Intro to Pops & Icarian (Grundlagen) – AcroYoga Tutorial (deutsch / english subtitled)

Hi guys, as we have announced last week: We have an intro to dads today. Specific, the popping from bird to throne and from throne to bird. And actually … we will be discussing the frontplank, but we mix up bird and frontplank all the time. Firstly we will show you this with connected entrusts – as a pop. And then, as an icarian explanation. So there is no contact between base and flyer anymore. And we are finally allowed to actually fly as a flyer. As a pre-requisite we only have a stable frontplank. And too a stable throne to land there. As a pre-exercise we only want to explain and depict you how the concept of daddies actually drives. So the “loading” and “accelerating” Jannik will show you this, because it’s pretty much merely important for the base. Yes, you can compare it to jumping off the floor. With the difference that it is not YOU jumping off, but giving your flyer the elevation and receiving. Meaning that, when you want to give height, you bend your knees( last-minute lying down ). Until the stage where I still have enough power to jump off. And you have probably seen: I don’t want to arrive …. like this! I speculate the camera was even shaking. So, you want to form the bring smooth. Meaning, you mount, you slowly acre and then come back to a ordinary stance. Well done.Thank you! You know what feels really good for the flyer? When the basi catches you with the lump of the foot first. And then smoothly with the rest of the whole foot. Or how would you describe this? Yes, like that, and we will come back to this, because also the arms will come into play. Let’s start. We begins with the papa from frontplank to throne. “Pop” because our hands will stay connected. In general, the hoof are arranged a little lower than often on the flyer’s hip.So, here will be a bit difficult to throw. And here it will be easier, because I can extend more skin-deep of the leg. For the sound I firstly want to “load” Sara. We have just done this lading when we were standing. When laying down it necessitates crouching your appendages and legs. At this object I am still very stable. Down here it will be more iffy and I cannot leave enough bar stres. This signifies, when you come down you kind of want to PULL down. And deflect the arms so that Sara remains horizontal to the ground. And find the pitch here where you are still stable. As a flyer it is like pushing down a loop outpouring. And there is a lot of energy needed to hold it down. And that is the energy you need to give the pop.We show you one pa to throne. This is how it would look like.Let’s go back again. We explain the way back last-minute. So for the papa I is my finding that stable arrangement. And I hurl with forearms and legs at the same time. I then hinder my limbs straight-out, so Sara can come up with her upper mas. Imagine I was flying now, Jannik has straightened his arms. I draw my legs forward and he is catching me now. His legs were straight-from-the-shoulder from after the daddy. So: the shy comes, the leg is still straight.I pull to the front and this is where he wants to receive me. Therefore, I deflect my legs and receive Sara slowly. This is of course hard to show in slow motion, so I hope you were able to understand it like this. We establish the daddy once again. Did you ensure the “receiving”? I feel like it was very nice and slow. We can be demonstrated you what happens if I don’t receive her. It works…But there is the danger of falling over to the front. So if you receive and flex, then the flyer can easily sit up. Let’s come to the flyers responsibility now. You receive the pop and until that stage you really want to be inactive. Inactive doesn’t mean that you don’t have any tension in your body.It means that you want to keep the shape. And to not start a gesture by yourself. When you get the pop and “youre feeling”: This is the moment where I am flying. Where there is no more contact to the base. That’s the point where you can move. And you want to move fast! So you get the pop, and then you want to get that pike in your trendy. So plucking the leg and knee forwards. Important is to not returning the knee between the arms, but outside. So the cornerstone has an easier job to place the feet under the thigh. So you draw your as up as high-pitched as you can during the pop. And then you attract your knees forwards. We continues its the dad from throne back to frontplank. Thank you. We goes to show you formerly. Let’s go back again. As a flyer, you can either start with bent legs, just like I did. Or if you feel stable fairly, you can straighten them. This might gaze more elegant.From now I somehow want to reach Sara’s paws. Sara can either lean forwards until she falls. Not genuinely policy options. Or I precisely deform my legs. I stoop them until the entrusts can connect. Exclusively then I just wanted to lean forward onto Jannik’s pass. Truly wait until the pass contacts with resting forward, don’t do it too early. We come down, I “load” the power. Then comes the daddy, I catch and receive her. Here it depends on what you prefer. Either Sara deforms her appendages, or I flex my arms. Or maybe we both deform because this is what we are used to. Just figure out what works best for you. We are going back again. As a flyer it’s the same thing like before. I want to start my motion when I am “in the air”. I draw my stinker up, and in this case my legs to the back. And I drawing my hip forwards towards Jannik.So he can easily catch me. Bum up, legs to the back, I somewhat flex my arms. Or whatever technique you prefer. I like bend limbs more, because the shoulder doesn’t get so tightened, like with straight appendages, and I can land a little softer. You can of course vary the height of the pa. We will show you some differences. If you pull back too early as a flyer, the following will happen. Can work as well, but the feet of the cornerstone will only be able to slide on the trendy. The extreme opposite would be: You pull back very late. This nature you almost get to half of a hand to entrust. Let’s go back again. So try to find the behavior in between, and try to find the right moment in which you start your move as a flyer.Let’s come to the icarian version of this pop. We will also start in frontplank. The difference to the normal pop is that we let go of the paws. Meaning that Sara has this moment of air time. In order to better to get that air time her upper organization needs to be put upright. How does “whos working”? By throwing more with the arms to give the direction. And more or less the same amount of jettison from the legs. Meaning that until here everything keeps the same. And as soon as I propel, I hurl more with the arms, and THEN with the legs. You can see that my upper figure previously came up a bit. And when I receive the sound from the legs additionally, I can easily come up. We testify you once. We come back again. As a flyer I want to wait very long again. And certainly wait for the move. And THEN sit up and think about coming to throne. So always think about where you wanna go, this utters it easier to land there.Another important thing, which you can see looking at our hands. We are connected, but we don’t grab. Because if I propel her, and she is still grabbing my hands, it could end dramatically. So: open paws, but strong arms. And you want to give support the whole way. Meaning that when you come down and you kind of tell the arms fall, and give the pop from there, it could somehow work, but Sara is loosing her connection to the ground, which she feels through my weapons. So the movement is active the whole time, obstructing the body tension as a flyer.We display you once again the fling. So .. Loading, first throwing arms, then legs. Might be a little fast to watch. But let’s come to the catching part and what is important here. You can see that the position from where we want to start, is me being under Sara’s feet. And my feet are under her as. Right on the leading edge, so she can hardly sit when I “lets get going” of my hands. The catching is similar. So when she arrives, you want to receive her with arms and legs flexing. And raising her back up again. When landing, I want to keep my form tension. My shape approximately didn’t vary, I only “ve got a little” pike in my legs now. I mean really tiny pike, as you can probably see from the side.Not in a straight line, but likewise not too much of a pike. So here is this tiny little pike for Jannik to be able to place his hoof. I am tight in my upper form and my arms, so that Jannik has an easy errand to catch me. We need this stable position to throw back again to frontplank. So I depict you what is happening here. I am here in a let’s say moment position with my feet to create some space.I am under the ball of the foot with my hands, and have my thumbs open. My feet are “flointed”. This is a mix of place and flex. So my feet are actually placed, but my toes are flexed. This makes it possible for me to feel a good point of push. It virtually feels as if she was standing in my hands. With ballerina feet( Sara used to do Ballett) This is the pressure that wishes to throw into. For the propel, I apply her a cadence. So we filch a little bit more( level) to start, or we breathe in together. And now I open my forearms to the side. Because if I don’t open them, Sara would fall back. Let’s come back to a delightful sentiment. Another important thing: Your sacrum is keen to ground. So when I try to throw from somewhere here, I is definitely not doing any good to my back. And for Sara neither. From here, the shed goes up and then I move the legs somewhat to the back. It is not a “snatching-away” the legs.It is rather, throwing into Sara’s line and then slightly shedding the legs back. We present you formerly. It goes up, arms to the side. Let’s come back again. As a flyer I get that pa and I feel: This is the moment where I am flying. And this is the moment where I slightly want to tilt forwards. But make sure not to lean too far. Because then there will be too much rotation and you will fall with you ability too quickly towards the base’s head. So actually think about stopping your upper organization upright. And think of tilting the body as a whole. In fact, the basi is giving the gyration. So you stay active and keep your chest open. Let’s do the trick again. It goes up, to the side…Now I caught her a little nicer. Because when catching you don’t want to crumble until down now. But you want to create a counter pressure and load again until here. I have pretty much the same job as in the connected paws sounds. When the pa comes, you want to actively pull your legs back. And wreaking the trendy forwards in the direction of the base. For the recognizing: We firstly want to go from frontplank to throne. Here, it is actually best, if I recognise her upper arm in case that Nina tumbles to the front. If Jannik’s doesn’t manage to place his hoof on Nina’s thighs , nothing really bad can happen, because Nina can time land on her feet.But in the figurehead she cannot save herself. I follow the movement and grab her upper arm. When we go back I have to watch out. I can either stand in front of her leg. Or Nina bendings her legs. Then I too have enough space to stand here. But when you are standing behind the leg, you will get kicked. So I come to the front and I am ready to grab Nina’s upper arm. They go back and I am there.For the icarian copy the flyer wants to have crossed legs. I hope you can see me. I am standing between her legs. And I am waiting for her trendy. So from here I grab the hip.The pop starts. Now I can pull her back. Because from here I have the strength to pull her towards me if there is not enough rotation for example. And to hold her safely. For the throw back to frontplank I don’t want to be behind her, because I might get constricted between her legs. I want to hold her upper arm again. With the difference that Nina will fly a little higher now. So that I certainly have to follow that motion. And not blocking the free movement of persons. Sorry .. Now you could see that my knee was a little too close to them. So keep in mind that the base has to lower the arms and needs some cavity now. So keep your stand wide and give the arms. We hope that you had recreation with this.And if you liked the video, please give it a thumbs up 🙂 Next week we have a tutorial of a clean machine, which is super helpful for a change of direction. But which might be a bit tricky without the claim tipps and subterfuges. So make sure to subscribe to our path to not miss out on that 🙂 Bye! Are you already filming? But we haven’t done it more, how are they supposed to have had fun with it !? Had fun – precipitated – thumbs up … Short version !? Quickie … A little distance please…What kind of distance? 1,5 meters or what? Yes … “or what? ” Next week we … Nananananananaaaaa … Okay! Hi guuuuys … No no, from the top !.

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