Mark Bell's Power Project - Ido Portal Teaches Movement Intelligence: Why You Must Train, Not Exercise

Episode Date: December 3, 2025

Experience a rare, long-form movement lesson with Ido Portal, one of the most influential thinkers in human movement, coordination, and physical practice.CHAPTERS:00:00 - Introduction01:12 - Exercise 1: Right Side10:43 - Exercise 2: Left Side16:29 - Post-Exercise Discussion21:43 - How to Train Movement25:24 - Two Archetypes of Movers26:36 - Ipsilateral and Contralateral Training31:23 - Ipsilateral and Contralateral Game33:58 - Movement Intelligence Techniques38:20 - Variance and Control in Movement42:35 - Catch the Stick Game47:52 - Catch the Stick Game with Bilateral Squats53:13 - Breathing Techniques for Movement58:18 - Reaction Training Strategies1:07:15 - How to Improve Movement Quality1:13:00 - Importance of Reactionary Training1:17:21 - Openness to Play in Movement1:19:34 - Learning from Traditional Cultures1:23:10 - End of the First RecordingSpecial perks for our listeners below!🥩 HIGH QUALITY PROTEIN! 🍖 ➢ https://goodlifeproteins.com/ Code POWER to save 20% off site wide, or code POWERPROJECT to save an additional 5% off your Build a Box Subscription!🩸 Get your BLOODWORK Done! 🩸 ➢ https://marekhealth.com/PowerProject to receive 10% off our Panel, Check Up Panel or any custom panel, and use code POWERPROJECT for 10% off any lab!🧠 Methylene Blue: Better Focus, Sleep and Mood 🧠 Use Code POWER10 for 10% off!➢https://troscriptions.com?utm_source=affiliate&ut-m_medium=podcast&ut-m_campaign=MarkBel-I_podcastBest 5 Finger Barefoot Shoes! 👟 ➢ https://Peluva.com/PowerProject Code POWERPROJECT15 to save 15% off Peluva Shoes!Self Explanatory 🍆 ➢ Enlarging Pumps (This really works): https://bit.ly/powerproject1Pumps explained: https://youtu.be/qPG9JXjlhpM?si=JZN09-FakTjoJuaW🚨 The Best Red Light Therapy Devices and Blue Blocking Glasses On The Market! 😎➢https://emr-tek.com/Use code: POWERPROJECT to save 20% off your order!👟 BEST LOOKING AND FUNCTIONING BAREFOOT SHOES 🦶➢https://vivobarefoot.com/powerproject🥶 The Best Cold Plunge Money Can Buy 🥶 ➢ https://thecoldplunge.com/ Code POWERPROJECT to save $150!!➢ https://withinyoubrand.com/ Code POWERPROJECT to save 15% off supplements!➢ https://markbellslingshot.com/ Code POWERPROJECT to save 15% off all gear and apparel!

You got to train. What is train? Practice. I'm not in the business of beautifying the movements, but I'll go with some things which will improve the beauty of the movements to a certain degree. The ground is even and the body is not. And there is this interaction. Back, left, back, simple, right. The yogi should go do some powerlifting and vice versa in order to get more into the movement game. In the beginning of studying a new discipline, you get a lot of the general components and a little bit of the specific. That's why I stopped specializing on things. I practice every day. You said 10, 12 hours a day. Yeah, sometimes more. Sometimes I practice officially 12, 15 hours. Maybe what would be interesting to play with is actually, you know, sometimes people want

to draw you into their area, which is familiar, and try to get improvements. But what would be more interesting is to open other ideas and thoughts, especially since you guys. talked a little bit about coordination, difficulty and stuff. Yeah, let's start. These are mats, right? Let's do something laying down for a moment before we start, unlock a little bit and then we'll take it from there. I like to lay down on the ground.

First thing in the morning, flip off the bed, lay down on the ground. examine a little bit what is there. The ground is even and the body is not and there is this interaction. So it actually gives us a lot of information about the state of the body. Of course in the beginning you don't pay attention and you don't lay much on the ground so you're not aware of it but after a while it starts to become very good diagnostic. So we lay down and we'll examine all the contact surfaces with the ground. and the height of what is not in contact with the ground.

For example, the back of my knee, and compare the sides and have a look. I'll lead you through a little examination and then we'll play a little bit and we see if we can affect it without doing much, really. Just little things. And this will attempt to unlock the body. Not to stretch, not to manipulate the body,

but more to to press the unlock, just like with the car. Maybe get rid of a little muscle tension. Definitely related to chronic tension, but also relates to missing tension. Because when you want to get rid of certain tension, you have to offer the body a new configuration. Or else the body cannot...

You know, it's like I'm going to stand behind Nasima and I'm going to put my hands underneath his armpits and I'm going to tell him, give me your weight. And he'll not. Because he'll feel, I can't, I'm not going to support that. So he'll have a difficulty to give his weight. So you need to provide the body a new support which sometimes is a new tension, but in a different area or a different system. And then the body can unlock and get rid of the old tension.

It would be, that's the stupidity of shouting at someone, relax, release, you know, like we get a lot in sports. Hey, loosen up. What do you mean? give me something, give me a new support, I'll loosen up, the old one. All right? So lay back down. And just totally relax everything, allow everything to sink into the ground. And now with the eyes closed, start to examine the way that the right hill is laying on the ground. Where is the contact of the right heel on the outside of the heel and compare it to the left and just note it for yourself the differences that you sense and travel up into the back of the cuffs pay attention

where exactly are you in contact with the ground there the right and the left and underneath the Achilles tendon how much distance there is there you don't need to measure it or to note it in inches, just pay attention, just have a feel, and travel behind the knees and feel the distance between the back of the knees and the ground and the hamstrings and the glutes, the right side of the pelvis and the left side of the pelvis. Pay attention to how exactly it's organized on the ground. the differences between the sides and try to estimate which leg is longer from the pelvis all the way down to the feet pay attention to the lower back how high

is it off the ground if there is tension around the spine there in the lumbar region don't fall asleep yet pay attention to the back of the ribs pay attention to the shoulders and shoulder blades, try to sense the shoulder blades, it's not that easy. Try to imagine how they are shaped on the ground and the differences between the sides, the back of the shoulders, the arms, around the tricep, the contact points, the elbows, forearms, the wrists, the palms, estimate the distance between the back the neck and the ground and the back of the head. And now take a moment to generally estimate the level of tension in your body, the level of discomfort,

the emotional tone. Just pay attention. Remember more or less what you've seen. bend the right foot and the left foot make the knee stand and lift your pelvis up and place your right hand underneath the belt area and place the left hand on top of the right hand and then lay back down and allow the legs to straighten and try to find a place where it's not painful you can slide the hand slightly more out away from each other lower or higher

try to see if it's okay is it okay yeah good now we'll try to do something little bit strange we'll try to lengthen the right elbow to the right and into the ground and by doing that we will gently rotate the body to the left and you can watch me just doing it a few times I lengthen the right elbow and it It rolls gently part of my body to the left. And I let go of this tension and I repeat this action again. Lengthen the right elbow. Keep the body soft.

Allow the head to rotate to the left so you'll be facing the left in the peak of the motion. And then relax the tension and the body should be rolling back into position. Don't do it with a large effort. 20% effort very gently, but try to pay attention to what contractions in the body, around the pelvis, around the abdomen, the lower back are blocking this motion from becoming bigger. Try to relax them. The legs will be soft, but naturally as you rotate to the left, the left knee might bend a little bit, just softly as it lays on the outside. and keep repeating this action gently, lengthening through the right elbow, allowing all the bones to move away, and then relaxing.

And slowly increase that frequency and try to make it into a very gentle shake. Tap, tap, tap, tap, just gently pressing in and rolling the body and the pelvis. the pelvis. If there is something uncomfortable, you can bend the legs a little bit, but try to remain as soft as you can. If it's too much at a certain point, you can let your arms come out, take a moment, rest and then return to this. Try to allow your pelvis to follow the motion. Exactly. Just like I'm rolling. rolling you gently there, good, and relaxing everything as much as you can. Good, and also allow the breastbone to follow as much as you can and softening this motion.

Now stop at the peak of the movement with the head to the left and keep pressing through the right elbow gently and feel how ever everything rotates away from the right elbow. Feel that transmission from the right elbow, all the bones pressing you into the left and rotating you into the left. And then release it and repeat again. Press and hold. And release it.

Press and hold. And release. Press and hold. and release and go back to the gentle shake. Tuck. Tuck. Try to really soften as much as you can. Whatever you observe that is tightening or fighting this tendency,

that the body can become more gelatinous. Keep everything heavy into the ground, relaxed, and just this little initiation from the right elbow without any other further tension. Okay, now stop, bend your knee. knees, raise the pelvis up, take the arms out, lay back down, straighten your legs, arms at your sides, and immediately pay attention to how you feel. Try to pay attention to all these areas.

Pay attention to your lower back, the pelvis, the distance behind the knees, the heels, to see if the right leg is different now than the left. Pay attention to your right shoulder blade, compare it to the left. The length of your right arm, compare it to the left. Try to estimate and feel the right side of your face and the left side of your face. Try to feel your right eye, see if it's the same as the left eye, or it feels different. just note it for yourself and bend the knees again raise the pelvis this time place the left hand first and the right hand on top and lay back down right

hand on top on top of the left yeah and lay back down and now we're going to try to do it on the other side so gently lengthen from the left elbow and try to rotate your body to the right gently but just with that specific gentle pressure. Slowly getting into your frequency and do the motion as small as you need to do it to avoid discomforts and tension. What is king here is the ease of the performance,

not the size, not the range, not the speed. and more as relaxed as you can, the better it will work. So even if the motion is almost invisible from the outside, it will work better if you put the correct intention behind it. Slowly start to find that frequency and allow it to form into almost like a shake. Your head will be turning right and come back, right and come back, swaying with the rest of the body, gentle lengthening. Feel how the breastbone, the sternum, moves away from the left elbow as you press into the left elbow, how the rib cage is allowed to change

its shape. And now press and hold. Make sure your right head, the head rotates to the right and gently helps the sternum to rotate away and feel how the pelvis rotates to the right. Then release and press and hold again, and release, press and hold, feel the lengthening through the bones rotating you away, and release, and go back to that shake, in and out, in and out, head rotating, find your frequency, gelatinous body, relaxing any tensions that you find. Okay, and stop and bend your knees, lift the pelvis up, let the arms come out, lay back down on the ground.

Relax everything into the floor and pay attention to the changes that are occurring in the body. Try to sense your lower back. Try to straighten the legs now and try to see if you feel different around the pelvis, the back of the knees, the distance of the Achilles from the ground, the lower back, the rib cage, the back of the ribs, the shoulder blades, the arms, the back of the shoulder. See if there is changes that are occurring. Try to relax as much as you can to allow things to manifest. Feel the back of your neck, around your eyes, the face. If you have a sensation behind the eyes which is unique and interesting. What we note, what we pay attention to, we get to keep. What we don't note will disappear very quickly. The secret of changing how you move and who you are is by paying attention.

the missing power in the modern culture that we're living in. And slowly roll into one of the sides, whatever side you feel comfortable rolling into, and slowly bring yourself to sitting and from there to standing slowly. And the first thing is pay attention to where the weight is placed on the feet. You might feel like the feet are in contact with the ground a little bit different. Try not to hold any habitual way.

So we usually, when we stand up, we immediately go into our frame. Try to allow the body, you know how a baby learns how to stand and there is this sway because he's not holding. So try to relax the body and kind of almost like take a few steps back and a few steps forward and allow the body to find its new calibrated point. Good. Good. Then take a little walk just around, and as you're walking, pay attention again to how the body is walking. Good. Good. Was there anything interesting happening there for you guys?

I felt my body pressure just felt different once we kind of moved and stretched a little bit. I felt like my contact on the ground felt a little different. And what did we really stretch there? Yeah, I don't think we did a lot of stretching necessarily. For me, it was a stretch just to have my arms back like that. So I had to kind of adjust, but I know what you're saying. And for you, want to see what? After we did it, the first time where the first elbow, right, when I put it,

put my legs back on the ground, it felt like this foot was straight up, while this felt it was like this. When I opened my eyes, they weren't, it didn't look that, you know, that different. Then when we did the other side, both sides felt like they were evenly relaxed when I was on the ground when I was seated. But it's just that when I, the feeling of the difference was much more drastic than the visual difference, which was odd. But that's, that's actually the, the change. The change is very tiny. If we orient ourselves, but what we can see, we often get disappointed. You know, that thing I learned with my first girlfriend at the age of, you know, the hottest girl in school.

And then comes my moment, first kiss. And I'll never forget, taste of chopped liver. difference between what we see and what we actually sometimes get, which is often very different. But those little changes, we later translate to something bigger, especially if we conceptualize how we got there. Because there is something about how we get there. Like of course, you know all those crazy demonstrations, whoa, foam rolling, Chinese medicine needles, heat, yeah, you can do it.

But after a few hours, back, sometimes something more delicate is easier to actually take into a major change, a change in organization. In a culture of trying to talk about posture, I have rarely seen anyone really change their posture ever in all my pursuits. I think it's one of the most difficult things to do. Yeah, you can stretch up, you can put some muscle here or there, but that's not a postural change. Posture is an organization, an organizational capacity of the body, an intelligence of the body, and the body resists that change tremendously.

So sometimes something very, very tiny can start to occur. The reason why we did it in this way is because we don't put our hands there. And when you do it, it starts to put the body into a general internal rotation, I mean global. I see people walk that way sometimes. Yeah, you know, the Chinese masters. The Chinese masters, you know, they have this walk, this cocky walk, right? The old, yeah, Charles used to tell this joke, yeah, you remind me of an old Chinese proverb. Confuciusay, a man who walk with hand in pocket feel cocky all day long.

So, this walk, this cocky walk, but it comes from somewhere. What? what you guys are also pursuing right you're trying to get that to move so when you put the hands here you really feel how little you actually move at the moment you do that you're confusing yourself you're feeling oh i'm moving a lot i'm rotating a lot actually that would be my criticism about using the rope i think it's a great tool but i think this is the limitation of it i i do it a bit differently i prefer people to move their arms then they will discover how poorly they move here.

Because the rope I can always manipulate with very tiny joints. So there is a chance that you're going to get from it something. By the way, the heavier the rope, the more I like it, which you probably naturally realized being more powerful and big guys because you need that feedback in order to really work from here. If it's tiny, it's going to be Buddy Lee, remember? The All-American. So it's a great tool.

I love ropes, I love sticks, I like balls, but I would sometimes with big people, I would actually go to something else because of the potential for them to cheat themselves out of the real movement inside. Good, so let's play a little bit. Question, question. When you said you'd go to something else, what did you mean by that? What would you think about instead? Predominantly what I teach and what I work a lot with is I basically call armwork.

Okay. You know, we talk about footwork a lot, but armwork, super important. So when I have to move my arms in the space, since I don't have that implement that has a projection and I can manipulate from the small dexterity here, I'm forced to move a lot more. Okay. When I need to do this movement,

I need power here. I'm not, but with a rope, everybody can do this movement. Did you just shoot a fireball? Is that what you just on? So this is, you remember I said when we met there, I talked about maintenance and my frustration. I don't, I can't maintain all this stuff.

I did too much. I was in too many different bodies. But if I go to the core of it, actually everything is the same in this way. So I prefer actually, in certain cases, to move away from the implement. Or with someone else, I'll use a stick. Or a heavy stick. Long stick.

This has been known in martial arts for a long time. It's not about fighting with sticks. It's a way to train your movement. It's like a push-up. But many martial artists did not understand. Didn't get the memo. So they ended up. You see a lot of sprinters sprint with a stick.

Yeah. Stick overhead and we'll do high knees. Just to, like, I think as you're saying, they're trying to over-exaggerate the movement of their legs, and they don't want their upper body flinging around so much to distract away from what they're trying to do. It's another use, but it's also from similar reasons. Or have it on their back and not have rotation.

Correct. Also, maybe what's important to say there is there is a back-end change and a front-end change. You know these terms, back-end, front-end? like interface like we have a platform of online training for the people so it's like something that we've developed and built the front end the student sees also movement-wise there is a back-end thing now when I go to the outside what is viewed on Instagram I work with the front end in hopes fake it until you make it if you're going to do these movements with the rope or

with a stick it will affect deeply the deep the root of the movement close to to your core the deep changes. Or if I'm going to put you, I'm going to teach you how to walk in a certain way, you're going to, but this is mostly fails in my eyes. Because the front end has to manifest from the seed coming from the back end. That is truly the behind the scenes of what happens. So many times when you're working with something that is forcing you to do the internal change, the deep change, like for example to do this, you were very uncomfortable, you had to take your arms out and we barely did something I stopped third of a way in but if every day you will start to research this gently without hurting yourself in this way you'll be

amazed at the changes in the inner frame not the outer frame the movements that nobody sees this movement this movement and it's not it's not on camera that that's the problem also that all of our training became this camera things. Good, so let's take it from there. Predominantly, I like this slice and dice approach. I take something I want to work on, and I slice it in a certain way, and then I dice it in a different way, trying to get the understanding.

One of those ways to slice and dice movement, and you can look around, there are two archetypes of people, of movers. One archetype is those that can maintain shape really well. The other is those that can change shape really well. Powerlifters, that orientation is about maintaining shape, not collapsing under the load, finding a way. NBA has a lot more shape-changing demands.

And everything is somewhere in between. In NBA, there is LeBron, but there is also Kyrie. There are different archetypes a little bit, within even that sport. And even in powerlifting, there are people who found a way to make it work with shape-changing. Somewhat, micro-movements that nobody else sees. Now, if I look at Nasima here, there is this basic position. we call it neutral position, bilateral position,

but we also can call it ipsy lateral, same side position. So if I turn to the side, it's clear that my right shoulder and my right foot or my right hip are aligned. What is the other position that humans engage with, upright mostly? What is the other one?

Prone? No, upright. Upright position. See, Mark, he's in this ipsylateral position, right? What would be the other option that communicates the other side of the spectrum? Bilateral? It's already bilateral. Oh, he's bilateral, right?

What would be the other thing? How do you move? How do you move? How do you move? If that's the only choice, what are you doing? Contralateral? Contralateral. Right?

I was trying to search for the word in my head, I couldn't figure it out. and figure it out. Excuse me for asking the questions. The questions are not to put someone on the line. Yeah, that's okay. The questions in my experience, they make you guys come along on the ride with me. I don't want to tell you things. I want to show you how I got into things. That would be much better teaching than me just telling you how it is. And that's how I teach. So actually, this, there is ipsi lateral. Ipsi means same lateral. EPSI means same. side and there is contralateral, opposing side. What is actually opposing? The rib cage and the hips?

That's one. That's one way to look at it. If I place my left foot forward, am I now in contralateral or an ipsilateral? Ipsilateral. Correct. What do I need to do to be? What do I need to do to become contralateral? Move the other leg. Move the other shoulder. Right.

Correct. So actually, it's a relationship between my right shoulder and my left hip that are now facing forward. Notice my right hip is back and my left shoulder is back. This is contralateral position. Usually we think about the hands, but it's not good. Contralateral reciprocation, right? That's what it's called.

Well, each goes back and forth. It's an application of the grand biomechanical concept. But the basic concept is epsilateral, same side, contralateral, opposing sides. And it's very large now. I'm not talking about gait. I'm not the gait guy. I'm the movement guy. Gate is part of movement and very important and very basic.

So in this case, check this out, why it's not good to relate to the hands and the feet. What position am I at now? Ipsi or contralateral? Ipsi. Ipsi. And now? Ipsi. Correct.

You see why it wouldn't be wise to relate to the hands and the feet. And now? Contralateral. Contra. So this would confuse you. It's more about the relationship in this case between the shoulders and the hips. What is the use of this alternation? Torque.

For what use, for what means? Moving. Propelled forward. Propel forward, walk, run, sprint, throw, many times jump as well. Yeah, we have also bilateral jumping, but you'll be surprised that actually what looks bilateral is never bilateral. It's like isometric training.

No such thing exists. There is no isometric. training it's bullshit why you should know even like overcoming isometrics too that's like never there is nothing isometric doesn't exist impossible why well because you're always moving exactly inside it's actually vibrating it's a it's actually spinning a thousand miles an hour it's actually myometric it's actually fluctuating so of course we need the term so we use a term this is more within smaller buffer, but the movements are the same. If I do a concentric action or I hold this position,

I'm still fluctuating, acting in myosine, attempting to make connections and disrupt the connections, motor units, you know, fluctuating, et cetera. Remember contralateral, epsilateral. We're gonna play a game. You're gonna step forwards and backwards, alternating the feet. Okay, come, come next to me here.

So we alternate, so right, back, left, back, simple, right, left. Now when you put the right forward, put the right shoulder forward and reach with the right arm forward. That's ipsilateral, right? Let's alternate in ipsilateral. sure that the shoulder follows the right hip and there is a small rotation like a jab. And very simple, you don't have to raise the arm in any specific way. The quality of the movement is not that important, it's more about the categories.

Okay, stop. Now we alternate contralateral. So place the left foot forward and reach with the right hand but make sure that the right shoulder actually reaches and go back and do it on the other side. feel how that rotation forms and creates that motion. Great. All right. Sometimes when... It feels good. We are not yet doing anything. I know, but I can. Yeah. It's just little, little thing. By the way, you can clearly see what is more comfortable for a person

and where he gravitates more towards. But actually, I don't want to make you better at contralateral or ypsilateral, I want to make the differential more available. The idea is not contraction. That's half of the equation. The idea is not relaxation. That's half of the equation. Movement is about the fluctuation, the differential, and it's control. So, for example, powerlifting got half of the memo.

It's a lot about creating tension. in many other methods like yoga is very good with the relaxation probably the yogi should go do some powerlifting lift something heavy and vice versa in order to get more into the movement game and both of these disciplines usually when I meet people from powerlifting or from yoga

they're terrible movers compared to you know dancers or martial artists who are actually busy with that change that fluctuation between them. So now the game will be more tricky. I'll start with you. So you're going to always step forwards and backwards alternating feet.

You're never stepping the same foot twice. You're going to do it slow. And I'm going to give you a strain of commands, EPSI or Control. Now, whenever you receive the command, you're going to be here. I'm going to time it in a way that you're here. So if I say EPSI,

Ipsi, Ipsi, contra. There we go. Now we start. Now you're going to struggle with it. Yeah. And I'm going to shoot at you, you're going to watch, and then your humiliation will arrive. I appreciate it. The idea here is very simple. First, let me establish it. if we how does it feel to get stronger feels great but the process you feel weak all the time yeah fatigued right so actually in reality if if you ask me how do I get stronger you make yourself weak you make yourself weak yeah how does it feel how does it feel to get smarter you feel dumb so so so all

Already, like when we establishes, this is movement intelligence, right? Like, I'm challenging something. Of course, you're not used to it. If I am not used to it, I will be struggling as well. But we need to embrace first the fact it's going to confuse you. You're going to make mistakes. So I'm going to use my timer. Okay.

Just to give a time frame. And you work slowly, alternating right and left. And I'm going to give you the next command in line. Got it. Start now? Ipsi. Ipsi. Slow.

Contra. Okay. Contra. Ipsi. Ipsi. Contra. Contra. Contra.

Contra. Ipsi. Ipsi. Contra. Oh. Correct it. Contra. Contra.

Ipsi. Yipsi. Contra. Uh. Don't change the legs. Just change the arms. arms when you make them step. Ah, okay, gotcha.

So, boom. Stay bilateral. Wait for me, bilateral. Contra. Contra. Ipsi. Ipsi. Ipsi.

Contra. Ah. Reach with the opposite. Correct. Contra. Contra. Intra. Yipsy.

Yipsy. Contra. Ah, same foot twice. Contra. Ipsi. Ipsi. Ipsi. Ipsi.

Contra. Contra. Contra. Epsi. Ypsi. Contra. Left foot. There we go.

Ipsi. Contra. Contra. Ypsi. Stop. Ah. Not bad at all. There was a moment, did you notice, where things clicked, and then it was lost again.

Came in a thought, self-awareness, something. Doesn't matter. But beautiful work for first set. Nice. And he also clarified it to himself. The only thing that you can learn, you can slow it down further. You are in control of it. Don't react to my voice.

I'm giving you the command, but in time, take as much time as you need until you perform it. Don't stop, but don't accelerate. Because when I say, people tend to accelerate. So you can do it like this. Ipsi. Ipsi. Contra. Contra.

Ipsi. Contra. And I'm making you adaptable to change. Isn't this what is happening when I'm in position? I go for a hip throw. I changed into Ipsi. Or when I go for an hand drag, I change into a contra. Or when I'm just walking and I'm about to bang into Naseema.

And I need this little change to pass by. It's constantly there. So Gait, for me, is not about just this tuk, talk, tuk, tucyclical activity, but it's about variance, ability to control and change. You want to try, Mark? I do.

Don't break an arm. I had a friend who once broke an arm in a chess game. It would be not far from it. So, slowly. Ipsi. Ipsi. You have to alternate the feet. Yep. Ipsi. Contra. You have to alternate the feet. You step twice with the same foot.

Just chop my toes off. Right foot and contra. Contra. Ipsi. Ipsi, great. Contra. That's Ipsy. Do it again. Right foot and contra. Good. Contra. Ipsi Ipsi Contra

Contra Ipsy Yipsi Yipsi Contra Contra Contra Contra

Yipsi Contra Yipsi Ipsi. Contra. Ipsi. Ipsi. Contra.

No, contra. Right foot and contra. Right foot forward. Contra. Good. Ipsi. Contra. Ipsi.

Good. Beautiful work. Beautiful work. just saying. Why? A few things. First, you guys up here in North America, you use too much time to comment about things. And this creates further confusion. When you make a mistake, simply drop it. I tell my students, don't even acknowledge it with a nod. Like, or this sounds, no, or this takes resources. So first, you work just cleanly with a little smile and just slowly, feel. And just slowly, figuring it out. Of course, we have to train it to make it more available. This is nothing

to do with the body. This has everything to do with the mind. What did you feel when doing it? I felt fun. I mean, I like challenging things, like challenging the mind and body at the same time, so it felt good. What else? What else did you feel when doing it? Being honest. For some reason, when I had to do contra on the left side, when you'd make me switch on contra with this foot forward. I messed that side up more times than contra on my right footboard. I don't know why, but I just noticed that that happened. Good note. Make a note for yourself. To me, it feels like it feels like play. That's why I laugh and smile. This is great. This is the approach. But actually, what I was aiming at is to acknowledge that there is a discomfort.

And nowadays, we talk about it's called limbic friction. When you're learning, you're actually in duress, in a certain discomfort. And the way to resolve it is to become playful and to understand, oh, that's the game. Now the game is called Confuse Me. And I'm going to get confused. Because that's the real development of the skill of becoming more coordinated.

You need to be able to accelerate this for me to throw a chain of comments. And then finally, what we're going to do later, it will be challenging, but I would put you in actual functional tasks where you have to change. like this I try to address actually your request mark because you said like I feel that when I was younger I was able to learn easier so I'm we are really

touching that a kid would would work really well with it very quite quickly but it's very cerebral I'm I won't be doing this with a kid Ipsy contracts to top bottom but I would find a similar way to do it still so look what we're going to do and this is my little stick here so you stand in front of me in a certain distance from the stick this is a good distance now we talk about archetypes a moment ago so let's talk about stances so before we were ipsy and contra its relationship between the upper and lower but stents is something else which stances do you know just being neutral and balanced and you know kind of hanging out on one side of the other good balls of your

feet so what is that stance technically I don't know what this would be called I just oh maybe a this would be a split stance a ready stance sports stance but I don't know like what balls on the feet was a called so this was something that I kind of realized whenever I went between sports and stuff like everyone has these vague terms and like everybody works with footwork in tennis in boxing but nobody knows so I started to create a theory for for myself about this. One of the things that I realized is this stance, or actually this is the same, it's a lateral stance.

So if you stand a bit more open, you would feel immediately without needing to do anything, you're very balanced here, here it's much more trickier, right? And also to exit into movement, you'll be very quick doing this, but in order to move forward, you're slow. And then the second stance, what you call split stance,

but it's not a good enough term for me, is the frontal stance. So if you take this stance, now you're very good, you're stable forwards and backwards, but the sideways is weak, right? Like you feel that weakness. And you're very fast going forwards and backwards, but not side to side.

Yeah, it's gonna take a second, yeah. And the third stance is multidirectional stance. That's the most important stance, that's what fighters mostly use, with litter permutations. And imagine I'm standing on a box, now I place my foot, on one corner of the box and on the other,

but I'm facing the front of the box. I see. So it's not distance. It has a little bit of the lateral and a little bit of the front and back, and now I'm capable of moving to all directions. So whenever the game is played in all directions, multidirectional stance.

And you don't start from day one. You go to grappling, you already realize, ah, okay, I need multidirectional stance. You go to tennis, eh? Basketball, right? Makes sense? sense? So first, the game is played in multidirectional. You're going to place yourself in a slight multidirectional stance. Not too deep. Great. I'm going to drop the stick in 360 degrees.

This point will never move. You're going to catch the stick as close to the floor as possible. As close to the floor as possible without it slamming into the floor and you're going to bring it up to standing and then I'm going to do it again. I'm going to let my, like, I'm going to allow myself to You can move in space everywhere, you're free to move, you're free to... But you have to catch the stick, don't let it touch the floor, and as close to the floor as you can. Got it. He has to adapt himself for all these options.

Mind the stick. It's okay. Keep going, breathe. Keep on relaxing yourself as you do this, not to allow the tension to build. You notice I'm never throwing the stick. I'm always dropping, but I'm confusing. I'm creating all these confusions,

but I don't throw it down. There is no, it's not a reaction game in that sense. Keep breathing, good, keep breathing, good, keep breathing, good, keep breathing, good, excellent. Don't fall asleep. Yes. Great. Good use of the hand.

I like that. You can do everything in all these different ways. Good. Change. I like that. First thing to pay attention to is also the kind, for me, a minute and a half of this versus a minute and a half of jogging. Because the chaotic nature of it builds a totally,

different endurance. It's not the same. You can take a great runner. It's not going to do well in soccer. There is there a lot more variance. So also our capacities should be built more in relation to what we really want to do. Okay, Mark, let's do it. I'm trying to catch it low.

As close to the floor as possible. Okay. Within your possibilities, yeah? Gotcha. That's as close to the floor as you can. That's as close as you can to the ground. I think you can go on the way. Efficiency.

No, but address the demands. Try to go as low as you can to the ground. Yes, use whatever means you need to get low in there. Good. Great. Good. Good. Good.

It's good that you don't allow it to drop, but try to get as close to the ground as you can with the catches. Beautiful. Move away and catch it close. Move away and catch it low. Great. Move away, catch it low. Good. Good. Clearing that space. Good.

Keep going, Mark. Low. Be ready to move there. Use your multidirectional stance to move. Good. Excellent. Good, all right, all right. Next step.

When I'm going down there, change levels, change. There is two different choices. One we call bilateral squat. lateral squatting. One is called lungy, unilateral. Now I tell you which one you have to catch it with. So I add the command, squat or lunge. You have to catch it, for example, squat and bring it back or lunch. Of course, each one within his capacities. I don't have to go very low. I do this with Alzheimer's patient. I come from working with a woman in her 80s with Alzheimer's and the next day, an MLB player and the next day a UFC fighter. But I use similar tools, which makes that woman very proud. So, a lunch to give you that it can be this, but it can also be that, any kind of splitting, asymmetrical position.

Squat have to be symmetrical, all right? Got it, yes, sir. Squat, launch, launch, launch. Lunge. SQat. Lunch. Lunge. Lange.

Squat. Lange. Lange. Squat. Lange. Squat. Squat. Squat.

Lunch. S squat. Squat. Squat. Great. Lunch. Squat. Squat.

There you go. Lunch. Squat. Almost. Lunch. Lunch. Great. Squat.

Squat. Lunch. Lunch. Lunch. Lunch. Squat. Good reflex. Squat.

Lunch. Squat. Hey, cheater. Squat. Good. Lunch. That's the best compliment. Lunch.

Uh-huh. Lunge. Squat. Squat. Squat. Good. Good work. Great job.

There were a few interesting things. By the way, whenever I finish a set, I always talk about it with the person and I ask questions because, again, what you will pay attention to is very valuable. The good. First, a few things. What is this? What is that? Metronome? Or? Pendulum. Actually, metronome is this most of the times. So this is actually a reverse pendulum. What doesn't move? The bottom? The actual stick itself. The bottom. Ah. So your reflex, intelligence, when he couldn't reach it, he went to the source, which doesn't move. When I say cheater, highest compliment. Highest compliment. This is movement intelligence. It's something innate and your hand went there.

And you also did something similar in many ways. Second thing, the quality of the lunges and the squat was very low. You wouldn't accept this quality in other areas. You were making a lot of sounds, you were falling off of the heels many times. This is what we need to improve, but under these demands, it's much more difficult. So the person who have a perfect squat in this control condition does not necessarily can do it movement. twice. Why would you ever do a warm-up like this if I can do this? It's diverse, it's intelligent, it's smart, it makes the brain work, it's superior in any kind of way. But it makes us feel

uncomfortable and many times people move away from it because of that reason. By the way, you can even play it with yourself. Try to go after it, squat. And squat, yes, great. Lunge, squat beautiful mark lunge lunch nice lunch lunch lunch interesting choices squat

oh again squat Lunch. Good. Lunch. Lunch. Launch. Launch.

Launch. Nice. Squat. Squat. Squat. Squat. Squat again. Don't launch.

Equal. Squat. Try to get the feet together. Squat. Uh-huh. Lunch. Lunch. Squat.

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

Both of you are breathing through your nose with mouth closed. I like the habit. You could make less. You could make less sound with a mouse open, but it's better. Why do you like the habit? Because I'm just curious, you know, we asked it, we had talked to a lot of different coaches, right? Some even combat coaches come in and say, it's useless. When you get to high intensity, you get a degree in your mouth anyway, breathe the way you need to breathe.

Which I understand that different intensity, but some people even go as far as to say it doesn't matter. So why do you, why does it matter, however it matters to you? It matters tremendously. The general tendency, black and white, that we move towards, is an inhalation-based, external rotation-based, oxygen-based, fight-or-flight-based, extension-based direction. This is where everything in our life takes us towards. I want to take you to CO2 direction, not to O2.

I want to take you to flexed general tone, parasympathetic. That would be the control breaks on the direction. The game makes you extended, stressed. When you're breathing through your nose, you're putting the control into your system. I don't think that nowadays this hyperventilation direction is very good for most people. Yeah, it gives you some bells and whistles. So, you know, within two minutes, I can make you see things, you know, and you feel great. But this is just further adrenaline.

And we don't need that. We need the opposite. So actually, by breathing through the nose, you create that minimization, that control. The foot is next to the brake, and you can always do that. Now, when you will need, of course, when you'll get a maximum, you'll open your mouth. But as long as you can keep breathing through the nose and controlling it, plus the foot. filtering the nose hair, everything. So it makes sense to do it. But usually people would avoid it because they make a lot of sound, they become self-aware, they feel as if it's more,

it makes them look more in effort. And they want to stay relaxed. Now, keep it. It's good. I tend to hold my breath more too if I'm going in and out like just using my mouth more. I'm going to hold my breath more. And for this, I don't, for me personally, I don't want to hold my breath during this. I want to try to be relaxed and reactionary. Yeah. You don't want to hold your breath for sure. You want to allow the, it's not maximal effort. There is a place to holding the breath, but here you want to stay fluid. And whenever you hold your breath, an oxygen debt starts. And then you have to pay it. Yeah, I've noticed that habit for myself with mobility stuff. I go to move and then I go, uh, I like hold my breath and then I can't move any further. Yeah, yeah. All right, let's do another one. I won't take you through much more. You tell me if it's too much for you. This time, I'm going to give you. This time, I'm going to give you. another comment not that one we drop that one left or right hand catch right left left right left right left left left left Left.

Right. Good. Right. Good. Left. Left. Left. Left.

Left. Left. Right. Right. Left. Great on the same. Right. Left.

Left. Left. Left. Left. Right. Right. Right. Right. Right. Right. Light. Light. Light. Right. Left. Great. Did you know this something? Light? And what did you catch?

I lagged. And what did you catch with? Right? I think I caught with right. Good for you. Okay. It was a little test. I do it with a lot of athletes.

Good sign. Okay. Why? Awareness? Awareness? But why wouldn't you catch it with the left? Most people will take the first letter, and they will have to respond.

But you actually had enough time to think light is closer to right and caught it with the right. Maybe Mark, he would have caught it already with the left because he would have less time to conceptualize. So it's a little test, like little, diagnostic thing. We never listen to anyone. We take

the beginning of the sentence and we already start to wander in our thoughts and we start to it teaches you to be in tune. I played a little game with him. I put a little Trojan horse in there. So I gave him right and left but towards

the end I said light not right. Maybe he thought it was my accent. But what he did, he caught it with the right hand and I said good for you it's a great sign most people will just take the and they were already take the left hand but he had enough time which means he has a buffer he had enough capacity resource to understand no it's closer to the right let's try so right and left if I say

left you have to catch it here right here left left left left oh Right. Right. Left. Left. Left. Left. Left. Right.

Great mark. Left. Left. Left. Left. Yikes I heard. Right. Right.

Right. Right Left Left Aye Right Right Right

Left Right Great Left Right Right Left. Right. Right. Left. Right. Left. Right. Right. Right. Right. Good. Left. Right. Good. Good. Good work. You saw how there was in the beginning a little stage of like adaptation and then you go.

In that stage, I think you are talking to yourself. And this prediction... You can hear that? Hopefully you didn't hear everything. You know, when I was, when I did this, son of a bitch. When I did the Huberman podcast, he mentioned something interesting, Andrew. He said that you can actually, if you, if you amplify, you can hear people thinking, We almost always talk, not when it's clear to us that we talk, when it's not clear to us.

So almost like, in essence, what does it make thinking into another movement practice? Because talking is movement, vocalization. So actually, even our thinking is movement. Like we're thinking with so much more with the body. You can hear it sometimes when somebody is dreaming or something. You hear all this vocalization coming out. Good. What did I force you guys to do when I gave this instruction right and left?

What does this connect to from before? Not reflexes. Well, maybe some of the contralateral movement. Beautiful. And I'm ipsi. So when I say right and I drop it to the right, you're in an Ipsey lateral. So I saw that you don't like this contralateral. So I gave you a lot of them forcing you to do that.

And again, again, if I'm going to make you do lungers, or I'm going to do it in a bit more productive way. A few sets of the three to five sets of these would warm someone up, prime someone up, open the lunging, the squatting, have reaction involved. It's a winner on all fronts, right? So simple. Again, like something so simple. We can play it with a heavier stick, with a shorter stick, longer stick, or with a totally different implement.

Usually people see one of the scenarios that I use, and they take it. it as a gospel, but I use thousands of scenarios without exaggeration. So, actually, I don't allow you to specialize. I'll change the implement. Next time we meet, maybe we will work on the same concepts, but in a totally different way, which for me will eventually bring you to the real movement capacity, not the specialization. The specific component always is adjacent to a general component. In the beginning of studying a new discipline, you get a lot of the general component and a little bit of the specific.

That's why I stopped specializing on things. BJJ, first three years, until you get your purple belt, that's the greatest movement stuff you're going to get. Once you went through that, it's becoming a lot more specific, even in relation to a fight, as people know, because you don't need to be a black belt to be a UFC champion. and it's quite easy to solve the, to defend that, than to actually do that. But then also as a human being, I'm going to learn to juggle balls. So I can juggle balls and do things, but I don't juggle five balls. The reason is I could, I could train it, it's too specific.

I just need you to be able to handle two balls, maybe three in some kind of ways, four maybe in something, that's it. I'm not interested in that specialization. I can do one-arm handstands, but I realized it's not very beneficial for people, but to be able to hold the handstand for 60 seconds, it's pretty nice. I used to do military presses behind the neck with 200 pounds in a body weight of 140 pounds. You know, no push press, no push press. So it translates, there is a lot there. But once you take it to that level, you start to move away from the general stuff, right?

Yeah. Good. I hope you enjoyed that. That was great. I have a question and to tell me everything I need to do to improve it is not worth it. But my movement quality, you mentioned when we were doing the lunging and the squatting, bad movement quality. I even know like if I want to get into a squat, I can't cleanly get into like a perfect looking squat. You'll notice I'll all go here. This is not a perfect looking squat. Even, even so there's a lot of, that's what I'm saying.

I'm missing a lot of quality there. So my curiosity would be like, what would be a lane, maybe a conceptual way to think about improving the quality of that movement? What would be maybe a few things I could start down? It's a subject for years. We will talk about it for years. And maybe we will and develop a friendship and develop it. He's that far off, huh? But I'll give you something pragmatic.

sound is the mark of inefficiency unless you intended to do the sound yeah why am i well you only weigh 120 pounds right you can be a huge giant i have students giants but they move it and and then what i can do i can place the iPhone next to us with that decibel measurement and i can do the same thing and whenever it goes beyond the certain level level of of sound, it will give you a beep. You will experience almost like a discomfort or pain. Ah, I made too much sound. And I'll continue to challenge you in this way.

It's easy to move softly when you're alone. When somebody does this, but you can still maintain that quality. Got it. Yeah? Movement quality is something else. It's not beauty, but it correlates with beauty to a certain extent. Wow, what a beautiful movement. Because it hints of efficiency.

We learn to recognize it through evolution. It's like, wow. look at how he moves basically means hey watch out you don't want to fight with that person or you want to be in that tribe go there or whoa she looks capable she looks strong i want to have children with her it's the same idea we recognize it but what do we try to do then beautify our movements this is again committing the scene if you take roger federer the tennis player and you try to beautify his movement, you destroy his game.

He has beautiful movement, but if you'll try to make it like a dance, like a dancer, you'll destroy his game. So I'm not in the business of beautifying the movements, but I'll go with some things which will improve the beauty of the movements to a certain degree. For you, you're quite heel-heavy in some places,

which means to me that the back system, your back system, which is something we can talk about later, is less connected than your front system. and it makes you drop into the heels and make sounds. And another thing is, which you mentioned, this is not a perfect squat. This is a good resting squat. This is a good pooping squat.

In Scandinavia, nobody can do this. You know, like many people in Scandinavia, they're built different, right? They're more of deadlifters than squatters. And it's a different archetype. Yeah, for me, when I squat down, my heels are always up. Yeah, I've got to kind of hang out here. And this doesn't necessarily mean it's a bad squat.

For movement, for loading my spine, I'm going to use that squat, flat foot. But it's a specific use. But now in this game, this squat is a lot more efficient and bouncy. And that's how Mike Tyson moved. You won't see flat foot movement there. You will see gliding over the floor with mass. How are you not, like, is there a way for you to describe how you're not making noise? Well, amortization, the specific control of how we reach the floor, how we make contact with it and how we land by paying attention because somebody in a quiet room, not in a noisy gym, trained me and required it for me and I can now do it, do the same to you.

Sometimes I go into these gyms and I can't work on certain attributes. That's why I'm not, I don't have. out in gyms. I hang out in movement facilities which we try to design very differently, but they also have weights, they also have a lot of these implements, but they also, many times don't play loud music and there is moment to lay on the floor and to pay attention to what is happening and meditation, but then a moment after like lifting heavy and, you know, doing handstand push-ups, one-arm pull-ups or, you know, lifting weights, sandbags, manipulations. It just requires different scenarios. And when you pay attention, like, if I'll ask you, you know, you come back home when you're 16, your parents are asleep, you know, you're going to walk stuff like you can train it everywhere.

And you're catching yourself, right? Like when you're jumping and moving back and forth, you're kind of catching your... Instead of slamming into the ground, again, like something that I learned doing acrobatics, you know, since I was 15 for so many years on concrete. We're not gymnasts. So you slam your feet from a backflip, high backflips. it's a slam if a person feels for the first time the slam you're just like you're cringing so you learn to land like stealth wise you know you can you can train it you can you can practice like jumping and reaching for the ground you see like I'm not I'm not landing like this I'm reaching for the ground so I can create that connection you can practice it while running you can do it in all kinds of ways good yeah All right. There's a lot there.

I think one thing there that's really awesome is for people to think about is reaction time when it comes to certain things. Because I think when a lot of people are training, they forget about that capacity of being able to react to something. And then there's also the reacting to what somebody is telling you to do. But just that capacity, multiple aspects of being reactionary, I think is important and it's something a lot of people don't really do when maybe. either focused on life and then training in the gym, that kind of gets lost. And as we age,

that's super important. I mean, it's important whatever, but like, especially as you get older. I haven't had to react to anything in years, like literally, other than like maybe chucking around a football with my friends or something like that, but I haven't had to react to anything quite like that. I mean, I've been running and stuff, but that's just me just going straight, you know, and I am jumping and doing other things. I'm getting, you know, lateral movement and stuff, and I'll do little like fakes and stuff and I do certain things but to react to something

another object or another person I haven't done anything like so good for you will make you young will make you feel young it's something that like it felt unbelievably fun yeah first that's that's the thing

you know like the fun of it is almost like nature's way of telling you you got a train you got a train what is train practice everything wants you to evolve So it installed this pleasure, this fun, but we sometimes even go around it by being self-aware and ego-driven, and then people can't have fun. You guys are great.

You're just like, you're flowing with me, we are wearing a good, and I always try to establish a scenario where both, I'm going to challenge you to failure all the time in the right dosages. For example, when I dropped the stick, I was minding more or less 80% success rate. I wouldn't let you drop the stick 10 out of 10, not even 6 out of 10. I was very mindful. What do you need, what you need. That 80% success rate is the height of the learning curve, and then you have fun. If I smashed it all over the place and very fast, it wouldn't be learning curve, and we won't get the effect. So what is it about?

Something else, maybe. And it should be fun, it should be, and you should react, and you should interact with the environment, and, you know, and other things that you can do since you're into running. And I don't know if you have a scenario here, but I used to either go to the forest where there are many logs and just like run on the logs. Yeah, I have all kinds of stuff around here like that. Or rocks, of course.

And this is a lot different than doing an hour of that is a lot different than an hour jog. Or I do it with the sidewalks. You know how kids walk on the lines, on the ground, they invent for themselves these games? Or the game, how do you call it? Oh, yeah, yeah. Hopscatch.

Yeah. That game is, that's where it comes from. Of course, it's a bit too strict for me, just like the agility letter. It's a bit too linear. Like, I would much rather place much more diverse scenario on the ground that is changing all the time. The agility ladder always looks the same. Yeah, I can change the patterns, but I get used to that look, that thing.

or this game you know like stepping on the feet right no it's a children's game like you're just like i'm going to step on your feet and don't allow me to do it and you move around basic game and you know who plays that world champion boxers yeah gold medalist they still play this in kazakhstan vasilumacchenko yeah that boxer that's movement approach that does not mind anything just result does not take any ego into account how it looks or what it he juggle balls he plays game does meth he dances he does meth he does wrestling he's not a wrestler but they play wrestling games all kinds of things and and this opens the nervous system opens it again the nervous system closes around what you do daily and now i just open something a little bit just like a muscle

you start to work deeper in. Have you always been open to like this idea of play or were you like at some point like more rigid did you think, you know, you need to learn some of this stuff through strength and conditioning or something like that? Kind of fluctuated, but since I met Capoeira so early on, it took me a lot into this playfulness. But again, like I met Charles Poliquin

and I did a lot of heavy training and, you know, military and stuff like that. So it's also pulled me in other directions for some. certain periods of time and, you know, walking around, you know. But yeah, it's good to experience a mix of both, probably. Exactly, exactly. Because to maintain shape is also very, very important. And to be able to hold ground and to insist. For example, this game is a lot about changing.

You got to go. Like I drop the stick there, you got to go. But conceptually, you don't want to go. Drop it here to me. But then it goes there. You got to go. And I force that change. oh fuck I have to go again that laziness that we have that also is something that destroys our body

and we we move away from what we need to do and into what we like to do or what we do well if you see me practice I practice every day most of the days unless I'm teaching I'm practicing you said 10 12 hours a day yeah sometimes more officially sometimes I practice officially 12 15 hours but this includes somatic practice, meditation, everything. But from the morning, from the moment I wake up until the moment I go to sleep, I'm in some practice. And then unofficially, I also practice underneath the table while sitting, doing something. I live this because it's fresh, because it's fun, because it's great.

I got free in all these ways. Like I got free on the level of finances. I got free with the skills that I have or popularity or whatever it is. But then the deeper questions came in. It's like, so what shall I do? Okay, I got a one-arm handstand. What's next? Another skill?

Is it really where the meaning is? Okay, I'm going to get a black belt in BJA. Is this it? And what happens when you get it? This question started to open a different way of living, practicing. I think this is also in traditional cultures, very available. Recently, I've been in an expedition. I led an expedition into this tribe

that is quite secluded in Indonesia and tracking in, tracking out, one of us almost died, like serious, serious stuff. Everything is like these logs. They don't have roads, logs of wood, floating in deep mud. So the logs are not even held. So you're like for hours, I mean five, six hours

walking on logs, dropping into mud this height. I got there. These people never saw a straight floor. Sprinting? You know how we have those, oh, traditional cultures? They never sprint. There is no place to sprint on their island.

It's all jungle. So they don't even have running mechanics. How far we are that we have these romantic, you know, things. That's why I go out and I go to sea. And what I saw there was this extreme diversity of, body shape since everything is uneven we went to hunt with them forget about it we destroyed their hunt they had to wait for us every every hour they had to wait for us to we are with the equipment with shoes they are barefoot the guy's taking out a nail you know this size of a thorn from

his barefoot and keeps going like and their feet yeah how they fit look look like and when touch it the shock it's soft no calluses it's soft because they're in a jungle it's not like concrete or something that will create again all these things that i thought until i went there you see how their body is designed you see a 60 year old person there and you see our 60 year old very very different you see how they deal with injuries the closest hospital four days away guess what little scratch so they know how to take care of a scratch the guy who took us there split his heel a few days before going to the expedition went to the hospital and they put this bandage and you know connect you know put all this stuff and he went there when he reached there the tribe

the tribe's people take it off took it off took a bunch of herbs mixed it put the next day it already started to close it i never seen something like it they now do research on them the university to try to find out what they do we when we went to the hunt like poisonous arrows how they prepare them their movement capacities and skills with the weapons the kids everything very different sometimes with our romantic ideas there are so many different populations the desert people moving totally different than the jungle people you know my father is African so you know 11 brothers and sisters totally different physiology

to mine, you know, it's like totally different outlook, way of being, his skin is different, the thickness of his skin. I always felt it like my dad is not the same as me. And his movement capacity is very, very different as well. It gave me this point of view, rhythmicality, you know. You don't get to eat unless you can make the rhythm on the plate with the cutlery, you know. They play games like of rhythm, of awareness. Good lessons.

Very cool. All right, well, maybe break for a little bit and then we'll podcast. Yeah, let's do it. Yeah, great. Thank you so much. Thank you, guys.