carriage slide back.

Okay. And you're well prepared to do this given all the arm jumps that we did. Bring your right hand across to the left corner of the carriage. If all's going reasonably well, reach your right hand towards your left ankle. Now there's rotation, bringing your right lung, your right ribs around to the left. And if you, if it's within reach, bring your right hand to the shoulder rests, bringing your whole spine closer and closer to your thighs, aiming your left sitting bone towards the right.

Surely the new side will be different. We knew that. Bring your right hand wide apart. Your left hand down on the carriage seat, your right humeral head into the socket. Bring your left hand across to the corner of the carriage on the right side. And this is like a, a bus, a bus stop with a bus with a lot of stops.

You can stop any place that you get your stop, you can reach around to your outside of your right ankle Malleolus or hold on to the shoulder rest. Now you may think enough already, but just before we leave you a suggestion that any or all of these can be done with your hands down on the Yoga Mat with your hands down on the standing platform with knees bending with knees extended, crossing one neuron foot in front of the other and both hands it will be a steeper pitch. But um, if it's accessible to your cross, the other thigh over. Now if it's accessible to your, what do you call it, the superficial backline, all the connective tissues between the soles of your feet and the top of your head, that would be fine. And then for the single arm work you could gradually rotate crossing over the midline until here you are upside down varying weight to the little finger side of the heel of your hand. Meanwhile, your right shoulder blade wide from your spine. Give the other side of turn, same corner, opposite corner, opposite foot, same foot. All that rotation that you practiced earlier in your thoracic spine can come in handy now. Easy. Now take the time to come up front here.

Have a seat. Thank you so much for joining us. I really look forward to hearing from you and to be in contact with you again soon in our next programs. Bye for now.