BOSU® Dance

Dancing on the Bosu. Here you are facing your wall. Take your feet about shoulder width apart. Now with your knees bent, steering your knees over your toes. Shift your weight right front to the side and back. Shift your weight left front, side, back, diagonal, right front side, diagonal, right back, diagonal, left, front, side, back.

If all is going reasonably well, take your hands off the wall. Norris did it long ago and one more round on this figure eight having the idea that your pelvis is leading the way, reverse direction. Shift your pelvis diagonally back side, left front diagonally, right back, right side, right front. Shift back to the outer aspect of your left heel, your left foot, your left big toe, the outer aspect of your right heel, your right little toe and front. Now I'll leave you on your own with this to create these figure eights the way you want to keep a close eye on Norris because those of you that have watched the allegro, uh, to video dance on the Pilati is anytime website.

You know that that guy can move it around. Continuous action. Now bringing your arms up as it suits you. Oops, three, four and every so often reverse the figure eight. It's seven one, two and three and four. Reverse coming down five and as it suits you, six and seven and eight.

Now yes, you could take a uh, a precise movement analysis approach to those figure eights that would behoove you will. And then you can also just let your analytical mind, uh, leave it for the moment and enjoy the motion. Now keeping your feet in the same position, keep your knees extended so no more knee bend. Instead it's a figure eight with your pelvis. Whoa. Which will make more demands on Lumbar side bending and the articulation of your pelvis on top of your hip joints. Reverse right back, right front, left, back, left front, right back, right front.

Now if you are taking care of an s I joint instability or a sacred ILIAC joint, this function, this particular activity with pelvic figure eights and knees extended is most likely not in your best interest because with this pelvic and leveling also come the potential of an oven up shearing force, which would not be relevant appropriate for your sacral Iliac joints. If however, on a good day your sacroiliac joints are in good spirits and serving you well, then by all means you could benefit from some of the control. She said falling from the degrees of freedom here and you can add to this arms and going up and your shoulder girdle active. Okay, this takes a lot of concentration on my part, so that's why the control tower falls silent. Whoa. Every time that the arms go up and it requires more coordination between the shoulder girdle and the pelvis, it's more demanding for me.

Now you might ask yourself what possibly could come next? We'll do the figure eight dance with a staggered stance and then we'll say goodbye. Now bring your right foot forward, scoot your right foot forward and your left foot back. So instead of standing in parallel on the Bosu, you are now standing with a staggered stance. And with knees bent, resume your figure eight. Your figure eight now has a longitudinal axis of diagonal right front left back. Previously the figure eight had a horse, has an access parallel to the line of the windows.

Now we're taking that figure eight so much easier for me to do hanging on [inaudible] five and six and right front left, back reverse, left back, right front, left, back, right front five and six seven seven eight adding the arms as this interesting to you. Hello, five one six seven seven eight reversed shooter [inaudible] four five six seven seven, eight surely the next stance will be different. Squiggle your feet through the center and then left front and right back. Now the diag and Alexis, or the longitudinal axis of your figure eight is running left front, right back, left front around, back and around. Left forward, back around to the right. Forward, back, forward, back, reverse, left front around, back around [inaudible]. The light from the front of your sacrum shines to the left and shines to the right and shines to the left and shines to the right.

Continue this action making up your [inaudible] own choreography that suits you. Five, six, seven, seven, eight, reverse shoot. You Ooh, 34 and six Ooh, seven and eight. All righty. We'll wrap this up now. Thank you so much for allowing us to come back and finish with you. It's time for Norris to sprint to the airport, so, okay, thank you so much. We'll look forward to being with you again on holidays, anytime. Bye now.