Exploring The Two Possibilities

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Come into a kneeling position on a well-padded carpet or folded blanket, place the top of the head down, and brace it in the rear with the interlaced fingers. The forearms should he at about an 80" angle from one another. Now gently roll your head around and explore the possible spots on which you could place your weight. Notice that as you roll the forehead down, bringing the nose toward the floor and extending the head and neck, you tend to follow the rolling of the head with your interlaced fingers, and that if you place weight on the crown you move your hands more to the rear. To further explore, lift up the hips and walk the feet forward, keeping the mid-sagittal parietal suture crown bregma mid-sagittal parietal suture crown bregma

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Figure 8.4. Human skull, viewed from the front (on the left) and from the side (on the right). for the crown headstand the weight of the inverted body is placed on the trown, the highest point of the cranium, and for the bregma headstand the weight is placed on the bregma, which is located about an inch in front of the crown at the intersection of the coronal and parietal sutures (Sappey).

Figure 8.4. Human skull, viewed from the front (on the left) and from the side (on the right). for the crown headstand the weight of the inverted body is placed on the trown, the highest point of the cranium, and for the bregma headstand the weight is placed on the bregma, which is located about an inch in front of the crown at the intersection of the coronal and parietal sutures (Sappey).

knees bent as much as hamstring limitations require, and try differeni hand and head positions, supporting your weight only on the head and thi feet. Now sit up and feel the top of the head. Sit perfectly straight an< locate the highest point. This is the crown. Move the fingers forward abou an inch. This is on or near the bregma. Behind the crown the craniur immediately rounds.

ITeehnical note: Notice that you prohably have a clear preference for how to inte lace the fingers, both in the headstand and in daily life. You will automatical place each of the fingers of the right hand on top of their counterparts on the 1< hand, or vice versa. In the headstand you should make sure that you alternate 11 interlacing, because always holding the fingers the same way will create subt imbalances.]

The next thing to do, especially if you are a beginner, is to find a sain beach or a spongy grass surface and practice turning somersaults. Do a ft child's somersaults with the hands at the sides of the head, and then i them with the fingers laced behind the head and well to the rear. Not • that you do not need to make many adjustments in the head position as y< u roll over. Then try placing your weight on the crown. As you go into t e somersault from this position you will find that you flex the head slight y before you flip over. Finally; place your weight on the bregma. Now y i have to make a big adjustment in order to roll over. You have to either mo e your hands and flex the head forward, thus shifting the point of contact o the back of the head just before you roll into the somersault, or you v II plop over backward instead of rolling. In the latter case you will have e option of falling flat on your back, which may not be comfortable even n a sandy beach, or of quickly extending the hips and flexing the knees ts you start to fall, thus breaking the fall with your feet. The point of tin e experiments is to reduce your fear of the headstand by teaching you o roll down out of the posture gracefully if and when the need arises.

When you start to experiment with the headstand itself, it will beco le obvious that your main concern is that you might tip over backward. E> n if practice somersaults have removed your fear of tipping over to the n ir when you have to, you will still not do it by choice. So until you beet ie confident, don't hesitate to come part way up over and over again, * d each time drop back forward on your toes the same way you started u|

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