Disclaimer : Chest stands are an advanced move, and you should not try it for the first time without guidance from a trained coach. They can be dangerous, and lead to blackouts and fainting if not done correctly. One of the most common questions I hear from students is how to breathe in chest stands. A lot of the time, people feel like their neck is going to break when they do specific chest stand drills. However, neck flexibility is intricately tied to upper back flexibility, so actually activating your neck muscles will go long way in allowing you to access your upper back better.
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Disclaimer : Chest stands are an advanced move, and you should not try it for the first time without guidance from a trained coach. They can be dangerous, and lead to blackouts and fainting if not done correctly.
One of the most common questions I hear from students is how to breathe in chest stands. A lot of the time, people feel like their neck is going to break when they do specific chest stand drills.
However, neck flexibility is intricately tied to upper back flexibility, so actually activating your neck muscles will go long way in allowing you to access your upper back better. If you are able to articulate more through your neck and upper back, breathing in chest stands will be a breeze, and I do mean a breeze.
If I can stay in my deepest headsit for more than a minute, you should also be able to hold your chest stand without suffocating with some of these tips. Use your upper back! Use your butt! Use your core! Use your neck! Your butt needs to always be engaged whether you are pushing it above the head closed hips or placing your feet besides your head or driving them in front of you towards the ground open hips.
However, the butt activation in either will be different. If you are aiming for a face frame position with the feet besides your face, you need to.
The face frame position is much easier to breathe in than the headsit position, because you are able to access your hips more to scoop your chest up, so you do not need to rely only on your upper back flexibility. So activation of your butt in chest stand helps you to release tension from your lower back, but you also need to make sure that your core is engaged in extension, which I know is confusing for most people.
Squeezing everything through your midline and engaging your pelvic floor muscles feeling like you need to pee and zipping your energy towards the centre of your body will also help you in stabilizing any inverted position, particularly one like the chest stand where your weight is already on the floor so it may not be second nature to engage properly.
Subscribe to one of my training plans for the side bar if you need specific drills. Make sure that you are able to use your neck muscles to lift off the floor actively even with the entire weight of your body on top of you. Try using a hard floor, a puzzle mat or a yoga mat. Ideally, there should always be space between your neck and the floor. Doing chest stands on a soft ground or god forbid, a soft chair, can naturally lead to more suffocation than usual.
It is possible, just harder! It works surprising well if you are using chairs for overarches as we do as contortionists. You can also use a yoga block sliced in half, or a yoga block to stretch your neck out just make sure that your chin is on the block and not your entire throat , but that will also make it harder to articulate through your upper back and hips, so keep that in mind! Also, try to not do chest stands on super soft surfaces like sofas or beds.
I usually get a backache if I stay in a chest stand on a sofa for too long for this reason. It takes about two weeks to break in your chin and develop a chin callous, so keep this in mind! Learn from my lessons! Break yourself in!
Breathe shallow breaths through your nose. It goes without saying that breathing in any contortion pose is hard because your internal organs are sort of compressed making it naturally hard to take deep belly breaths. In a chest stand, make sure that you are not holding your breath but rather breathe shallow breaths through your nose.
I find that more intense chest stand positions tend to make you hold your breath, but always find space to breathe so your muscles can release and you can go in deeper! Again, I guess this is obvious, but it needs to be said. If you do not have enough upper back flexion, going into a chest stand is probably not a good idea because you will crunch into the parts of your body that bend easily: your neck and lower back.
Which leads to suffocation. So, make sure you have a qualified coach give you the green light before you even attempt one! I also offer online training, if you need further guidance. I hope that helps some of you who are struggling with breathing in chest stands! But otherwise, there are some things you can modify to help you breathe better!
Make sure to take a few full gulps of breath and calm your nervous system down before going into one. Chest stands are kind of psychologically intense in the beginning, but I promise that they will become part of your comfort zone with time! Contortion is unique in that we all have our own styles and everyone brings their own flavour to the same poses. If not, contortion would just be a repetition of a series of poses like in yoga.
As such, competition is kind of the antithesis of contortion. However, at the same time, competition in contortion is inevitable. The stakes are very high in contortion: there are always younger, bendier, stronger, more natural-laws-of-physics-defying athletes emerging continuously. It automatically pits other people against us, making the entire discipline a larger competition in which we can never win.
You may have started as an adult. You may have different genetics or they may have a genetic condition that makes them bendier, but also less strong there is always give and take with these things. Humans are variable and we all have our strengths and weaknesses.
We may envy someone making something that is difficult for us look easy, but we also are never privy to the whole picture of how they got to become how they are. Take me as an example. I have a good upper back and not-so-great shoulders and hips.
My torso is also not very long, so it is easy for me to sit on my head. Someone who has better hips and shoulders and a longer torso may be able to get their backfold butt on top of shoulders easier, but they also have to articulate more through their spine. Also, usually people either have a good upper back or good hips and shoulders.
Even then, such athletes have trained since they were 7 for hours in a day. Are you really going to compare yourself to someone with such an advantage? Also, since they trained since such a young age, they may also have a very different relationship to contortion than someone would have starting as an adult. In the end, they may actually envy the childhood you had not having had to train full days without relenting. Body proportions also dictate what may be possible for a contortionist.
Someone with longer legs may have prettier lines and find it easier to reach the floor in chest stand, but it also makes some tricks like ankle grabs harder because their point of gravity is too high again, me.
Not all poses are for everyone! Not everyone has to do a backfold or a triple fold. We also do not know what other disciplines someone practices. Someone who practises aerial arts will have stronger and less bendy shoulders and upper bodies than someone who does not. However, they may be better at handbalancing and straight handstands. If you are a contortionist who practises other disciplines, you probably know the struggle of having to balance strength and flexibility.
A contortionist needs to be strong in extension, but other disciplines also force you to be strong in flexion. So, balancing the two can be very hard. There is always some sacrifice with contortion: you need to give up something to the contortion gods if you choose another discipline, because contortion demands complete attention and devotion.
If you do have to compare yourself, I think it is best you compare yourself to you. That way, you can be more conscious of your progress and how much you have improved. In a way, this is just a way of being self-aware or self-critical, so you know your own flaws and are conscious of them. You can only compare yourself to the person you were before, but even that has its traps if you become too perfectionistic or self-critical, as I tend to be.
Another way in which comparison could be healthy is if you compare yourself to others who have a similar body type as you.
That way, you can also problem-solve and find ways in which you could better your practice, preferable by also exchanging dialogue with said person. That way, you are also transforming comparison into a positive tool for improvement and exchange.
Personally, I feel contortion is a matter of expression and style. It is not about how deeply you can bend or how strong you are, but about how you execute your moves. You do need to have a baseline level of strength and flexibility to be a contortionist ie. However, in the end, contortion is a performance art. It is about how you execute and express yourself through your body, and how the audience reacts to it.
The most basic contortion act can get more attention than the hardest, most technically difficult one. The audience, in the end, is not educated about what is difficult or not and will applaud at a simple split. In the end, it is the personality of the performer which shines through, rather than technical excellence. There are no competitions. There are no prizes to be won. If we do, we risk acting poorly out of a place of insecurity.
Out of all the disciplines, I think contortion is probably the most demanding mentally. It requires full concentration and full presence.
The mind has to be completely in the body, listening to each and every sensation, pulling and pushing as needed. I characterize this as a deep and intimate dance between the mind and body in which the two intertwine around each other in dialogue; the mind softly nudges the body and the body responds. However, it is a well-known fact among contortionists and indeed all humans ha that such days are rare and far in-between. We all have bad days and good ones, but sometimes one good day in a few weeks makes up for weeks of daily arduous practice.
More often, we arrive into contortion practice distracted and unable to concentrate, and not much gets done. When it comes to deep bends, the mind has to be psychologically ready to tackle the extremes of sensations that come with stretching what is intense for you.
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