How to Program Handstands with Other Physical Pursuits

The handstand can be a very time consuming skill to achieve.  
A question I get fairly often in my workshops is how to program the handstand alongside other physical practices to still be able to make progress.  

Now in this case when I say "programming" I'm not necessarily talking about sets and reps, but conceptually where and when to perform the handstands to still make progress while prioritizing other physical arts.  

First let's review a couple attributes that are important to understand about handstand training.  
-It is precise skill work
-Though stress is placed on the wrists and shoulders, the goal is to make the skill less physically draining by using the appropriate technique
-Consistent practice is required to learn how to adjust for differences within the body
-When learning to build proper movement patterns, fatigue is not your friend unless you are specifically working endurance
-Understand your place in the progressions, but do not be afraid to add some time to play as well

As a beginner learning handstands, it is best to practice as often as possible while staying as fresh as possible.  In addition, it's best to keep efforts sub-maximal, both for safety and to encourage better movement habits.  
If you are curious about progressions, or priorities for different level practitioners I have them outlined in my EBOOK.  

Now let's go over some of the options on how to make progress in handstand training when it is not the priority of your physical practice.

 
1.  GREASING THE GROOVE
This is a concept made popular by Pavel Tsatouline, the basic idea is to do sub-maximal sets throughout the day to get more numbers in and build up to a higher workload.  
This can be a very powerful concept and can allow more time to "play" with the skill, but also has a couple downsides.
Though the handstand is skill work it is also very much dependent on other attributes like mobility and body awareness.  

With the GTG method, it is basically assumed that all the sets are performed with no warm-up.  While performing the skill cold is a good indicator of confidence level, it can compromise the quality of the skill itself.  
I use a very specific warm-up to help develop body position, physical acclimation, proper activation, and awareness(check out my VIMEO page for my wrist and shoulder warm-ups).  It's not just about warming up but rather priming my mind and body to have a more productive skill session.  When I don't warm up my wrists properly for example, I can feel how my balance corrections are considerably slower.  
To use another example, many people have a shoulder or wrist mobility deficit which they need to address to improve their handstands.  GTG means they will continue to work through their compensations.  Since we are what we do often, these are the habits built that later become difficult to correct.  

I'm all for the "Greasing the Groove" method to get more numbers in, just be aware of an compensations that arise from performing the skill cold. 

2. INCLUDE HANDSTANDS IN YOUR REGULAR TRAINING SESSIONS

This one can be a bit tricky but if you're already training it's not that difficult to allow some extra time in your session for the skill work.  I believe that handstand training can complement other physical practices quite well.  Old time weightlifters and strongmen were also avid hand balancers.  
Hand balancing also can play an important role in evening out the upper body development in pulling based athletes, such as climbers, aerialists and pole dancers.  

-Handstands during warm-up

This is probably the best option for most people.  Allow some extra time in your warm-up for your handstand practice.  This way you can get the skill work in while you're fresh, and the meditative benefits of the handstand can even help get you in the right state of mind for your other training. 
The key is to is to keep efforts sub-maximal and sessions short. Stop before you get tired; this way you will develop better movement patterns without impeding the training for your primary discipline.  
Remember that you can easily build up to a moderate skill level in handbalancing without putting in hours a day as long as you are consistent(more advanced skillsets will require more training time).  

-Handstands After Training your primary discipline

I would recommend this less than the previous approach.  You may find it difficult to "get in the zone" both mentally and physically.  Certain muscle groups may have tightened up or blood flow may be going to the wrong places.  Either way, it's going to be harder to find the balance here(especially for beginner levels).  
If you are practicing your handstands post-training, you will be better off sticking to less precise conditioning based exercises like wall walks, handstand walks, endurance holds, or basic strength and flexibility.  Save the balance acquisition part of the skill for when you are more fresh.  
 

 

-Final thoughts

The above concepts are to include handstand training alongside your other physical practices.  Do not forget what your goals and aspirations are.  
If hand balancing is a primary goal, it would make more sense to schedule dedicated handstand sessions.  After all, you will make faster progress that way.  

Progress can also be streamlined by understanding the proper progressions.  Check out my ebook for those:
 

Balancing the Equation(.pdf ebook)

$15.00

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Handstands on Different Surface/Apparatus

The handstand enthusiasts out there know there are infinite ways to vary how to perform a handstand.  This is one of the reasons why such a simple skill can keep someone occupied for years. 
One of the easiest ways to add variation is to change what you perform the handstand on.  Every new surface or apparatus has its own adaptation that goes with it.  

Here is a breakdown of some of the more common surfaces you will encounter, and what they mean for different levels of balance.  
 

HARD FLOOR:

Hard floor is the most unforgiving surface, but in my opinion quite necessary to learn to understand the concept of balance corrections.  Because the floor is unyielding, you must learn how to use your own body to correct the balance.  Balance can be adjusted through the hands, elbows, shoulders, back, and hips(see my ebook for a breakdown on how balance works).  
This is the first surface I like to expose beginners to because it's one that gives instant feedback.  Practicing on the hard floor will teach practitioners exactly where to distribute weight about the hands, and how to progress their balance by using specific movements throughout the body.  
-My personal preference is concrete or hard wood as it gives an even surface.  Something like grass can be an option but usually has some softness and/or uneven spots making the connection to the floor more difficult to find.  

TUMBLING MATS:

This is a surface that seems like it should be safer for beginners, but in fact it can hinder balance progress.  
Yes, it's safer to fall on a matted floor.  However, if you learned to bail out properly, the surface should make little difference.  
The difference in a softer surface is in the weight distribution and balance corrections.  
When I balance here my hands sink in slightly, so the weight is shifted further to the heels of the hand.  To compensate, I need to apply more weight to the fingers and because of this I tend to grip the floor harder than I prefer.  
In addition, when I make a balance correction through the hands, there is a dampening effect because the floor absorbs some of my movement.  This means I cannot react as quickly to changes in my balance.  
I think of it like trying to drive a car wearing ski boots and boxing gloves.  
Personally, I would not recommend students practice on a soft floor until they previously understand how to balance on a hard floor.  

New article out today on my website. This one is about how to learn and teach skills(including handstand) differently depending on the level of the student. Check it here http://www.yuri-mar.com/blog/2015/6/1/simplicity-and-complexity-for-different-levels #handstand #armbalance #inversion #gymnastics #yoga #calisthenics #fitness #circus #

"New article out today on my website. This one is about how to learn and teach skills(including handstand) differently depending on the level of the..."

PLYOMETRIC FLOORING:

This is something you will see in most modern gymnastics or cheer gyms.  A plyo floor consists of vertical springs under sheets of plywood with foam mats on top.  The purpose is to give athletes higher rebounds and better shock absorption in their tumbling.  
Balancing on this kind of floor is similar to balance on a soft surface such as regular mats, but sometimes the springs can cause unexpected oscillations and vibrations. This further complicates the feedback you receive as well as the correction dampening you experience.  
Again, I suggest learning on a hard floor first unless you are training as a competitive gymnast.  

PARALLEL BARS:

Parallel bars are an event in men's artistic gymnastics.  Many people find balance on the p-bars easier to that of floor.  This is usually because the apparatus allows for a more comfortable grip  It also lessens pressure on the wrist by allowing the hands to turn out with the wrist in a more neutral position compared to that of floor.  
The height of competition p-bars can induce some fears in people,
so parallettes can also give the same benefits with an apparatus that's more portable and closer to the floor.  
Balancing is done through radial and ulnar deviation of the wrist as opposed to palm versus fingers, so that's something to get used to.  

 

GYMNASTICS RINGS:

The rings are an amazing and simple tool for upper body strength development.  In modern times, the rings are getting more popular outside the world of men's artistic gymnastics.  
The handstand on rings is a completely different beast compared to other surfaces.  
-First off, the position is different.  The handstand here is ideally performed in a slight external rotation(~10 degrees past parallel).  This not only makes it a greater mobility challenge, but now also adds a new stress on the elbows unique to rings.  It is helpful to already be proficient in a straight arm turned out rings support hold to acclimate the body to this stress.  
-The unique difficulty of the rings lies in their instability.  They move in all directions and independently of each other.  The main balance correction on the rings is movement of the shoulders to move the rings underneath the center of mass.  This can build tremendous shoulder strength, however balancing from the shoulder is not the best habit for a refined handstand on a more stable surface.  
-It is highly recommended to already have a press to handstand and a solid rings support before attempting the handstand.  When learning this skill, it's best to begin with the rings low(like a finger's length from the floor) and spend lots of time with the feet on the straps to acclimate.  

Day 2 messing around with handstand on rings at @liftperformancecentre where I will be teaching a seminar the first weekend in April. Still got it. #rings #gymnastics #strength #bodyweight #calisthenics #fitness #notagymnast

"Day 2 messing around with handstand on rings at @liftperformancecentre where I will be teaching a seminar the first weekend in April. Still got it...."

BLOCKS:

Wooden blocks are very common among circus school hand balancing programs.  Typically rectangular or square shaped(though some people use circular blocks), then can offer some benefits.  
Blocks allow you to drape your fingers around the edge, giving your grip more contact with the apparatus compared to the floor.  This can make it easier to find the balance and reduces stress on the wrists.  
Be careful how hard you grip though, my first few experiences on blocks resulted in the tips of my fingers going numb for a couple days.  
Incline blocks are also an option for equilibrists whose wrists are not happy working on the floor or want to better simulate hand to hand.  My personal preference is a flat surface.  
The blocks allow a large variety of exercises to help build towards a one arm handstand, which would be their main purpose.  

One of the most important concepts for a beginner learning to balance is how to properly engage the hands and fingers. What about learning how to relax the fingers? An advanced practitioner who has a good sense of their own balance can start to think about things differently. Learning to relax the hands is a good concept to not only help reduce stress on the wrists and fingers but also to further refine stillness in balance. Try this drill on the blocks: find your position and then see if you can lift your fingers up. This will force you to make balance corrections only through your heel and knuckles of the hand. You have to be more precise and aware of your corrections but ultimately you can save a lot of energy this way. #handstand #balance #beastmode #strength #yoga #crossfit #calisthenics #armbalance #inversion #circus

"One of the most important concepts for a beginner learning to balance is how to properly engage the hands and fingers. What about learning how to relax..."

Playing with a different variation on blocks, this one really tests your balance in a different way

"Playing with a different variation on blocks, this one really tests your balance in a different way"

CANES:

Handstand canes are an apparatus specific to circus style hand balancing.  They consist of blocks on the ends of vertical poles attached to a solid base.  Canes have several purposes when it comes to hand balance:
-First of all, they give the performer a raised surface.  This makes it easier for a larger audience to see what they're doing.  
-The raised surface of the canes also allow for a more possibility of tricks that can be performed.  
-Even though it looks harder, canes can actually make balance easier when someone knows how to use them.  The sway in the poles allows the equilibrist to move the apparatus as an extension of their arm.  This allows for considerably greater control in balance.  Be careful though, balance on canes does not always transfer to floor and you don't want to get too accustomed to one particular technique.  
-Because of the nature of the canes, the entry to handstand(and bailout as well) is more complex than on floor.  Canes require either pressing or jumping up to handstand with precision.  It's useful to have a spotter if you are not experienced with the apparatus.  
-Quality matters.  Not all canes are built the same.  There can be a massive difference between some professional and homemade canes.  Don't be too picky though, it's good to have the versatility to adapt to imperfect apparatus.  

I am excited to be returning to Europe this September Two workshops coming up: Dublin, September 19-20 https://www.facebook.com/events/1694435037455136/ Haarlem(Netherlands), September 26-27 https://www.facebook.com/events/1462907874005739/ #handstand #handstandwhereistand #inversion #acrobatics #armbalance #fitness #circus #calisthenics #movement #movementculture

"I am excited to be returning to Europe this September Two workshops coming up: Dublin, September 19-20 https://www.facebook.com/events/1694435037455136/..."

Svetchka at Santa Monica beach

"Svetchka at Santa Monica beach"

 

CHAIRS:

A chair is a common object to balance on, mainly because it's easily accessible and looks more interesting than a floor balance.  
The typical chair handstand has one arm on the seat, and the other on the backrest.  The weight can be evenly distributed on both arms.  As for difficulty, the balance isn't really any harder than a floor handstand but the entry and exit need to be more precise.  It's recommended to have a press beforehand, though kicking up is also acceptable.    
Always make sure the object you are balancing on is sturdy.  To add to that, be gentle when "mounting" said object.  It's never fun to have something collapse under you.  
If it's your first time trying this, it may not be a bad idea to have a spotter.  

Chair stand

"Chair stand"

 

ON HANDS:

Performing a handstand on someone is a great way to completely challenge what you think you know about the skill.  So many elements about the skill are different, from the grip to the way balance is maintained.  
Hand to hand flying takes a lot of specialized practice to become proficient in, especially when it comes to working with different bases.  
-Because of  the different dynamic of the skill, a freestanding handstand on floor or canes is not required to fly hand to hand.  In fact, many sports acro flyers learn to balance on their base first.  
-Getting too used to being in control of your own balance can actually hinder your progress as a flyer.  

-There is definitely a greater risk of injury here compared to solo handstands due to the height and increased number of variables.  If it's your first time, make sure you learn form someone who has experience.  Remember that safety should be the top priority.  

Once in a while I get some questions about acro or hand to hand balancing. While I have dabbled in hand to hand as both a base and a flyer, it's still not something I have a much experience in. What I realized after teaching for some time is that my method of learning to balance the handstand is a horrible system for flyers. I teach a feedback system where the practitioner feels which direction they are falling, and learns to react by correcting the weight distribution through the hands and eventually the shoulders, elbows, and hips. This teaches the balancer complete control and awareness of their body while holding the position. As a counter, what if someone else is supposed to be balancing you? In that case, this teaches the flyer to fight against their base which can make them very difficult to hold. During my brief training as a flyer, my need for control was a habit I was trying to overcome. Before I got accustomed to it, I would have to "death grip" my base through the duration of the set in order to learn how to turn off the natural balance reactions my hands wants to make. Eventually I learned how to lock the position of my hands without using so much energy, but it was a completely new experience to me at the time. One of the best tips I got for flying was from Sports Acro champion and cirque performer @kristinallen4 To paraphrase, she said something along the lines of: "You are going to know that you're falling before your base does. You have to let yourself fall so that your base can correct you". Indeed, it's a very different concept from the solo balancing skills I teach. As always, there is no perfect system. Remember why you're doing something. If your goal is to be a flyer, you need to learn how to differentiate between balancing yourself and being balanced. #handstand #acrobatics #acro #handtohand #duo #acroyoga #calisthenics #fitness

"Once in a while I get some questions about acro or hand to hand balancing. While I have dabbled in hand to hand as both a base and a flyer, it's still..."

 

ODD OBJECTS:

One way to really begin to challenge yourself is to try to perform a handstand on something that wasn't designed for it.  Be creative here.  The only limits are the ones you create.  Here are a couple photos of odd object handstands I have done(beware, artistic partial nudity ahead).  

#tbt of a photo shoot I did a couple years ago on a statue. #handbalance #statue #art #sculpture #inversion #armbalance #calisthenics #circus

"#tbt of a photo shoot I did a couple years ago on a statue. #handbalance #statue #art #sculpture #inversion #armbalance #calisthenics #circus"

Handstand on a jack #handstand #fitness #calisthenics #circuslife #circus #inversion #armbalance #acrobatics

"Handstand on a jack #handstand #fitness #calisthenics #circuslife #circus #inversion #armbalance #acrobatics"

Longboard handstands #handstand #equilibre #armbalance #inversion #fitness #calisthenics #strength

"Longboard handstands #handstand #equilibre #armbalance #inversion #fitness #calisthenics #strength"

Don't miss my upcoming workshops in Sacramento, Oakland, and San Francisco. They will be held at alternative fitness, The athletic playground, and Move-SF respectively. #handstand #circus #art #contemporary #statue #muscle #strongman

"Don't miss my upcoming workshops in Sacramento, Oakland, and San Francisco. They will be held at alternative fitness, The athletic playground, and Move-SF..."

CONCLUSION:
 

Basically, what it comes down to is versatility in variation.  You will greatly improve your practice by exposing yourself to different challenges and variables that force you to be able to adapt your style and technique.  Eventually, these adjustments can be made on the spot.  
Each new surface or object has its own learning curve and will force you to do things differently.  
Once again, I cannot stress enough the concept of safety first.  If you can't yet hold a handstand consistently on floor, it may not be time to expand yet.  
Make sure you always have an exit strategy if things fail.  Get a spotter if you need it.  
ALWAYS check your apparatus to make sure it's sturdy before inverting on it.  

Other than that, go try something new.  

 

Still working on learning how to control your freestanding handstand on the floor?  Check out my ebook to help you understand and develop that process before moving on to other surfaces and apparatus.  

 

Balancing the Equation(.pdf ebook)

$15.00

Add To Cart

Why You Are Not Making Progress in Handstands

Handstands can be one of the most difficult and frustrating physical disciplines to learn.  
Progress can be very inconsistent.  

However, at the same time I notice people who do the same thing for years and make little to no improvement.  
The process towards progressing in this skill can be counter-intuitive, so here are a few common pitfalls experienced by beginner and advanced practitioners alike:

 

-You don't practice enough
Handstands take serious work, so if your practice consists of "messing around every once in a while", you're probably not getting better.  
This is a skill you need to devote some real time to; on top of that consistency of practice is key.  Luckily, it takes zero equipment so there should not be any excuses.  

-You move too fast
Wall handstand<freestanding handstand<one arm handstand.  These are the progressions, right?
Not exactly.  There are a multitude of concepts and steps in between that need to be addressed.  Many people are too eager to see the final product that they miss the process to get there.  
The basic rule is that you should feel complete control in your practice.  Any "wildness" means that it may be worth it to regress a step or two or reevaluate your technique.  

-You haven't properly refined your basics
This is about optimization of technique.  Understanding the concepts behind alignment, arm support, breathing, body tension and balance can help a lot when it comes to learning the more advanced skills.  
As a beginner, it's worth it to build a base.  As an advanced practitioner, it's worth it to keep refining your base.  If you advanced learning a technique that is not ideal, it's worth going back to solidify your basics.  
Case in point: if it takes you more than one try to find balance on two arms; you are not yet ready to progress to one arm work.  

-You spend too much time working on basics
The base is important, but at the same time it's important to begin exposure to higher level skills.  Some people spend so much time chasing perfection here that they don't get enough time to train what they're actually trying to work on.  
Yes, working basics will help with the advanced skills.  However, you won't achieve the advanced skills unless you actually practice them.  

-You haven't addressed your physical restrictions
In most adults, excess tension and restrictions in and around the shoulder, wrist, and elbow can impede handstand progress.  If you don't take care of these issues, they can have a significant effect on your practice, both technically and aesthetically.  
Check out my Wrist and Shoulder sequences on Vimeo to help address some of these issues
Wrist Sequence
Shoulder Sequence

-You haven't addressed your psychological restrictions
Handstands are as much mental as they are physical.  Being in a handstand can put people into an uncomfortable positions, and the tendency here can be either to collapse or fight.  
The key is to feel comfortable every step of the way.  If training handstands triggers a fear or panic response, it's worth it to spend some time developing comfort before moving on.  

-You train with the wrong methodology
Always remember what your goals and expectations are.  Are you training as a competitive gymnast?  If the answer is no, it may not be worth learning your handstand like one.  The same applies with yoga, circus, breakdance, and other handstand styles.  
Ultimately, this is an individual practice, so find what works for you without getting caught up in too many dogmas.  
Different acrobatic skills will also require different variations of the handstand.  

-Your view of 'progress' is too narrow
There are many ways to get better at a skill, and many of them are not as obvious as you would think.  Handstand hold time and body line are pretty obvious things to work towards, but things like efficiency in entry/exit, cleanliness of balance, consistency, fluidity of transitions and ability to save a fall also very important elements.  
Improving on these is just as important, even if you're not actively improving your line of hold times by doing so.  

-You get too caught up in PRs
Unless you were performing a feat of endurance, your longest hold time is not something you should get too caught up on.  
Hit 60 seconds?  Great!  How many attempts in a row can you hit that same number?  Ascending skill levels is going to take thousands of repetitions, so what we're looking for is consistency.  How long can you hold your handstand on the first attempt after rolling out of bed in the morning?  That's what I would be more interested in.  

-You spend too much time training on your own
I love training alone, but it has its pitfalls.  It reminds me of this quote:
"Solitude has but one disadvantage--it is apt to give one too high an opinion of one's self. In the world we are sure to be often reminded of every known or supposed defect we may have."
- Lord Byron
We all have a skewed perception of ourselves, so there are simply things we cannot notice or correct when it comes to our personal form.  For this reason, it's useful to have a teacher or training partner, at least every so often.  

-You don't do enough research
You might be someone who just likes to try something to see what happens.  In handstands, it's possible to progress this way for some people.  However, eventually there will come a point where some guidance is needed to continue progress or correct bad habits.  
This is where it helps to observe, watch videos, and take notes to get ideas from other sources.  

-You do too much research
Knowledge is important, but ultimately meaningless without proper implementation.  I encourage vast amounts of research, but there should be a good ratio between researching and doing.  There are too many people well versed in theory but with little practice in it.  
Don't be that guy.  


FINAL WORDS
Just some guidance to help some people along in their handstand practice.  
Interested in more information on learning this illusive skill?

Check out my ebook on handstands, "Balancing the Equation"
 

Balancing the Equation(.pdf ebook)

$15.00

Add To Cart

In addition, check out my events page for a list of upcoming seminars I will be teaching
 

Events

My Qualifications

With the internet the way it is these days, it's often easy to lose authenticity in our own image.  It's a fantastic way to reach more people, but at the same time there is a lot of sneakiness and manipulation involved.  

Basically, what is seen on someone's internet profile is not them as a person, but a crafted image they are trying to project.  Sometimes this image differs quite a bit from the individual creating it. 

This is not meant to call anyone out.  What I want to do is to talk about the authenticity of my approach towards learning acrobatics and other physical arts as an adult.  
Hopefully people will have a better idea of what my intention is and what direction I'm coming from.  

-I started for completely personal reasons.  Basically I thought it was a cool thing to try. I also thought that learning a few party tricks would make up for what I thought was my lack of social ability and personality.  

-I was training long before I knew any kind of money or career could come from it.  It was always about personal development.  
There was even a point where I told a friend I didn't think it was a good idea to try to become a professional stuntman because there are too many unknowns and risks involved.  Not only did I not know a career could be made from it, I actually believed it was not possible.  I was wrong.  

-I was not sedentary, but by no means athletic as a child.  I really didn't do much in my childhood that prepared me for the kind of training I currently do.  

-I started teaching not long after starting to train seriously.  Again this was for mainly selfish reasons.  
Basically I just wanted some people to train with and to create a community of sorts.  I tried to cultivate interest by teaching people to get them interested.  
Also since I had very limited feedback or reference material in my own training, teaching others was a way to access a different learning process.  This helped to eventually understand the techniques to a greater depth.  
Basically, teaching is a completely separate skill compared to training, performing or completing as an athlete.  It does not come natural and needs to be developed over time like anything else.  Teaching people early on gave me an advantage for what I do now.  
I like to explain it like this:
"Teaching is about getting into someone else's head in order to get them out of theirs."

-I am self-taught.  Most of my progress in the first few years was made through a vague knowledge of possibilities combined with obsession, dedication and experimentation.  I was stubborn and in reality not a very good student.  
I had somewhat of a scientific experimental method to training, but sometimes science is more art than science.  
It took me about 5 years into training to learn how to embrace criticism.
I used to have a sizable ego and had to learn the hard way that I wasn't as good as I thought.  

-When I say I'm self taught that doesn't mean I didn't learn from anyone, quite the opposite.  I learned from countless people directly and indirectly.  All these people influenced my style, but nobody formally trained me in anything on a regular basis.    
I learned everything the worst way possible, and had to go back to fix it after all the bad habits were built up.  

-I also spent about 5 years teaching kids gymnastics and cheerleading, both recreational and competitive.  The learning process of a child is completely different to that of an adult, and it is very important to understand this difference.  Adolescents have their own individual learning styles as well.  
Having exposure to all of this helps greatly to be able to modify my teaching style on the spot.  I still enjoy working with the younger generations.  The main reasons I quit were the high energy cost of the work, the low pay, and most important having to work for superiors whose approach I did not agree with.
The advantage of this line of work is that I got to stay close to what I was passionate about and still had some free time to pursue my interests.   

-I do not consider myself well-read.  I never really found reading that helpful for skill learning.  Too much theory and not enough practice.  It's not difficult to be well versed in theory; absorption and regurgitation of information was my specialty in school.  Too many people know how to make it sound like they know what they're talking about when they haven't gone through the process themselves.  
I'm not undermining the benefits of reading, but there needs to be an even ratio between reading and doing.  
When I read about something that interests me, I immediately go out and try it.  Until you understand how concepts apply to the real world, the theory is just that.  

-I went to school and got a Bachelor's Degree in Physics with minor in math.  I basically picked it on a whim after being undecided in Major for my first year.  
It's not something I was super passionate about but it sounded cool.  I wouldn't say I use a lot of it now, but the development of the analytical mindset definitely helped.  
Out of college, I got a job related to my field doing quality and environmental testing on massive radiation detectors.  

-I have no letters after my name, no certifications and I hold no value in pieces of paper.  Feel free to call me uneducated in that regard, I just don't care for formalities.    
I do hold value in someone's name, reputation, and ability.  No piece of paper or fancy acronym can accurately represent that.  
This is what I do and this is what I can do.  Let my name act as my resume.

-My business title is my name; the one that I was born with(and made fun of for in my younger years).  After moving to the US as a child, I used to hate not having a "normal" name but now I embrace it.  
Rather than having a flashy or catchy title, I prefer to put my name and reputation on the line.  I let my own name represent me.  

-I have done my research in different methods.  Most teachers have one narrow method of teaching a skill, which is not a bad thing at all.  
I however, prefer to research as many different options as possible of reaching the same goal.  This is why I spent time studying martial arts, gymnastics, various forms of weightlifting, dance, circus, etc.  Not only do you get to see the options, but it gives a better view of what limitations people of different backgrounds have when learning different skills.  

-I practice what I preach.  This means that I have tried everything I recommend.  
Likewise, I do all demonstrations myself rather than hire models or assistants, even if they may be prettier than me.  

-I learned my skills as an adult, and I have spent a lot of time working with the adult population of various backgrounds and levels.  Teaching an adult is very different to teaching an adolescent or young child and takes a unique approach.  

-My format is completely open.  No trade secrets or no inner circles here.   I prefer to demystify this kind of training as much as possible and I will answer any question anyone asks me to the best of my ability.  
Plus, pretty much everything I teach in person I've put out online for free at some point in the last few years.  

-Handstands are not the end goal of what I'm trying to do.  These are simple party tricks that I try to use as a tool to carry a greater purpose.  
The idea is to understand the control, awareness,. and attention to detail it takes to learn these skills.  This allows you to develop a greater connection to your own body, which many people in the modern world are disconnected to.  
An added bonus is that it helps keep you healthy and makes you look cool.  

Hopefully this post helps people to understand my background, methods and process a little better.  

A Couple Details on Chest To Wall Handstands

I talk a lot about how hand balancing is a very individual journey and process.  This means that you have to learn the restrictions, strengths, and limitations of your own body.  After this, you need to learn how to apply these to in order to create a more fulfilling practice.  

Hand balance is also very much an art of fine details.  Since the practice has grown more popular recently, a lot of teachers of the art are popping up.  
This is a great thing, as I believe that handstands are a staple of the physical arts and integral to building control and awareness of one's own body.  
However, what ends up happening is that a lot of the finer details in the development of the art get overlooked when trying to reach a higher number of people.  

I want to discuss a little bit about the chest to wall handstand.  This is an introductory exercise, so it is accessible to a lot of people.  
I'm not going to talk about right and wrong here, because that's subjective depending on the individual.  There are, however a couple subtle errors I see many people make in my classes, other people's classes, and photos/videos I see online.  These errors can create habits that are less than ideal for freestanding balance later on.  
 

DISTANCE FROM THE WALL

The typical cue given here is to be as close to the wall as possible.  This is a good cue...up to a point.  
There is such a thing as being too close to the wall in some scenarios.  A lot of it depends on body type and the situation the exercise is being used for.  
The universal concept I teach in arm support for handstand is that the arms should be vertical.  In order for me to hit that sweet spot in a CTW(chest to wall) handstand, I typically place the heels of my palms several centimeters from the wall.  
I am built fairly thick in the chest, which means that sometimes it can get in the way.  If I were to go as close to the wall as I could in a CTW handstand, it actually forces me to break my line by leaning my shoulders forward.  I have to do this to stay on the wall, because my chest actually pushes me away when I get closer and maintain open shoulders.  

If I had a slimmer profile, I could probably get away with being closer.  Just remember every cue is good until it's taken too far.  We want the arms vertical and ideally for the rest of the body to stack along the same line.  If this isn't happening, it may be a good time to reevaluate your technique.  

HEAD POSITION

Next, I want to talk about "proper" head position.  The cue most people are working with is "head in", and I feel when this is taken too far it can hinder progress in the freestanding handstand.  
I am not a fan of the "head in" cue for several reasons.  

"Head In"

First, the ideal handstand alignment is about getting the arms, torso, and legs to stack about the same vertical line.  The head and shoulders move independently of each other.  Moving the head does not change the alignment of the body, so head positioning is less of a priority. 

Second, one of the biggest reasons people like to pull their heads in is to create an illusion of better alignment.  The head in makes it feel like the shoulders are more open when the line does not actually change.  
Going further, take the standard "arms to ears" cue you hear often in kids gymnastics.  This does not specify shoulder position, which should be the priority.  I can achieve arms to ears with a 45 degree shoulder angle.  My shoulders are more open in relation to my head, but not in relation to my back which is the target alignment.  

As you can see in the photo, pulling my head in to touch the wall in a CTW handstand is actually stopping my shoulders from being able to reach the ideal position.  
 

Third, inversion can invoke a fear response in beginners.  Being able to see the floor helps with both balance and orientation, whereas the "head in" position gives you no point of reference for where you are.  
 

HOW TO CORRECT

Effective cues in coaching are massively important.  The goal is to hit as many birds as possible with one stone to simplify it for your students.  
After finding the proper distance from the wall, the cue I use to activate good shoulder position is "upper chest to the wall".  
By trying to pull your upper chest to the wall(even if it never touches), this takes care of both the open shoulder and ribs in requirements for the straight handstand.  It also does this with little chance of compromising shoulder stability.
In order to touch your upper chest to the wall, the head needs to be slightly extended to allow clearance for the shoulders to open.  This will also simulate the typical freestanding handstand position during which the practitioner is looking at the floor.   

Upper Chest touching the wall

As always, just something to think about and apply to your own practice and teaching.  

See the accompanied video explanation here:

In this video I discuss two common mistakes I see in most people's beginner handstand practices that can actually hold them back from their goals. See accompanying article here: http://www.yuri-mar.com/blog/2015/8/28/two-subtle-mistakes-most-people-make-in-chest-to-wall-handstand

P.S.
Of course the head does not have to be static.  Changing head position can be an important part of a more advanced practice, it's just not something I would introduce to beginners.  Check out Yuval Ayalon's video for a beautiful demonstration on head positioning: https://www.youtube.com/watch?v=N3K9SMNKL7Y

"Swans Reflecting Elephants"

I was recently reminded of a story I was told by Valentin Kirichenko, a former olympic level USSR gymnast who I was very lucky to have been able to train with.  

Valentin said that towards the end of his competitive career he was recruited by a well known circus company.  They tested him on his skills and offered him a job.
Valentin turned down the circus, saying "I am an athlete, not an artist."

This got me to thinking; at what point someone be classified as an artist at what they do?

Well, when most of us learn something new, it is often performed as mimicry.  We see something or are told something, and try to reflect it.  Depending on our knowledge and perception, that reflection can parallel or drift far from the original(reminds me of the Salvador Dali painting of the same title).  

How is this important in what makes someone an artist?  It's a complex subject but I can offer one opinionated standard:

You are an "artist" when you are evolved enough in your subject/art that your thoughts/ideas/progressions become uniquely your own. 

Mimicking ideas is still very important for learning and progress; few people would achieve a high level without it.   

The goal is to develop oneself to a point where you no longer rely on what other people have done in order to formulate your own ideas.  

This does not mean you have to be a leader; it means that one of the goals of a long-term practice is to eventually cultivate some independent thought.  

Simplicity and Complexity for Different Levels

"Before I studied the art, a punch to me was just like a punch, a kick just like a kick. After I learned the art, a punch was no longer a punch, a kick no longer a kick. Now that I've understood the art, a punch is just like a punch, a kick just like a kick. The height of cultivation is really nothing special. It is merely simplicity; the ability to express the utmost with the minimum. It is the halfway cultivation that leads to ornamentation. Jeet Kune-Do is basically a sophisticated fighting style stripped to its essentials."

-Bruce Lee

I know that Bruce Lee quotes can be overused these days.  Let me explain how this particular one is an excellent metaphor for how to learn skills at different levels.  

Different stages of skill development can require different methods of learning in order to maximize progress.  

Beginners will make gains the most easily and quickly.  This is the stage where to a degree you can get better just by showing up.  It is best to keep things as simple as possible here: attempt to do the movement as best as you can without over analyzing.  
Many beginners make the mistake of trying to think too much and thus hinder their own progress.  Learn how to drive your car before worrying about the traffic laws.  

We have a very limited amount of concentration we can allocate to different facets of the skill being performed.  As a beginner, it's important to know where to place the focus.  This way you can create a good base to build upon.  
In terms of handstands, one of the things many beginners need to focus on is bypassing the survival instinct.  Often times the body needs to be assured that the position is safe and comfortable.  
Beginners should be focused on building comfort in the position.  Once the survival mechanism is broken, we can focus on a little bit more on alignment and body tension.  Still, it's best to keep things as simple as possible while we acclimate to the new stress on the body.

Intermediate level is where we can start to add some thought and complexity after the fundamentals have been taken care of.   In handstands, we can be more picky on the alignment, weight distribution over the hands, balance corrections, etc.  The idea is now to think a bit more over the purpose of every movement and body part.  The theoretical stage is very important to be able to eventually individualize your technique.  Find out what works well for you, what doesn't, and learn how to apply both.  
Avoid getting caught up in too much thinking though, it's still important to maintain a ratio between thought and action.  

At an advanced level, we attempt to purify the skill.  Purification is achieved through trimming down what is extra.  After the thinking stage is over, we should now have a good idea of the technique we are using.  We want to take these techniques and make them happen without conscious thought.  The advanced stage of skill development is about refinement through doing less.  
At a high level of refinement in a handstand, you can think of every visible movement or balance correction as an error.  

This is where things can get a little confusing.  Students of different levels working on the same skill can sometimes receive opposing advice.  It's not about right or wrong, it's about finding the right cue for the level and situation.    

Using the base handstand as the example, here are some oversimplified situations of advice I may give people of different levels to improve the same movement.  
All the more reason to keep an open mind since a concept you learn as a beginner may change completely once you have developed yourself.  

HANDS
Beg: More weight over the hands
Int: Engage the fingers more
Adv: Relax the fingers

HIPS
Beg: Hips up
Int: Open the hips
Adv: Still your hips

SHOULDERS:
Beg: Push into the floor
Int: Open the shoulders
Adv: Lock the shoulders

BODY TENSION:
Beg: More Tight
Int: Engage/Relax this or that
Adv: More relaxed

BALANCE:
Beg: Weight on top of the hands
Int: Fight more to stay up
Adv: Anticipate balance to fight less

ELBOWS:
Beg: Lock your elbows
Int: Learn how to correct balance from the elbows if need be
Adv: Lock your elbows

The purpose of all of this is to give you an idea of how ideals, techniques, and perspective can completely change throughout the course of training.  As always, there is no universal clearly defined concept of right and wrong.

When learning or teaching skills, remember this:

Beginner:  Do Something
Intermediate: Do More
Advanced: Do Less

What is "movement"?

These days there are a lot of buzz words being thrown around.  While I'm all for promotion and getting the word out, there are times when meaning is lost.  

I want to talk a little bit about the word "movement" and what it means to me based on my experiences.  

First off, let me just say that I am happy with the direction things are going in the fitness world.  Slowly but surely, we are getting back into the trend of using and building a connection with our own bodies, as opposed to being concerned with how many calories we can burn in a workout.  

However, what people are calling "movement" these days does not always please me.  

Movement is intricacy, precision, and obsession.  Movement is skill, performed for thousands of repetitions over many years until there exists a shred of consistency.  
Movement is researching and learning.  Rather than harvesting bits and pieces from different physical arts, learn to appreciate the art itself.  
Movement is humbling; it is realizing you understand less after learning more.  

Some of my experiences with movement:

Consistently being made to tap out within seconds after believing I wasn't bad at grappling.  

After having practiced capoeira for the better part of 10 years, finding that I still don't really understand certain movements I learned on day 1.  

Despite having all my splits and being able to kick above head height, my hips are still too tight to hold a decent 5th position in ballet class.  

Taking several years to acquire my tumbling skills, then taking the same amount of time to try to fix bad habits developed from ignorance.  

Training hand balancing for years before meeting someone who was actually better than me.  Then getting the opportunity to train with some of the best in the world for a truly humbling view of where my own skill level is.  

Learning the difference between doing tricks and "performing" them.  

Taking up dance class and realizing how stiff I really am.  

Learning to not break form during transitions.  

Obsessing over single details, and literally watching every video on the internet(on the subject matter) at the time to be able to better assess and analyze the technique.  

The idea is not to discourage anyone, but to help people understand the meaning behind the word and the community.  Movement has to have a purpose, but above all it's a way of life.  It's someone you are 24/7.  
Understand that the world you think you are part of is bigger than you know.  Learn to appreciate the work and dedication it takes takes to not be terrible at something.  

Above all, enjoy the process.  

Scapular Positioning

Control of the scapula is immensely important for development of upper body strength, posture, and general control of oneself.  I have seen far too many people who are either locked up in this area or lack the coordination to be able to control, move, and stabilize from their shoulders.  

The shoulder joint is incredibly complicated, and today will not be an anatomy lesson.  I simply want to make you aware of several positions to be able to use them in your training and daily life.  

The scapula(shoulder blades) are floating bones located around the sides of your upper back.  Their specific placement will have a massive effect on total body output. This is especially important when working on handstands and other acrobatic movements.  
 

To simplify things, let's say the scapula move in two directions.  They move forwards and backwards, also known as protraction and retraction.  Also they move up and down, known as elevation and depression.  

In a relaxed standing position we want(more or less) the shoulders depressed and neutral in terms of protraction and retraction.  

From here, you can elevate the scaps by strongly pressing your shoulders up:

You can go into protraction by rolling your shoulders forward and around your back to create a round shape: 

You can go into retraction by strongly pressing the shoulder blades together behind you: 

You can also combine elevation with protraction:

As well as elevation and retraction:

These exercises are to develop control of the scapula as well as to diagnose what your restrictions are.  

After you have mastered these position the true value can be demonstrated.  

Attempt to go through these positions of the scapula in loaded position, examples being a pushup position, handstand, hanging, etc.  Make notes of how they feel differently, and what feels more stable. 

When you have understanding and appreciation of shoulder placement, it will do quite a bit for your movement efficiency.  Every upper body strength movement has a very specific scapular position that will make the movement work best.  The answer is not always the obvious one.  

This is why I think it is very important in someone's personal development to be able to explore enough to do things differently.  The placement of the shoulders is only one small part of the whole.  

The idea is to be able to experiment enough to be able to find out for yourself why we do things the way we do.  

Navigating New York City and the Language of Teaching

I just got back from my third trip to New York City since I've had a "regular job".  This time I was there to assist Kit Laughlin in his Stretch Therapy for Gymnastics Strength training.  

I had a good time, met lots of new people, and reconnected with some old friends.  This is always good to do, but I will be honest, I don't love New York.  I find it to be too stressful, fast paced, and an over-stimulation of the senses.  I don't think I could survive there very long.  

The hardest thing for me is navigating my way through the city.  Transport is not very user-friendly to someone who is not a New Yorker.  I feel like every direction I go is a gamble to see if I'm going the right way or not.  
I am very grateful to the friends who helped me find my way to the different places I had to go.  However, one thing I find is that most New Yorkers give me directions as if I was from NYC.  This is only slightly helpful as most of the time I have no clue what they're talking about.

What kind of blog post would this be if we didn't draw a parallel to something else we do.  

Everything we know is based on the previous experiences we have had.  This is something we have to keep in mind when teaching or explaining anything to someone else.  Assuming someone has a similar perspective to yourself is the biggest flaw of most teachers.  If something is completely foreign, there will be no connections drawn in terms of understanding it.  

As a teacher(and we are all teachers to some degree) you must be able to speak in a language that someone with no perspective on the subject matter can understand and follow.  This is one of the biggest flaws I see in most teachers.  They speak to new students as though they already have some understanding of what is going on, when in reality this is rarely the case.  

It's not about making a comparison to something the beginner already knows, though it does work sometimes.  A good teacher should be able to continually break something down to a more basic level.  This should continue down to a point that the student can understand in their own words and perspective.  

Though beginners make the most gains in the shortest amount of time, they are the most difficult students to teach well. Teaching an advanced student is much easier as they already know the language.  

Next time you test yourself or someone else as a teacher, see how well they can explain their subject to someone who knows nothing about it, child or adult.

Review of Kit Laughlin's Into the Stretch workshop, and some thoughts on Workshops in general

I just left Bellingham, Washington which is a very small town where people are almost unnecessarily friendly(compared to what I'm used to.)  I went to Bellingham to take the "Into the Stretch" workshop with Kit Laughlin.  

Bellingham Sunset

First I want to talk a little bit about Kit, then share some thoughts on workshops in general.  

I met Kit at a Gymnastic Bodies seminar in Arizona a couple years ago, where he attended the seminar as well as taught a flexibility module as part of it.  I was interested in his work because of how genuine he was when he talked about it.  Anytime someone sounds like a salesman or businessman it is a massive turn-off for me.  Kit comes across as someone who legitimately enjoys what he does.  The other reason why I recommend Kit's work so highly is that he doesn't regard it as complete.  I have worked with many teachers, and many of them think they know something.  Once they release a body of work, that's it.  The fact is that your work, whatever it may be, should be an organic being capable of changing and evolving as new information becomes present.  
Since our first meeting, I attended a six day workshop with Kit in Charlottesville, VA and he hosted me for a handstand workshop in his home of Canberra, the Australian capital.  

Superficially, Kit appears to be a teacher of flexibility and movement.  The true nature of his work(and mine as well) goes way deeper than that.  Our bodies are the only true home we ever live in, and for the majority of the population it goes largely unexplored.  It's surprising how much of a disconnect people have with their own bodies.  

In fact, an analogy I use for people's treatment of their own bodies is similar to that of a rental car.  It gets you from one place to another for the amount of time you have it, but ultimately you are not responsible for it.  I prefer to think of my body as the ship I am captain of.  If something goes wrong, it is my own responsibility.  

Well flexibility among other things, is an excellent tool for developing a deep awareness of yourself, as well as the mind-body connection.  
Here are a few concepts I learned or was reminded of while taking Kit's workshop:

-It's not the muscle being stretched.  Muscle behaves like any elastic material, when it is lengthened it goes back to its resting position in a shorter time than it took to elongate.  Limits to flexibility originate in the brain.  People who are anesthetized are completely flexible and can be put into any position.  As soon as they regain consciousness they revert back to their original state.  

-"Your body is smarter than you are".  This a concept I work with in my teachings as well.  We are all a series of compensations created by our weaknesses and shortcomings.  Your body is an expert at making compensations to avoid movements that cause any stress to the system.  It is also an expert at resisting change; if left to its own devices it will run purely on habit.  However, to grow as individuals we must be able to get past the discomfort or making change in ourselves.  

-Lowest energy state.  So many of us hold unnecessary tension within our bodies, and it happens for a number of reasons.  By default, we should be completely soft and relaxed until action is required.  Control of tension and relaxation is a massively important concept for athletics, movement, and life in general.  

I definitely learned a lot more at Kit's event my second time around, which brings me to my next point today.  

Why attend a workshop or seminar in the first place?  Here are some of the less obvious reasons:

-To get a different perspective on something you already know.  There are a lot of teachers who teach the same thing, but all of them have a different viewpoint.  Learning different perspectives can only benefit you more as a student or teacher.  Just remember to keep an open mind.  

-As my friend Samantha Star mentioned to me, going to a workshop can be a great way to validate what you already do.  Seeing someone else use the same methods as you is a good way to legitimize your system. 

-Repeating the same workshop can really help you understand the subject matter.  You can focus much more on the subtleties once you know what the foundation will be.  Both Kit and myself give discounts for repeating a workshop(I plan on making mine more substantial once the business is a bit more situated).  Maybe there is that one piece of advice that you just weren't ready for the first time around, and all of a sudden it clicks.  Either way, it's impossible to learn all the ins and outs of a system from going to just one workshop.  

-Meeting a community of like minded people can have quite an invigorating effect.  

As a student, you should aim to get at least one concept you can take away from any workshop or class you take.  If you learn even one thing, consider it a success.  

To learn more about Kit's work, check out www.kitlaughlin.com for more information.  

My Past Experience in Grappling and Humility

Today I want to write a little bit about a mentality I used to have, and a lesson I learned from having it.  We are all guilty of having an ego from time to time, and it is important to appreciate the reasons to stay humble.   

During my college years early on in my movement journey, I trained with the MMA club.  It wasn't anything too hardcore, mostly just some basic Muay Thai and BJJ.  Occasionally we did some weapons work like Escrima or Kali.  
The club was run and frequented by average college students, so my having above average strength, flexibility, pain tolerance, and work ethic came as an advantage.  I was able to progress pretty quickly, though it may have been attributed to my preferring training over partying.  

I felt especially confident during the grappling portion, but I would soon find out that my confidence was very misplaced.  
I had played around with some wresting as well but never had any formal training.  I found if someone was close to my size, I was able to overpower them.  However, someone who had actually trained in wresting was usually able to pin me.  

Fast forward a year or so, I am visiting a friend's college during my long winter break.  They have an open BJJ training where visitors can sign a waiver and roll.  At this point I had already been training(many bad habits, though I didn't know it then) capoeira, MMA, tricking, basic tumbling, and some gymnastics strength so I had a pretty high self opinion.  Prior to rolling with who I believe was the teacher for the BJJ club, I thought I would have at least been able to hold my own against him due to the stuff I had been doing.  I could not have been more wrong.  

I did several rounds with the BJJ teacher, and every time he would literally have me in a lock within seconds.  It didn't matter how much stronger than him I may have been or thought I was, superior technique and experience beat me every time.  

So this is what it's like to actually be good at grappling, I thought to myself.  Turns out I was a big fish in a small pond.  I had never previously experienced BJJ at a higher level, and that caused an ego to form.  
I have gone through similar experiences with other forms of movement, but none as profound as this.  I had completely gotten my ass handed to me. 

Here are several lessons I learned from the experience(I didn't grasp a lot of these until many years later):

There is always someone better than you

If there is nobody in your circle better than you, seek someone out on occasion to be inspired and/or humbled

As soon as you think you'e "good", you automatically lower your guard

As soon as you think you know something, it impedes your learning capabilities and closes off your mind

Stay humble, continue through life as a beginner and a student.  I have found that the further I go, the further I see there is to go.  Every step I take forward gives me a better view of the world, and I see how vast and overwhelming it really is.  It's not discouraging by any means; I would rather be aware of the possibilities.  You could be the biggest fish in your aquarium, but there is a whole ocean out there. 
 

A Metaphor for the Process of Skill Learning

Understanding how skills are learned is a vital thing to know for both a student and a teacher.  However, it seems to me that many people are unaware of the intricacies of this process.  

I want to offer an analogy that may shed some light on the matter.  

You can think of achieving "mastery" of a skill similar to accelerating to highway speed from a dead stop in a car with manual transmission.  Some of us may start with an uphill or downhill grade.  There will be people who can naturally learn a skill without putting conscious effort into it.  As a counter to that, others will have restrictions, either mental or physical that hinder them from the skill at hand.  Their current lifestyle or mindset is not conductive, therefore lack of effort will actually bring them further from the goal in hand.  

First things first, you have to put the car in gear.  This means you have to want to learn the skill in question.  Unless you are a wizard or mutant, it won't happen on its own.  
In first gear you will be able to accelerate the fastest, thus you will make the most gains as a beginner in anything.  However, first gear will only take you so far.  Eventually you will have to switch to second gear.  

In the case of skill learning, second gear would be modifying your training approach after building a solid foundation.  Note that it is important to have a bit of momentum prior to shifting gears.  

As the gears get higher it gets easier to maintain speed, but it becomes more difficult to accelerate.  The higher skill level you are the more work it takes to reach the next level, but the skills become more ingrained.  

With every new gear, you can pick up speed to a certain point after which slamming the accelerator will no longer propel you.  Then you must shift again.  A shift could be trying a new method, consulting a different teacher, doing some cross training, etc.  

If you don't regularly maintain your vehicle, acceleration will be rough.  If you have issues with the engine, you may need to fix them prior to taking your car to higher speeds.  

If you shift to a high gear without the necessary speed, your engine can stall out.  

Sometimes it is necessary to downshift to allow faster acceleration(going back to basics).  

Familiarity with your car will result in smoother acceleration.  

Riding each gear to its appropriate speed prior to shifting will result in smoother acceleration.  

It always takes more energy to accelerate than to maintain speed.  

If you put the car in neutral, you will lose speed.  The faster you were going, the slower you will lose speed.  

Every model car accelerates a bit differently.  

It is easy here to draw lines and make connections.  The point here is that the learning process is not linear.  Any approach will continue to work to a certain point after which you will plateau your gains.  There is not necessarily any one approach that will lead to mastery, rather understanding many different ones.  

Lastly, everyone will take a slightly different path toward their goal and will require different guidance along the way.  

Hopefully this is helpful in understanding where you stand in your own learning curve, as well as where your students are.  

Soldier Mentality

I want to address a mindset I see quite a bit in many realms of physical training.  It is something that I do my best to avoid in my own training and teaching.  

The soldier mentality refers to blindly following orders without any thought or hesitation.  This approach definitely has its place in the world and certain hierarchies, but I think that over the long term it is detrimental to our personal and mental health.  

Because we have access to so much information it is vital to learn to think for ourselves.  

Ask someone why they do a technique a certain way.  "Because coach told me to" should never be the correct answer.  This shows that they do not have a fundamental understanding of the movement they are practicing.  Now what happens when they go out and teach the same thing?  We have a case of the blind leading the blind.  

My preference is for students and teachers alike to always stay informed, which is not as difficult as it seems.  If you have a teacher, there is a reason for that.  There is no need to question their every motive; you should place sufficient trust in them to know what they are doing to a certain degree.  

Every once in a while, ask "WHY?"  Ask both your teacher and yourself.  If you do not get a satisfactory explanation, that should raise a red flag.  

I had no consistent teachers for years, so in my process of exploration I had to constantly ask myself why.  This attitude helped me learn a lot and greatly heightened my ability to analyze and break down movement.  However, as a student it made me a bit rebellious and resistant to tutelage.  This would be a massive juxtaposition to the many athletes who only do what they're told.  

Here is my point in all this:  everything we do is for a reason.  It is important to understand why.  

What it comes down to is that everything we learn should not be duplicated but interpreted as to how it works for us individually.  
If you want to increase your understanding and awareness, do not forget to ask "Why?".  

The Difference Between Adults and Children

In my time I have had the chance to work extensively with both adults and children.  It has led to many interesting experiences and observations on different learning styles and how to teach them.  

The main difference I noticed in adults versus children?  Resistance to learning.  

Children are literally learning machines.  They are hardwired for it.  This means that a child can learn and improve simply from exposure regardless of any desire to learn or understanding of the process.  Let me repeat that:
"A child can learn something without wanting to learn it or understand it".  
An unfair advantage maybe?  Not necessarily.  Being able to absorb the environment around oneself comes with both benefits and pitfalls.  Bad habits and behaviors can easily be acquired.  Once acquired, they stay for good.  

Setting the example...

After a child goes through a certain amount of development and experience, this is where the mindset changes and the line is drawn.  Rather than learn and process new information as something novel, an adult is more likely to draw on past experience and knowledge for comparison.  This creates a certain close-mindedness, but even more so a measure of limits.  

Of course none of this is universal.  There are some childish adults out there as well as some mature children.  

The stare of judgement...

I think one of the most important qualities to instill in children you are teaching is to have them acknowledge who they are ultimately working for: themselves.  Often children are taught with the soldier mentality, not sure why or what they are really training for.  Self-motivation is what we are looking to build, otherwise they are just as likely to quit.  

As a teacher of adults it is vital to know the "hacks" that overcome learning resistance.  This can take a bit of problem-solving as every student is unique.  The method of having everyone do the same cookie-cutter program is not enough to break through most peoples' individual barriers.  Ultimately what I try to teach is self-reliance.  Learn a principle and how to apply it to yourself.

Remember that regardless of who you teach, you must set the example. 

Beginner Mind

Those of you who have been following me should already know my view on beginners taking my workshops.  Honesty, nothing but positive things can be gained from it regardless of how novice someone is.  

This is because beginners have no preconceived notions on what they are learning is supposed to be.  Though teaching novices presents its own unique challenges, the payoff will be noticeable on both ends.  It's the concept of "shoshin", or the beginner mind I am bringing into play.   A beginner always has the most to gain due to their lack of bias.  The goal is to be able to apply the beginner mind to any new thing we learn, but is this actually possible?  Can we truly keep an open mind to new experiences?

All of us see the world through some sort of lens.  Everything we see is interpreted and molded by everything we have previously seen and experienced.  There will always be some sort of bias within us no matter how big or small.  Everything we do, say and think is guided by this and I believe to truly take on a beginner mind is nearly impossible just as a side effect of being who we are.  

As a teacher, this presents a unique challenge to me when faced with experienced trainees.  I try to be as impartial as I can when it comes to skill and technique development to account for individuality.  I believe in many paths toward the same goal.  

Chances are that any experienced student has learned some bad habits someplace or another that are holding them back to reaching a higher level.  Do we go back and start from scratch using "the universal method"?  Or can we work to modify what they have to mold it into what they want it to be.  Of course it all depends on the end goal, but what is technique if not the best method for the individual?  

I do not believe in any universal method of teaching and learning, and thus I want to present the mentality of the modified beginner mind to the experienced trainees working with a new teacher or method.  

The most important thing here is to know yourself and how your mind and body function together.  It's unlikely you can completely open your mind for a new method when you already have your own, likewise starting a new program from scratch may result in more losses than gains if you are already at a decent level.  Remember that you as an individual have the final word.  Try to visualize the modifications you have make to your current status.  Maybe you have to go back to fix some weaknesses; maybe it's about attaining a level of refinement you were not previously aware of.  Take what is useful and apply it rather than copy it.  
The point is to modify and adapt any new lessons to your current ability.  This way you can continue to learn all the while maintaining individuality.  Let what you have work with you rather than against you; every attribute has its own positive and negative consequences.  

This is the difficulty for me as a teacher working with experienced trainees.  Since it is already too late to create something new, I try my best to modify and add on to what is already there.  Of course, this takes time and more importantly the participant's willingness to change.  

So final thoughts are this:

Keep an open mind, but be aware of your own strengths, weaknesses, and limitations.  Interpret and apply rather than digest and regurgitate.  Lastly, don't be afraid to make change.  

Psychologically Approaching Handstand Training

Today's topic is something that does not get discussed often enough.  Look around and there is a plethora of of coaches and teachers who can give a logical progression for physical training of a skill(like the handstand).  The formula is simple enough without too much deviation from progression to progression. 

What if I told you that the hindrances that stop people from learning how to handstand mostly do not come from the physical body?  Sure, adults come with lots of mobility and strength issues, but all the stretching and strengthening in the world will still not get them a handstand.
 
Why?  The mind acts as the barrier and limiter for the body.  If the psychological situation is not addressed first, it will constantly limit your physical abilities.  This is why I can take people afraid to do a handstand and have them balancing on their own in a short time.  This is why I can take people who claim to not be able to open their shoulders and put them in an open shoulder handstand within seconds.  This is why my friend and flexibility expert Kit Laughlin can get people into ranges of movement they thought they didn't even have.  

In my experience it is rarely an actual physical limitation that actually holds people back.  

So how do we approach training for hand balancing in this fashion?  Firstly, there are a couple concepts to remember.  Your subconscious will always resist change, discomfort, and difficulty.  Any time you put your body in a situation it has never been in, panic sets in and your body will attempt to get itself out of danger as fast as possible.  This concept applies in a lot more realms than simply handstands, but I will try to stay on topic.  

The goal for a handstand is to never feel like your body is in danger.  There are a couple ideas that are essential for this

1. Have an exit strategy.  One of the first things I teach is how to fall, and for most people it takes only a few repetitions to recognize how to safely bail.  If you don't understand how to fall safely, you will constantly be afraid of going over too far which will result in the compensation of never going far enough.  As an adult, you need to specifically feel what it's like to be off balance past the point of control, and what it's like to react to it to get your feet back on the floor safely.  The important element is to go from a point of control to a loss of control; some people like to anticipate falling and start to bail out before ever feeling the control.    

2.  Get comfortable.  Scale the skill down as much as needed, but until a level of comfort is achieved it is useless to move on.  Being comfortable in a handstand means you make it look easy.  It means you can breathe easily, hold it as long as you want and come down intentionally.  Remember that the handstand is a RESTING POSITION.  I have worked with many who view it as a strength movement.  They bent at their elbows, go into power breathing, etc.  Typically these folk do not hold the position very long, nor do they exit with grace.
 
I literally give lectures in a handstand during my classes and workshops.  It's just standing; having a conversation in handstand should not be a problem.  

This is one concept people have a hard time learning.  You think the basic handstand is the final goal?  Trust me, it's only the gateway.  It opens up doors to movement you didn't previously have as now your hands and feel become interchangeable.  

Unfortunately, hand balancing only gets more complex after the base has been achieved.  This is why it's so important to have that resting position to return to.  

The last issue I want to address is in the case of free balance.  Most people never feel what it is to be directly over their hands.  The reaction to this is either blindly kicking up and missing or a fear based reaction where the body pushes the weight back to where it came from long before there is a chance of catching the balance.  

To be on balance is a very fine point, but how do you expect to be able to hold a handstand without ever feeling what it's like for your body to be aligned?  Handstands don't magically balance themselves, you have to feel in your body what is happening.  In many cases, to be on balance is to be further forward onto the hands than what most people allow themselves to experience.  Keep this in mind; the control is all within your own body.  

Happy Balancing!

A few notes on Hand balance and Performance

This weekend I had a hand balancing gig at the Las Vegas Science Festival.  Nothing crazy spectacular, I just did a few sets where I performed a short demo and followed up with an explanation of the science behind hand balancing.  

Now I don't get to perform hand balancing very often(I practice mostly for other reasons) and during these performances I was made aware of several reminders in the difficulty of the art of hand balancing.  Hopefully this will shed some light on the practice for the aspiring performers.  

1.  It is really easy to fall.  Literally a split second loss of focus is enough to make you fall out of a handstand.  This is all fine and can be a bit frustrating during a practice, but in a performance you must keep razor sharp focus.  Anyone who has taken my workshops knows how much stress I place on intentionally coming out of a handstand and developing the reaction to not fall.  

2.  Being able to perform without a "proper" warmup.  Normally I take quite a lengthy warmup if it is my first time moving that day.  Just as well, I try to maintain a certain pace in my training so that I do not cool down.  Remember that performance is unpredictable and you may not have a lot of time, means, or equipment to be in the best possible state prior to performing.  You have to have all the more confidence in your own abilities.  

3.  Performance anxiety.  Performing in front of people always brings some nerves with it.  This can be a useful thing, as the extra adrenaline will make you stronger.  Unfortunately it also makes you shaky which is not a good thing for balancing.  Controlling this is not easy.  

4.  Imperfect conditions.  It is a good idea to get used to practicing on different surfaces, apparatus, etc.  Chances are the conditions you have when performing will not be ideal; better to be prepared for anything.  

5.  Consistency.  Be able to nail your tricks 100% of the time.

6.  Lastly, learn how to make it look easy.  I think this is one of the most difficult concepts for people to understand.  It's all in the body language, which can be hard to convey when upside down.  It's that confidence we are looking for.  Of course, this is all on top of the regular standards we look for in performance.  
 

The point here is not to scare anyone off, quite the opposite.  Work hard on your skills and refine them to no end.  
I just want people to be made aware of the difficulty of performing hand balance.  It is very easy to watch a routine and critique it(I am often guilty of this myself) but it is quite another thing to perform it.  
Hand balance is one of the most difficult arts to perform, make sure to give respect where it is due.  

Do your own research

Today I wanted to write a little bit about Bruce Lee.  Sure, he has been the subject of many praises criticisms in regards to his martial arts prowess.  Just as well, his work was a large inspiration to me during my days of backyard martial arts training.   

However, this is not today's subject.  I wanted to highlight some of Bruce Lee's other philosophies and approaches that I think we can all learn from.  

See we live in a world of information.  Anything we want to learn, we can do it with the click of a button.  Tons of studies, papers, notes, firsthand accounts on literally every subject exist now.  There are advantages and disadvantages to having this kind of information access.  This allows us the potential to learn and know more, which is huge.  Knowing that something is possible can increase the realm of further possibilities.  The downside is that we become reliant on our information and it keeps us from doing our own research.  
Rather than trying something ourselves, the first order is now to see if someone else already did it and how they did.  Though it is a painstaking process, there is a large merit to figuring things out for yourself.  The appreciation and understanding you develop from it is priceless.  

This is where Bruce Lee comes in.  He did some pretty crazy stuff and was way ahead of his time for it.  Before you could look at studies on how a group of sedentary individuals behaved a certain way you had to try things for yourself.  Bruce did just that; he tried things himself.  He did his own research by attempting all the possibilities and then taking what was useful from all of it. 

I feel like this concept is lost on a lot of people today.  I know from person experience, one of the things that helped develop my eye as a teacher was the lack of information I had available.  I had to try something, try it differently and see the effect, or try to watch and analyze someone else do it at the times I had that option.  Because I had no information to bias my judgement, I was able to keep a very open mind and learn all kinds of different techniques from various disciplines.  The knowledge gained from this was immensely helpful in seeing how different people with different bodies and different movement backgrounds react to learning something new.  

The fact is that knowing too much, or thinking you do can cloud your thoughts and actions to a large degree.  This is why it is important to maintain beginner's mind.

This concept is especially important in training the physical arts since there is no universal technique that can predict how a body will behave.  The concept of right and wrong is not so clearly defined.  Every process must be individualized to see the reactions to different stimulus.  

The lesson for today?  Next time you see, read, or hear something do not take it as gospel regardless of where it came from.  Try it for yourself to develop the correct knowledge, understanding, and frame of reference.  

-Yuri

"Order of Operations" in Press Handstand

Those of you who know me are aware off my math and science background prior to my life as an acrobat.  Sometimes old habits die hard.  
I want to take a basic concept out of algebra and apply it to a complex movement like the press to handstand.  

The press is a very technical movement that requires a combination of strength, flexibility, coordination and body awareness.  To make it even harder, this is all done while maintaining balance.  
While I do not believe in set right and wrong ways to perform a skill there are ways to make it more mechanically efficient.  

To conceptually explain this movement, it is important to know that in balance and alignment there are certain priorities.  The first priority here will always be shoulders. Shoulders are a crucial link between your body and the floor or apparatus.  
What we are looking for is that the arms are vertical.  This means that the shoulder should be directly over the hand.  If it is not, chances are the position is more difficult to hold than it needs to be.  Ideally we want to spend as little time as possible in a position where the arms are not perpendicular to the floor.  
How does this apply to the press?  Take a look at the starting position:

Can you stack your hips directly above the hands without learning forward?  Probably not unless you have amazing flexibility and the right proportions of length of arms, legs, and torso. This means that we must be in a mechanically inefficient position for some time.  
Shoulder lean can be minimized by maintaining a strong base and demonstrating maximum compression in the body.  The smaller you are, the less you have to compensate for a counterbalance.  In contrast, the more extended your body is in the start position the more shoulder lean it will take to lift off.  
In the start position you want to apply force downwards with your hands while simultaneously curling your back and actively pulling your legs closer into your body.  

Now here is where the order of operations comes in: the actual lift.  The goal is to extend and prioritize one part of the body at a time until we go from fully compressed to fully extended.  
Here is the order: shoulders, upper back, mid/low back, hips, legs.  If anything is extended early, it prematurely lengthens the lever and increases the force required to complete the movement. In addition once a mistake in the order has been made, it is very difficult to correct until the movement is complete.  
Also keep in mind when I say "extend" I mean to stack the joint vertically along with the rest of the body.  

Check the order:

On the way down we reverse the movement again prioritizing the arms vertical.  This time the arms begin vertical(hopefully) so the goal is to maintain that as long as possible by moving the rest of the body around this lever.  It is common for many people to begin the negative press by loading the shoulders first.  This can build some strength but is not the best way to do it to learn proper technique.  In a negative press, the shoulder angle should be the absolute last thing to break.  Go as far as you can with everything else until you have to break your shoulder angle.  

The concept of priority actually applies to a lot more than just the press.  Please keep it in mind when working the more advanced skills.  

I hope this is helpful, happy balancing!