Archives For Joseph Bartz

More inspiration for me in the last week or so. This time, from this video by the always-thoughtful and provocative Joseph Bartz, and this blog by Oliver Goetgeluck (himself inspired by Joseph), pondering the meaning of ‘movement’ (though that’s a gross oversimplification. Also in the mix, and mingling nicely with these two are an excerpt of a Ted Dialogue with Yuval Harari, who has, for me, more profound ideas and insights than anyone else alive.

Whilst Joseph’s video seems to be more around semantics and the problems of ‘foreign’ words becoming part of one’s language, Oliver writes about the difference between movement, and Movement:

“I feel, today, that Movement is the contact we so desperately want to return to – and we want to return to it because we sense it is in some way inhibited, disturbed: we feel we are living way below our potential.” In this context, movement, with a small m, may or may not lead toward the big M movement that we crave.”

Having been easily seduced in the past by video clips of amazingly skilled movers performing beautiful, flowing sequences, more recently I’ve started to question the point of this kind of practice. I’m pretty sure that Ido would say “The point is that there is no point”, or something along those lines, which is fine, but perhaps not for me any more. (Of course, it may be that my exceptionally slow development of the kind of skill base required to ‘flow’ has prejudiced me against it….) I still love watching tricking videos, but, while I can enjoy the grace and control of someone doing what we might call ‘floor flow’ doesn’t move/engage me like it did once. I don’t know where it’s going, what it’s in service of. I can’t speak for Oliver, but maybe I’m talking about the big M that he refers to – does the ‘floor flow’ take us closer to the big M?

Ido’s 3 ‘I’s: isolate, integrate, improvise sounded fantastic to me when I first heard him talk about this concept, and I’m sure that it still has great value. However, I think that there’s a also the possibility that this approach may become about acquiring specific skills (perhaps a LOT of specific skills) and then finding ways to put them together. So the improvisation is no more than joining those skills together imaginatively. Dare I say that ‘movement practice’ could accidentally become exercise, using the distinction that Katy Bowman makes? As in, exercise is a patch, a pill – something that we’ve invented to try to compensate for the systematic sedentarisation of our culture, instead of reintroducing truly natural movement to our lives.

I think it’s safe to say that when animals play they are usually learning about interacting with others, either fighting or mating, on the whole. The concept of ‘animal flow’ as a human movement practice seems poorly named – some mating displays may be highly ‘ritualistic’ or follow a specific formula but I don’t believe that there are many examples of animals putting on movement displays in the way that humans are inclined to do. And I assume that this is because it hasn’t proven to give any kind of advantage, biologically/evolutionarily. In short, animals move in the ways that they do to survive and thrive, to be successful at life as whatever animal they are – to be the most wolf/chimp/rat that they can be. And I think that we have lost this drive, in many ways, including some of our movement practice. To borrow from Ido, again, we might be trying to be ‘homo motus’, rather than trying to be better homo sapiens.

So, if not to be more skilled, and more able to sequence multiple movements together in a graceful way, what do I train movement for? Over to Yuval Harari:

The feelings that people today have, of alienation and loneliness, and not finding their place in the world….the chief problem is not global capitalism, the chief problem is that, over the last 100 years people have been becoming disembodied, have been distancing themselves from their body. As a hunter-gatherer, or even as a peasant, to survive you need to be constantly in touch with your body and with your senses, every moment. If you go to the forest to look for mushrooms, and you don’t pay attention to what you hear, what you smell, to what you taste, you’re dead.

So you must be very connected. In the last 100 years people are losing their ability to be in touch with their body and their senses. To hear, to smell, to feel. More and more attention goes to screens, to what is happening elsewhere, some other time. […] if you’re back in touch with your body you’ll feel much more at home in the world.”

I suspect that this is the big M that Oliver refers to (I apologise if I’ve missed the point) – being more connected to the world, by being more embodied. Being more embodied may make it easier to perform a flowing sequence of acrobatic/gymnastic/animalistic movements, but I don’t think this works in reverse – I don’t think that learning to ‘flow’ means that you necessarily become more embodied. The goal of my training is to be more embodied, to know myself better, and it’s also why encountering Fighting Monkey last year was almost too good to be true, for me. Jozef talks about the point of FM being to become a better communicator, so that you can be a better friend, partner, parent – to become a better person. I think that this happens because the practice helps us to become more embodied. It may well be that many people following all kinds of other means and methods (including the Ido Portal Method) are achieving the same thing, perhaps by accident, perhaps by design – in which case there IS a point, acknowledged or not (and, according to Yuval Harari, that point might be as huge as saving humanity from itself!).

To me, Fighting Monkey is continuous awareness developing, and problem solving. Not ‘how can I transition from butterfly kick to cartwheel’, or ‘how can I open my shoulders more for my handstand’ but rather solving problems that I didn’t know were coming, problems that shift, like sand, as they are encountered in a different environment, with a different sparring partner. This is the kind of practice/learning that makes me feel that I understand myself, both ‘my structure’ and my psyche (as in recognising patterns in my reactions to situations/people/obstacles) a little bit better.

I’m not writing this with the intention of denigrating anyone’s practice, not least because, in the grand scheme of things, undoubtedly more movement>less movement. Instead, I think the colliding inspirations listed above helped me to understand (and maybe even articulate) something which I’ve been struggling to clarify for myself: why I am driven to attend workshops with Ido, Tom, Rafe, Tomislav, et al, and why Fighting Monkey feels, so strongly, like the logical next step in this pursuit.


I’ve hardly slept at all and my alarm goes off. It’s 3.45am. Bleary eyed I pull back the curtains and the Baltic Sea looks glassily calm and beautiful in the dawn light. I make my way into the bathroom and have a fraction of a second of feeling superheroic when I appear unusually ‘chiseled’ in my reflection. Bleary eyed, like I said. Quick shower and I find blood on the towel. Not superheroic after all – the skin on my wrists has been flayed.
I’m in Turku, Finland and it’s the morning after 2 days of “Upper Body Strength” (Level 1), according to the Ido Portal method. I feel elated, and all of my senses seem heightened, despite the sleep deprivation. I don’t know how much this is influenced by the stunning, sunrise scenery as I drive to Helsinki but for sure a lot of the emotion is a result of the intensity of the seminar, and while I’m driving I know that later I will need to write about the experience, for my own sake but also to attempt to help others understand why they should stop finding excuses, or putting it off, and sign up for one of Ido’s seminars.

The best way that I can describe the feeling is of being ‘charged’.

Physically charged because I’ve put my body through about 16 hours of training in two days and feel strong, as well as sore. That sort of training load is a daily occurrence for the teachers leading and assisting on the seminar, but I haven’t worked that hard since, er, June last year, when I was last in Turku attending the Movement X and Handbalancing seminars.

Mentally charged because I have had so much stimulus in terms of thinking about how I move, and how I teach, and what’s possible with the right application and mindset.

Emotionally charged because of the above, and because the camaraderie of working as part of the group, and with other individuals in the group is a powerful thing. We won’t all be friends for ever, of course. Being me, I’m bound to feel slightly impatient with the attitude or questions of some of the group, but in general it’s impossible not to admire many of my fellow participants. There were a lot of strong people there, and plenty of people who are not yet so strong but embrace and fully immerse themselves in the work. I wish I was surrounded by people like this all the time. Special mention goes to my workout partner for the weekend, helping me maintain a tradition of always being partnered with a Belgian, in spite of my wife’s absence – you were an inspiration, dank u wel.

I’ve talked to a lot of people I’ve met about Ido’s seminars, and a number of them have said “I’d love to do that but I’m not ready”, or “I’ll never reach that level”. I guess that this is an impression that is created by YouTube videos of very strong people doing astonishing things, yet at the seminars I’ve attended every movement or exercise has been scaled so that everyone can participate fully, whatever level they’re at. In fact, having watched some of the videos since the seminar I’m not just thinking “Wow, that’s incredible.”, I’m also thinking “I know the steps to take to achieve that.” I may never achieve a full planche, or a full front lever but that will only be through lack of training time on my part, and with some training, following the steps that I’ve learned, I’ll get to where I deserve to be.

I’ve written before now about the quality of the seminars’ structure so won’t say more about that here. Suffice it to say that I’ve now experienced 3 different teachers, and 3 different assistants, and they have all bought something special to the experience. I’m happy I met Ido at my first seminar and, with all respect, at subsequent seminars I haven’t had a moment of feeling that his presence was missing.

I would recommend starting with Movement X (my new Belgian friend described discovering that it’s possible to cry with happiness at Movement X, and if you’ve been I bet you know when that was…). I’d also say that the Corset is a MUST, and highly recommend
Handbalancing, and Upper Body Strength. I’ll let you know about Locomotion after September – but let’s just say that we’ve been looking forward to it for the last 2 years.

And hey, if you get up early enough the next day, the lighting’s right (and maybe you’re a bit dehydrated) you might look like a superhero, too.