Environmental Cues And Movement Mapping Miguel Aragoncillo63 Minutes - Feb 6, 2019
In this episode, Miguel Aragoncillo chats with me about how we can use the environment as a way to “discover movement” like dancing, jumping, squatting and much more. The use of the ground, wind, and visual surroundings are just a few ways were we can challenge our bodies (and brains) to “feel” movements.
The results are a better understanding of how your body moves and how to calibrate accuracy of movements, by knowing what inaccuracy feels like.
Thank you for reaching out to me about this podcast Miguel. I had a great time chatting and thanks for sharing. Let’s keep in touch and keep the conversation going!
Miguel Aragoncillo Bio:
I am currently working as a strength coach at Cressey Sports Performance in Massachusetts.
Prior to working at CSP, I was employed with Endeavor Sports Performance in New Jersey, and was working alongside Kevin Neeld and co, working with several types of athletes and individuals – namely private youth hockey organization and a private travel baseball organization, functioning as the strength coach in their Pennsylvania location.
When working with these athletes and clients, priority is taken to ensure quality movement is pursued, along with optimal exercise selection for that specific individual.
Many who read these bios expect a long and prolific athletic career riddled with letters and achievements in their respective sports.
I have had none of them, and I did quite badly at most sports during my adolescence.
However, with this weakness I turned it into a strength, as this allowed me the opportunity to try breakdancing at my own pace, with no rules and no boundaries to limit me.
- I disliked running, so soccer was fairly uncomfortable for me to complete to say the least.
- I remained the same height from the age of 15 on, so basketball was already a limited choice from a genetic standpoint.
- I also didn’t particularly enjoy getting hit in the mouth at age 12 when I was playing baseball, so I gave up that sport fairly quickly.
So, armed with my genetic limitations and lack of coordination, I stubbornly pressed on to breakdance my way to athleticism with time, effort, and determination.
Now, I take great pride in the work that I’ve devoted to helping dancers all along the east coast hosting multiple booths, workshops, and individual assessments, all while aiding individual dancers to prepare for a large spectrum of movements while preparing for performances and competitions.
I hold a Certified Strength & Conditioning Specialist certification through the National Strength & Conditioning Association, and Health Fitness Specialist certification through the American College of Sports Medicine. Further, I’ve received my Bachelor’s degree in Kinesiology with a concentration in Exercise Science from Temple University, located in Philadelphia, PA.
Sebastian’s Youtube Channel
Attention Docs and Fitness Professionals: Access your client educational products, banners and posters here.
Dr. Sebastian Gonzales is an expert in trouble shooting sports injuries and overuse conditions. This podcast is intended for sports medicine topics to become easier for patients and athletes to understand. Don’t get confused by what your doctor told you in your appointment. If you like in Orange County CA, book an exam with Dr. Gonzales, your Huntington Beach Chiropractor.
Miguel Argancello: 00:00:00 So there\'s three things that you just brought up, the video, the actual experience that they did and then the words that are written down on either typing or piece of paper, whatever it is like those are three different experiences that they can draw upon now. The video is something that they\'re watching that they know happened in the past, the in person experience is something that they are experiencing in the moment. The words on a piece of paper are representative of what happened in the past, or just another experience of that they\'re trying to draw upon. If that scenario was given to me and I said to them, what I\'m trying to do for you is give you the sensory experience without any words so that you can remember the sensations, not remember the exact words because you can recite the dictionary to me, but you can\'t tell me what any of these things feel like.
Speaker 2: 00:00:47 You\'re listing to the restoring human movement podcast. Where movement experts discuss the latest evidence based practices to help you and your clients move with mastery and now your host, Dr Sebastian Gonzalez.
Sebastian Gonzales: 00:01:02 Hey Guys, this doctor Sebastian Gonzalez again your host for the restoring human movements podcast. Thanks for joining the movement movement. Today we\'re going to have on a guest, it\'s Miguel Argancello. He is a strength conditioning coach over in Boston. He worked at Cressey sports performance from about 2014-2018 and he\'s worked with quite a bit of different types of athletes, but he\'s an interesting guy. He actually did not grow up as a formal, I guess team sport athlete. He grew up as a bboy, a breakdancer. So he\'s got a lot of references of that in here today. And he started eventually integrating into strength conditioning and helping other people also become bboys breakdancers and use the external environment to be able to improve their movement patterns. And by the way, this doesn\'t always, this doesn\'t just work just for dancing.
Sebastian Gonzales: 00:01:50 It works for a lot of different things as you can tell as we get through the content today. If this is your first time listening to this podcast, welcome. We have a lot of back logged episodes with great people on it. If you\'re looking for some really high quality information on backs and hips and knees, and also if you\'re a clinician, you\'re looking to better communicate with your patients. These are great podcasts to listen to. So, go back, there\'s like a hundred and gosh, it\'s probably 120 right now. I don\'t know what one this is going to be, but, we got a ton of them. So I would say probably around session number 50, I started to get, I think more into my interviewing realm and I got some big time people on there, but probably everything about 13 upward is pretty good.
Sebastian Gonzales: 00:02:33 Now, before we start into the interview or the content, I\'m going to share with you guys a little story about me. If you\'ve listened to other podcasts, I try to reveal a little bit about myself through a story or snippet just so you can get to know me a little bit better because, I\'m your host and if you\'re going to follow me on this podcasting journey of mine, then I\'m pretty sure you\'re going to have to like me a little bit. So hopefully you like me. And here\'s the story. If you guys are for the show notes on this, by the way, p2sports care.com, just type in the session number on the search bar and you\'ll find everything you\'re going to need. Enjoy. So a couple of years back, I started to do a Jerry Seinfeld impersonation. I think I did anyways.
Sebastian Gonzales: 00:03:12 So every time I tried to impersonate Jerry Seinfield, I\'d be like, so what is with airplanes? Cause I always started the jokes. I thought I started the jokes with what, so whats with cause he\'s observational humor, right? So eventually someone asked me after years, they\'re like, what is that? I said, well, it\'s the Jerry Seinfeld bit and he\'s talking about going to the airport and what\'s with the airplanes? And he\'s like, I don\'t think that exists. And I think I said, I think it does. So I looked it up, can\'t find it. I don\'t know where the hell came from now. So I want to know. So if you know what that came from or if it even exists. So what is with airplanes and then it continues with a bit. So if you know where that came from, please tell me, because I can\'t find for the life of me that Jerry Seinfeld reference where he has that stand up. It was a standup routine. I thought I can\'t find it. Anyways, let\'s get to the content. Alright, everyone. Welcome on Miguel Argencillo. Air gon cillo is that how we practice it? Yes. Okay, cool. I have a tendency of butchering everybody\'s last name, so I knew I was going to do yours. No worries. Thanks. Thanks for being on, man. Yeah, definitely. What do you wanna talk about today?
Miguel Argancello: 00:04:23 I like talking a lot about, you know, I guess the initial backgrounds. Lifting, cues for coaching because I\'m more of a sports performance coach if anything, along with how it kind of plays into the concepts of sensation and sensory motor skills.
Sebastian Gonzales: 00:04:40 Okay. That\'s a big one. So we\'re going to break that down quite a bit. Yeah, that\'s a big, big one at the end. Yeah. Why don\'t then, let everyone know a little bit about yourself and like kind of like your background and how you got into coaching and what you liked as a kid. What was your favorite sandwich? What was my favorite sandwich? Yeah, tell us if it changed.
Miguel Argancello: 00:05:05 That\'s a, that\'s a tough one. I guess growing up a super easy one was just like a ham and cheese sandwich cause I didn\'t really need to think about it. I\'m not a big thinker when it comes to food and just like a doer, Peanut butter, jelly, those kinds of things.
Sebastian Gonzales: 00:05:17 Okay. So we\'re not going to go to nutritional consult today. Yeah, I\'m not the best. I\'d rather listen to other people and tell me what to do. So I\'m that guy. Okay, cool. Alright. So tell us all about yourself then. We need to know who\'s talking to the other end of this Mic today.
Miguel Argancello: 00:05:33 The really quick 30 second elevator pitch of who I am would be a dancer turns strength coach, if that\'s anything I can start to start it off as. The real background is I started dancing when I was 14, freshman year in high school, maybe a little bit earlier, with my cousins and a couple of friends because I just wasn\'t good at sports. I tried the normal sports, but I just, I was really uncoordinated, wasn\'t tall enough to be good at basketball. My growth spurt first started early and ended early I usually say, So that\'s why my username for a lot of things is Miggsy Bogues as omaj to Muggsy Bogues from the Charlotte Hornets. I did see that. I was wondering where that came from. There we go. That\'s what it is. Cause I think he\'s the shortest or was the shortest recorded NBA player five three if I\'m correct? Soccer I just hated running.
Miguel Argancello: 00:06:33 I only did well when I had the captains band like when I was 11 or 12 and outside of that I got into like more of the arts side of things. Because that\'s where my family went. Like I always say like my brother was, started deejaying early. He got me into a lot of the hip hop music when it, not first started coming out. But when like it just came to me like I didn\'t understand what all this culture was and how these things kind of came about. He got me into like techno and all these crazy things when I was just like trying to understand what the radio music even meant. What does techno mean, by the way. I mean it\'s like \"technological\" is kind of where it comes from. It\'s like literally just played on a piece of instrument, like a keyboard or whatever it may be.
Miguel Argancello: 00:07:21 Its a one man band. It can be for sure. And it\'s definitely evolved and I don\'t know too much about it now. The whole EDM thing, that\'s a whole thing on its own. But then like that kind of spiraled into me dancing because my brother did deejaying. I was the younger brother and I was like, all right, I\'m gonna start dancing because it felt good. I could kind of do it at my own pace. I didn\'t have a coach telling me what to do. I could practice whenever I wanted. I didn\'t have to like set up a time. I can just go in the garage and do it. You know just like my life cause I was like, okay, I gotta be obsessive about something. All my other friends are playing sports and doing all these other things. So that was like the super early childhood version.
Miguel Argancello: 00:07:59 Translate that. I went to college strictly on the facts of trying to understand what movement meant. I just had no concepts of like, why did this informal, I started b-boying or break dancing, whatever you want to call it. More formerly known as bboying. Like, why did this informal dance, very nonspecific. There\'s no rules about it. How did this kind of come about and why aren\'t there any like understandings of how these things work? Like why can people spin on their heads? It\'s just physics. So I was like, all right, let me just try to understand it more in college. It wasn\'t really born out of like trying to, you know, help people and all these things. So it was more of a selfish thing. Turned out later on into like a selfless kind of endeavor trying to help others as I saw that, you know, whether or not you get injured or certain individuals like I got injured, certain individuals might get injured, just things you can do to help yourself outside of that.
Miguel Argancello: 00:08:55 And that was like kind of the post college career. I can\'t keep on dancing cause again I started really late. I started like 14, 15 and then I didn\'t have a teacher so I taught myself. So there\'s like this really like self coaching kind of thing. It comes about when it comes into the concepts of dancing. And I kind of tried to, that kind of pervades my own coaching. I tried to help my athletes teach themselves. So it\'s a lot of self coaching in that aspect. Once I kind of figured out what I was doing from a work perspective.
Sebastian Gonzales: 00:09:27 Well it\'s interesting that they, so you weren\'t, as I heard it, you weren\'t good at, so basketball and soccer and like things where you had to react to an object, but then you\'re really good at controlling your own body and...
Miguel Argancello: 00:09:42 That was after. Yeah. Yeah. Nobody like wants to coach somebody whos just like bad at something but, And doesn\'t know they\'re bad at it. Right, right. Yeah. It\'s like you can\'t, like nobody broke it to me. Like what\'s the hard part? Like nobody just said, hey, you\'re really bad. Like you just need to like do this for like a long time. I didn\'t get that message. So,
Sebastian Gonzales: 00:10:00 so did you think you\'re really good at the time? Like you were looking at like a fun house mirror and you\'re like, oh yeah, this shit is good.
Miguel Argancello: 00:10:06 No, I just knew it was bad, Like nobody had to tell me because I could see the results. Like I didn\'t shoot a bunch of three pointers. Like, oh I thought we were talking about dancing. Oh, Well from that too. It was really tough from, from that as well. Like cause I would go to, they\'re called jams. I would go to jams. I\'d see like little kids doing crazy stuff. I\'d see people my age, like I was starting going to gyms around like 16, 17, 18. I\'m like, man these guys are really doing awesome. It\'s because of the environment that they surrounded themselves with. They had a crew, they had a lot of people to dance with. So I sought that out. I went to philly cause I live right next to it. And I was like, I went to Philly for college for two reasons.
Miguel Argancello: 00:10:45 One to understand more about the physics of it, of dancing. And then also to surround myself with dance. Like I literally just wanted to go for dancing. Like even my professors were saying to me, hey, are you here to dance? Are you here to study? And I said both cause right after we had ex phys, around three o\'clock, I remember this like it was yesterday. And then as soon as the class was almost done, like just when everybody starts to fall asleep at the end of the class, you could hear music in the background cause they were dancing in the hallways. And I was like, oh my friends are dancing. And then my professors at the end of the semester, I was getting like a b plus whatever. And they\'re like, Hey, are you here to study? Or are you here to dance? And I\'m like,
Sebastian Gonzales: 00:11:24 Did you say, did you see my spinning? I\'ve been paying attention.
Miguel Argancello: 00:11:28 Yeah. Like they didn\'t see me in the middle of my session. So yeah. So did you used to have dreams about dancing? Yup.
Sebastian Gonzales: 00:11:36 So when you thought, hey, I\'m going to go to school to learn about how dancing works, then, was it cause it\'s like, Hey, I\'m going to be able to spin and hold myself up better if I knew the physics of it.
Miguel Argancello: 00:11:50 Yup. That\'s it. That\'s, that\'s kind of it. It, I mean right now I can obviously say like it didn\'t happen yet, but I did have those kinds of aspirations. I had like a coming to, you know, whatever talk at the end of my college career. I\'m like, all right, if I keep on going, I might hurt myself. I might do really awesome or I could just like have a plan B, c d kind of thing.
Sebastian Gonzales: 00:12:11 Well, but then so then just from a coaching perspective then you\'re, since you\'re trying to self coach, then you\'d probably be thinking about like angular velocity and like, leverage and stuff is this why it didn\'t work or could you just gone and seen a coach to say push your hand through the floor or something?
Miguel Argancello: 00:12:28 Right, right. The concepts of, I did have like one or two like sparingly, like just every once in a while. And I did have a crew that helped me out with a couple of things. But a lot of the help came about more for myself. It\'s hard because none of the, none of the b boys, like not saying they don\'t know how to help, but they didn\'t have the things that I have now that, that I can, I can literally coach up any bboy that I want to at this moment because it\'s a skill. And once you understand the understandings of the timing in conjunction with like the very quick movements that you need, the details of it, well now, now you\'re a sports skill specialist, if that makes sense. Or sports specific coach. In this case, I\'m going to be a bboy specific coach.
Miguel Argancello: 00:13:09 I\'ve never heard of that. Like how many are there in the world? Well, there\'s like the good ones like that would be out there and they teach workshops and they teach different dance clinics and things like that. But that\'s what it is. Like, it\'s not exactly like, Hey, this is what you need to do at this time with this much tempo and at this much momentum or you know, it\'s not super specific. It\'s more like, hey, you just got to feel the rhythm. You got to do this, you gotta do that. Super nonspecific.
Sebastian Gonzales: 00:13:38 Hmm. So how did, how did weightlifting come into this? Like is that supposed to improve? Wait, what does bboy mean? Beat box boys.
Miguel Argancello: 00:13:46 Break boy.
Sebastian Gonzales: 00:13:47 break. Boy, I didn\'t know that. Okay. So how\'d strength and conditioning come into this actually,
Miguel Argancello: 00:13:53 well, I mean that\'s what I went to for school. So it seemed pretty straight forward for me to kind of like do a needs analysis and all these things and see how the body works and you understand kind of the, I don\'t know if it\'s constructivism or reductionism or whatever the word is, where you just say, okay, during this move you\'re clearly using these leg muscles, so we need to get stronger here. You know, now understanding, its not exactly like that. Like you just don\'t do quad extensions on a machine just because your legs aren\'t strong enough. It needs to be specific to the actual activity. So anyway, lifting aspect, that\'s what I, that\'s where my brain was before. I said to myself, well, I\'m not strong enough to do these movements, to do like back flips and different movements that involve single leg strength, etc. So like, let me train squats, let me train lunges, let me train this, let me train that. And it\'s good on a general sense, but to a certain point it\'s like, all right, well doing a 405 back squats not gonna help you do a backflip.
Sebastian Gonzales: 00:14:48 That is interesting. Now I\'m just thinking about all the times where I\'ve encountered bboys then and I think about on, so I went to, I went to Memphis one time and right there on, what is that street? That little street right there. It\'s made of bricks. I\'ve never been to Tennessee. Ah, well, so theres just this little area where they blocked off at nighttime and then there was people doing just back flips. Like the street was like slightly slanted and they would do like repetitively, like 20, 30 back flips in a row. Was it street show or was is it just practice? You know what, I don\'t think they were asking for money or anything. There wasn\'t like a formal, it was just, they were just they were using the street cause it\'s open I think. But they were good and, but they also, I don\'t, I doubt they went to go do any strength conditioning. So like what are your thoughts on like how do those people just, is that just repetition on that point? Would they be better if they added yeah.
Miguel Argancello: 00:15:39 Right, right. And exactly. Like would it be better if they added like even the slightest bit of formal understanding of movements? I would say yes. But then there\'s also the concepts that are coming into like you to port tall f a functional range conditioning where the whole movement pattern needs to be explored, like movement, range of motion, um, uninhibited kind of teaching. Um, that\'s, that\'s one end of the colon, the spectrum. And then the other is like super form of like lunges need to be this watson to be that this needs to be this. Um, I would say yes to both healthy mix. Um, when it comes into like the strength and conditioning. If I could have like an ideal program and like, you know, there\'d be a handbook that I did give out, it would involve a little bit of both. I called it back in the day where I was like writing down in my notebooks.
Miguel Argancello: 00:16:29 Like, how would I do this if I was trying to help other people? Um, when I used to write more for that population, I would say there needs to be days for creativity and then there needs to be days for formality. So you could have both of those kinds of builtin and the formality obviously would be like a strength conditioning program. Um, and then you would have the creativity side of things for just your own freedom. It\'s more like a Bruce Lee esque kind of thought process. Like he lifted, but he also did a lot of creative things.
Sebastian Gonzales: 00:16:58 Yeah. Which, um, I wonder with Fam, I\'m sure I was watching the, I don\'t think it\'s just so you can dance. It\'s the new version show whatever, any of them I don\'t even know anymore. Yeah, there\'s so many of them. But, so I saw this, this guy, like he was, he was doing, I think it was ballet and he was doing a bunch of random stuff, which I\'m like, oh that\'s good. I\'m not really impressed. And then you did the Swan Swan dive like literally in the concrete and then turn before he hit it into a role. And I\'m like that. I don\'t even know how you learn to do that, but it takes like fearlessness. So I\'d imagine, I\'m like the creativity part is like, do you have certain people who are just like, I don\'t think I could do that. And if you did, then how do you coach him out of that? Because you just, you got to get them to do it at some point. Right? Just commit.
Miguel Argancello: 00:17:41 Yeah. That that\'s, that\'s where I think there\'s a lot of people that have their own unique signature moves because they just find that they\'re naturally at something or they find that they don\'t have a fear during something. Um, they have their own movements that they can call upon like literally any day of the week. And it\'s like, yeah, they can do this, you know, right out of bed or you know, when they\'re super fatigued they can keep on going kind of thing. So it gets really different. It\'s like, it\'s Kinda like the one like boxing first came about like everybody had their own unique punch though. That\'s kind of where we\'re coming from. Street fighter became popular and they just had their unique, like Blanca could just like roll through the air. And I mean I like that. Like you would know, you would know. It\'s, it\'s kind of like that in the sense that even to the point where if somebody is doing the move in like Poland or like Sweden or whatever and then somebody, you see somebody else doing that in California also in the world of the Internet nowadays, people be like, hey, you\'re biting or you\'re copying these movements.
Miguel Argancello: 00:18:39 And it\'s like, like if they\'re that exact of a movement, it would be really interesting to just see these two individuals and meet on the international level and just see how they battle it out. I can tell are you 35 about novelty, younger and younger
Sebastian Gonzales: 00:18:53 bite my move, which uh, it takes me back. I don\'t think I\'ve heard of that.
Miguel Argancello: 00:18:59 Yeah. I mean that\'s, you know, like that\'s, I watched all those movies back in the day even though I didn\'t grow up. What was your signature move then? I didn\'t really have, I had like a couple, they called the calm air babies, um, where you just Kinda, it\'s Kinda like a crow pose in Yoga, but you balance on one arm and you have one knee attached to that arm, if that makes sense. If you can imagine that. Um, so you, you would do a bunch of different spinning moves. I\'ve just name out there, just, you\'re not going to understand unless you\'re like, Oh test me on this, this time I\'m going to get them. You would do a while, you would do your initial top rock foot work and then you would go into a swipe windmill, swipe backspin and then try to pop up into an air baby afterwards.
Sebastian Gonzales: 00:19:42 So like it\'s like the legs going like you\'re like you\'re reverse Chunley yes. I\'ll say Yes for demonstration purposes over audio. Yeah. Yeah. Okay. Cool. Well I\'ll probably, uh, if you want to come back to, to break dancing and the topic you just telling me, I think I\'m dragging you down the track at all times. Um, so you mean you sent me something on discovery based learning. Do you want to talk a little bit about that?
Miguel Argancello: 00:20:08 Yeah. Like just to build off of the creativity side of things, when there\'s discovery based learning, you get these concepts of uninhibited movements. Uninhibited movements essentially would just mean if you\'re standing in like a blank white room. Like one of those, maybe not a padded room, but if you\'re just in a blank canvas of a room and you see a stick, there are so many things you can do with a stick. You can use it as a cane. You could use his walking stick, you could use it like a bow staff. You could use it for teaching or look, I guess you could say doing rdl is barbell dead. You can use it for so many things, but who initiated that? Who gave you that? Uh, ability to understand what to do with a stick. And you can now understand hopefully that among so many cultures, something as simple as a stick can afford so many different, uh, skills and skillsets.
Miguel Argancello: 00:21:10 So the, the concept of discovery learning are if you just have like a thing in the room, a ball, a stick or whatever, what are the affordances that you think can surround, uh, this object? A stick to, you know, a woo Shu or Shaolin individual is going to be immensely more advantageous in a fight. Then somebody who has no idea that he\'s a sick. So they\'ve gone through these periods of understanding the weight of a stick, what the moments of inertia are, uh, how long it is. If they had their eyes closed, they could probably feel out certain areas of the room. So there\'d be a lot of different sensory things going on, on a haptic level. So there\'s a lot of things that can go on, on the discovery per basis. And the thing I sent to you, it\'s like my philosophy, if I could start every client from 0.0 and like they would have either some previous, uh, work with another, another individual or I\'m like the person that they, the first person that they\'ve ever worked with, I would just give them a ball or I would give them whatever and I\'d say, okay, we\'re going to do this movement and not have a real name to it.
Miguel Argancello: 00:22:16 And then we would just work through that. It would be super like movement. Uh, it would be how I say moving Miyagi. It\'d be like Miss [inaudible]
Sebastian Gonzales: 00:22:25 [inaudible] might be a good, a good, a mascot for your,
Miguel Argancello: 00:22:29 well that, that\'s, that\'s Shawn Misca. That\'s a hit that he got in my head for a second. He\'s another individual. Um, we\'ll talk about him in a minute. But he, Mr Miyagi, it\'s like the thing that, uh, you know, I aspire to be in terms of like doing the movements but not really telling you what you\'re doing until you need it. Cause it\'s subconsciously built in is really where I\'m coming from.
Sebastian Gonzales: 00:22:49 Yeah. No, it\'s good. I think it\'s interesting that you\'re not giving a name to it because I know a lot of people that have asked me at least who would rehab though, see, I have them do a carry, you know, and they\'re like, well what does this working? I\'m like, don\'t worry about it\'s working. I\'m like, what do you feel? And they\'re like, well I feel this, this and that. I\'m like, okay, great. That\'s what you\'re feeling. That\'s what we\'re working. But they, they seem to want to categorize it. Um, so then when you\'re doing stuff with like say this sticker, do you say sticker ball? I kept imagining a ball. I did both. Okay, good. So then do you guide them on this journey for discovery?
Miguel Argancello: 00:23:25 Definitely. Definitely. Um, I w I might like push on the steak. I might like move the ball while they\'re holding it in a different position because the, the mapping is really where I\'m coming from. Say you\'re holding the stick right in front of you or a ball in front of you will use, in this case, you have a 10 pound ball in front of you. Your weight\'s going to move forward. If you put the ball to your side is going to move to your left, it\'s going to move to your right. So you\'re going to get better cognition. Whether or not you\'re aware of it, you\'re just going to feel like, wow, I\'m moving more to my side. I\'m moving more to buy the side. I\'m moving more, you know, backwards, whatever it is. So you\'re getting better mapping of what\'s going on and you can\'t really label it because I didn\'t give you anything to label it with. Yeah.
Sebastian Gonzales: 00:24:12 That leads, that leads a bigger foundation. So when you go back into like doing that again, do you just say we\'re going to do that ball thing?
Miguel Argancello: 00:24:20 Exactly. Yeah. You can use those. Those, like I might\'ve said, that kind of exact phrase, we\'re getting that ball thing, uh, and we\'re going to do it on one leg and send two legs. So it\'s doesn\'t give like, okay, like in the formal sportsworld straight conditioning world, I would say I\'ve done a uh, a hip hinge with a ball, like kind of reaching forward. That\'s a super easy tasks that people have done for sure. It\'s like, okay, we\'re going to do that same hip hinge but on one leg now and we\'re reaching the ball forward. Like those are some really easy cues that the person can not understand. But I won\'t even use those words. Formerly hip hinge rdl and that kind of thing. I\'ll just say we\'re going to do that ball thing, that balancing thing because they understand what balance is more than what rdl means, which they have no concept.
Sebastian Gonzales: 00:25:07 Yeah, it\'s funny, I was talking to someone recently about, uh, we were talking about dance, so I went to go see the nutcracker this year, right. And I was watching them do all this stuff right. And, um, I thought, I\'m like, how many times have you guys seen the nutcracker? And like, all of them are like, dude, I\'ve been, I\'ve been with the nutcracker for, I\'ve seen the 60 times. Right? Like, like so much that they would get depressed or they\'re going through another nutcracker and they, uh, I\'m like, I\'m like, well, how do you learn to do the nutcracker? Is there like a script? Is there, you know, like, is there, it\'s the same music, right? So you\'d think there was some type of flow with it. And I\'m like, well, eventually we got into the point where it\'s like, well, how do you learn dance?
Sebastian Gonzales: 00:25:46 And they said, you just watch someone move and you copy it, you know? And, but there\'s a couple like focal points like arabesque and say splits and, you know, uh, point things like that. But it\'s funny like it within within move, within training and in Rehab it\'s like everyone wants to know the specific little tiny bits of it, you know? And uh, I know that I, I created a, I\'ve created videos for people, I\'ve had to do an rdl and they\'re like, well, maybe if you did this on like a word document, it\'d be easier for me. And I\'m like, okay, here\'s a word document. And they\'re like, they\'re like, well maybe post it notes, but at some point it\'s just kind of experience it. Right. And that\'s kind of what you\'re taking them through with this ball drill. The mapping.
Miguel Argancello: 00:26:27 Yeah. And you know, it\'s really interesting that you brought that up. Like what\'s the difference between the video that you did? So there\'s three things that you just brought up, the video the next day, the actual experience that they did and then the, the words that are written down on either typing or piece of paper, whatever it is. Like those are three different experiences that they can draw upon. Now. The video is something that they\'re watching that they know happened in the past. The in person experience. It\'s something that they are experiencing the moment the words on a piece of paper are representative of what happened in the past or, or just a another experience of it. The trying to draw upon. If that scenario was given to me and I said to them, what I\'m trying to do for you is give you the sensory experience without any words so that you can remember to sensations, not remember the exact words because you can resect the dictionary to me but you can\'t tell me what any of these things feel like.
Miguel Argancello: 00:27:21 Oh I like that and that has to do with the recall aspects of memory. So if you\'re reading it you\'re going to like forget about it because it\'s super short term. If you have it on video, you\'re going to see the video and you\'re going to say, okay, I understand this. You see the video and you don\'t think about your internal body because you\'re watching it while it\'s outside of your body. Versus if I say I want you to feel this area, this region in the moment. And I really drive that point home for like now might be the first session, like I spent half an hour or two, like maybe more on just the one movement because now that foundation has been built and then they can like use that for everything that they\'re doing for like the next 10 sessions. It\'s not just a one session thing and then the next session is something else. It\'s, it\'s a layering
Sebastian Gonzales: 00:28:12 [inaudible] foundation. I think you just found your, uh, your 32nd intro clip. No, no, that was good. Yeah. Um, yeah, I\'ll probably use it then. That\'s it. I always, I always fight with people about it a little bit. Like I\'ll, I\'ll, I\'ll, I\'ll, I\'ll do all those parts for them cause I like creating stuff, but at the same time it\'s just like, um, just, just do it. What do you feel? Do you know? And it\'s like there, there, there, there is one guy that comes in actually that he\'s come in like three times and probably the first two times like I, he vowed him and like I feel fairly good idea, a couple theories of what\'s going on and uh, but I want to, I need to test the theory so I want to see if this works or that works, that works. So he likes to talk about it and to the first couple of times I\'m like, do, we literally did nothing.
Sebastian Gonzales: 00:28:59 Like we couldn\'t even test the theory, just, just do it, just get on the ground, do it. That\'s it. And uh, after he started, he started submitting to it, but it, it was tough. It was tough to get is a conversation and get them there, you know, man. Yeah. That\'s tough. Yeah. The a one, one thing you brought up with just the overall, um, non confining aspect of just the ball and stick experience was that, um, I\'ve talked to people about moving variability before for sure. And, and uh, they seem to not understand exactly what to do because there\'s no guidance really given. Just like go out and do something. They\'re like, well, what do you mean? So yeah, I go play with a dog or chase a bird. So I like yours. Is it just at least we can do that? Was that, I\'m sorry. Oh, I like, I like you, I like yours. Just, just take it, take a stick, going to the white room and just move around and see what happens.
Miguel Argancello: 00:29:55 Well, I mean that would be like the ideal, maybe not white room necessarily, but you\'d have different things to look at, different, different environments to be in that kind of thing. Like maybe the, maybe this\'ll be like a dragon ball z ask thing where like the room changes every once in a while or you know, you\'re in a different environment being challenged to do different things. Like how cool would it be to have like, you know, whatever clinic space you have, whether or not it\'s like 10 by 10 or a thousand by a thousand. Like the environment would change every, every time you\'re your athletes or whoever come in and they would have to adapt around it. That would be super cool.
Sebastian Gonzales: 00:30:26 We can walk around them I guess. And uh, if you move that, if you hit something with that stick and like enough to bruise it, then, then you\'ve lost. Yeah. That\'s your treatment. You\'re getting your, you\'re being more resilient there. Yeah. You did, you did touch on Dragon Ball Z, which I think is the fourth time we\'ve talked about it. And I think there\'s about a, there\'s a 5% recurrence rate of dragon ball z and the show just, just the, it\'s just the generational thing man. Like that\'s my, yeah, I never did watch it. I watched bobby\'s world a little bit different. She did change for bobby too though. Little Tamer. Yeah. So, um, what do you go through and you workshops then?
Miguel Argancello: 00:31:06 So I have two different workshops. I just think of it as like a long form workshop and then I really short term a shorter version rather of have a workshop. Um, uh, more of a one day seminar is a long day. Like it\'s seven ish hours of me just talking about all this stuff that I just talked about right there to the nth degree. It\'s, it\'s not just like concepts, but then we\'ll also talk practicality of, uh, drills and I\'ll even go and say the concepts of what is learning and what are the different ways to learn. Is Learning just copying like we talked about earlier or is it, uh, the uninhibited aspects of you going about your own business and then learning? Um, and they\'re just so many ways we can change the environment. I brought that up that you can alter somebody\'s ability to learn based on the environment.
Miguel Argancello: 00:31:53 Um, that\'s one way to do it. Um, so that\'s Kinda like what I talk about and how I go about it in terms of an actual just strength and conditioning program. Like you can literally change how somebody moves based on, you know, adding a little bit of elevation under their, their foot during, you know, medicine ball drills or their back foot or making them. So this is something that I\'ve been kind of harping on. This is like a little rent, two second rant. So many, so many facilities have brick walls. Yeah. And I don\'t know if you do or not or you know, medicine ball work, et Cetera, or maybe just a wall of the tap something against, but, but the wall is just so of an inanimate object. You don\'t need to pay attention to it. You don\'t need to react to what you just say, okay, the ball\'s going to bounce and when it\'s gonna come back to me, what if there are parts the Walton did to have balance while were, if there were different parts that you had different visual depth to it, or what if you just throw a ball up against the per two person because now you have a foreground and a background.
Miguel Argancello: 00:32:48 There\'s so many things that you can do with it that a wall is, should no longer just be a wall. It should have different textures and different objects and so on and so forth.
Sebastian Gonzales: 00:32:57 It sounds like you can proposition is to, to perform better, but the ever changing wall. Yeah. That wall.
Miguel Argancello: 00:33:05 There\'s so many ideas here. I don\'t know how much I can just like say hey, do this and then I just walk away.
Sebastian Gonzales: 00:33:11 You could, you might, you might have it created is if someone\'s listening to like, you know what? Screw it. I don\'t really don\'t want to train people anymore. I just, I just want to create some one thing that one wall
Miguel Argancello: 00:33:21 that\'d be really fun. It\'d be like a rock climbing wall essentially. You just throw stuff at yeah,
Sebastian Gonzales: 00:33:25 that would be sick. It would hit a nub if he threw a ball and it looks good.
Miguel Argancello: 00:33:32 Um, then the, the shorter term or the shorter version, uh, clinics are just, uh, I want to form them into more of a, bring a client and we\'ll work some things out. Cause a lot of people will just try to like work things out and they keep on doing the same things over and over. But I\'m trying to put out information that\'s inherently different so that they, you know, whether or not you use information from instagram, twitter, whatever it is, a video, these see my stuff online. And then you have a different sensation that you bring to your client. Like if you\'re from Kansas or Tennessee, like you\'re talking about, like you come to my short clinic of like, you know, two hours and change, you bring them and then we\'ll do something different and that\'ll help you with the rest of your clients. So it\'s, it\'s a little, I don\'t even know what the words are, but I\'m just like trying to form it or it and have it be a little bit different than what I previously did have just me just talking for two hours.
Sebastian Gonzales: 00:34:27 Yeah. Does anything cause application and the like, so with, with our profession we have case studies, those are always really nice just to see the, you get the information first, then you apply it to the person, you\'re like, well shit, that didn\'t work so that we try something else. Yeah.
Miguel Argancello: 00:34:41 And, and I\'m always in that experimenting mode. Like that\'s something that I found that I\'m a lot different than other practitioners. Like if something doesn\'t work, I\'m not stuck on that. I\'m like, all right, let\'s move on to something else. Like, like that really quick
Sebastian Gonzales: 00:34:53 [inaudible] what? Uh, it sounds like you created a lot of your stuff based upon the dynamic system. Siri is that sound?
Miguel Argancello: 00:35:00 That was the beginnings of it and then I kind of spiraled into some crazy rabbit holes. What was the rabbit holes? Carl? New Wells information. Uh, non linear pedagogy, um, nonlinear pedagogies essentially like when you learn something, you usually think you got to have x amount of hours and x amount of time and x amount of repetitions, if that makes sense. It\'s kind of like the 10,000 hour rule, just like once you get 10,000 hours, it\'s like, oh, you\'re an expert. But in reality, the, you know, the real research and real things that people have said, it\'s like, well, some, some people have reached grandmaster at chest and like 3000 hours, which is pretty interesting because that means some of your information or some of your repetitions and some of your playing, uh, like how did you get that? Like it was just so nonlinear.
Miguel Argancello: 00:35:45 Like it wasn\'t just a straight line this way, the whole way. It was like you kind of maybe stalled a little bit, you might have failed, which not many people talk about how they feel, and then you kind of skyrocketed and then he\'d kind of dipped and these skyrocketed again, and then you got it in 3000 hours instead of 10 constraints. Let approach changing the environment, changing the emotions of something to give a different context for how things can come about. Um, I always give the easy concept. It\'s in New England, I\'m living in Boston. It\'s super, it is cold ish. Uh, right now it\'s not as cool as it was last year. That\'s why dish last year I remember it was like a couple zero degree days, like literally not fun. Um, a lot of people do single leg work and single leg training, which is great. Do it. Um, but there\'s no like, emotional context. Like what happens when you had the walk across a room full of like ic, what? Not a room, but I see sidewalk for example, and you have to carry groceries or something. It\'s like you\'re going to change how you move based on that simple idea. And you\'re probably going to have different emotions if you\'re a 20 year old individual coming home from class or a 65 year old individual who recently broke her hip, like you\'re going to probably be scared.
Sebastian Gonzales: 00:36:56 That\'s interesting stuff. The uh, there\'s a lot of tangents to provide in their jobs. Kind of went off. The, the one thing I can think of though is that the, uh, so the last one, I actually, I wouldn\'t recently went to Utah and, um, I was walking up this coffee shop with confidence because I was excited because they get coffee, it\'s hard to find a chair. And, uh, there was a patch of ice on the ground and uh, I stepped over it. Not because I tried, but because just that was the step. That was the cadence. Yup. Um, and then I realized that I need the scuffle. Scuffling looked down. Yeah, exactly. And it\'s really going to change with that change how you move. Yeah. And it\'s really going to change when there was hot coffee in my hand too. Oh yeah. Oh yeah. So, yeah, the environmental stuff is, um, I was, I always tell people just go for a hike and shit. Like, I don\'t know, we don\'t have any like real ice and stuff out here, but like go walk over rivers. I\'m slippery rocks and stuff like that. You know, like Kimra it backpack. Um, God, there\'s so many things to try. Um,
Miguel Argancello: 00:37:59 well I mean you could, you could get like a, you have slide boards. I mean you can just put on the socks and you just walk around the slide board because what it does is it changes your center of balance. If you\'re taking a super long stride, either up towards a step or across a sidewalk that\'s icy or slippery, whatever, like you\'re like a, you know, a grocery store, you know, those uh, isle markers, whatever the caution sign, caution signs. Yeah. I just usually don\'t pay attention. So
Sebastian Gonzales: 00:38:25 either you\'re going to tell me to tell everyone to go into the grocery store, find caution signs and start walking across. It might help. It might help.
Miguel Argancello: 00:38:31 You\'re a, you\'re moving variability. So, so it changes your center of balance because like you just said, you go from a long stride to a shuffle or a scuffle and ask awful. That\'s a fight, a shuffling movement. Um, that\'ll change how you move. Fundamentally. You\'re still using the same muscles, uh, but you\'re not going as fast and you\'re not moving through the environment as quick. So how would, how did, uh, how do you, how do you cater that to, to dancing? Actually, if you\'re on your hand, you just put them in. Oh my gosh, there\'s so many things you can do it. So I literally like, I sleep and thinking about these things. There\'s so many. So it has to do with the floors. So many venues and jams and they think they have the best floor. But if you\'ve ever been on a, like behind the stages or anything like that, like actually on a, an actually Broadway or whatever it is, they have marley floors, marble, it doesn\'t slide as well.
Miguel Argancello: 00:39:29 Well, guess what, when you\'re trying to spin on your head and do all these different movements with your hands, marley floor is not going to be the best because they use that for friction purposes. You\'d want to catch yourself while you\'re doing these different movements in contemporary and traditional dance versus in the other way around, you have friction that you don\'t want to worry about. So like the bay, the basketball gymnasiums are like usually the most ideal. They had like a cushion and they can spend a lot, that kind of thing. So, so those floors are two vastly different environments that you can now dancing. Now, let alone, you know, Tennessee, New York, La, you know, you have concrete, you have, you know, different environments. They\'re so, so it has to do with the physical environment that you\'re working in. Um, so you need to either overpower, which just means like you\'re just literally muscling through movements or you\'re just, you just need to hit a certain timing of a movement as you spin.
Miguel Argancello: 00:40:25 So I\'m thinking when mills, when you go, you\'re on your shoulder and you\'re going to your other shoulder, you might need to really whip your legs if you\'re not on a, a very, uh, smooth surface. But you need to literally just pull, push and pull as hard as you can versus if you\'re on like a basketball gymnasium, like it\'s just very straightforward and you just, if you\'re in concrete and it was like a, like a gritty surface, very tight. Usually most people have linoleum, but they put it on top of the concrete, which means like you have like a millimeter of space. It\'s smooth, but it\'s still super hard. So you have to watch how hard you contact the ground when you hit. Yeah. I remember people in high school doing, they would bring cardboard boxes, but then, but then it\'s it corrugated or are you just crush those and become smooth after you spend a couple of times? Yeah, yeah, exactly. Yeah. It\'s a little bit of a cushion, but that is like, you know, so I was wondering actually this recently with um, say dancers, right? Um, identities have different types or for some reason when I think of you, I think of on your back on your side, dancer versus ballet on your,
Sebastian Gonzales: 00:41:34 uh, on your feet dancer. Sure. Um, right. So when you\'re, when you\'re trying to improve someone\'s ability to like, or decelerators our braking system, um, uh, would you want to train them in all these different environments or in, would it carry over to like say Marley floors or do you just train on Marley floors and then get really good at Monte floors and that\'s it, you know,
Miguel Argancello: 00:42:03 you\'re saying like the, the Marley floor were just have more resistance so that when you go to a regular gymnasium floor, it just easy,
Sebastian Gonzales: 00:42:10 right? Well I want to like cause cause on the thought of dynamic dynamic system theory and changing the environment and everything, it\'s like, well we\'ll get ourselves to become better athletes and better humans and blah, blah blah. But like let\'s just say we went and had them do it, like uh, uh, had them to like do like a movie on a Bosu Ball. Like is there, is there carryover there or is it just for novelty?
Miguel Argancello: 00:42:30 Well one, I wouldn\'t do anything on a Bosu ball for a dancer, let\'s say Yoga block though they do things on like, I think they call them mushrooms if I\'m correct for flares, which is one specific movement from the gymnastics world to teach we hand placement. So I will say that if you have a constraint, a constraint meaning like an a physical barrier on where your body can go in space, perhaps that can be something of value because if you would, you know, give you a small constraint either on a marley floor, now you\'re spinning. Sometimes initially in the beginning stages of learning, we\'ll just call it a window. For example, the windmill space that you\'ll envelop, you\'re going to go like all over the place because you don\'t know how to control it versus some individuals they stay in place while they do it.
Miguel Argancello: 00:43:21 So for individuals like that might change your approach based. Basically what I\'m saying is you might do the Marley floor and you might have to do windmills all over the place versus if you\'re on a gymnasium floor, you can just go in place forever because that\'s how friction will help you or, or the lack of friction. Excuse me. So, um, to answer your question about dynamic systems theory and you know, going into the concepts of, uh, we\'ll, we\'ll just only a marley floor help, I\'d say yes, but then you won\'t be able to learn what it means to do the thing on a frictionless where, or lesser friction environment,
Sebastian Gonzales: 00:43:56 right? Yeah. There\'ll become specialists at that one flooring, but there\'ll be really good at that foreign,
Miguel Argancello: 00:44:01 yeah. And, and the, no, it\'s the ability, maybe not specialists, but the ability to adapt will be less.
Sebastian Gonzales: 00:44:07 Hmm. Okay. What do, what percentage of the time do you think they should spend time? Let\'s just say if you\'re, if you\'re doing windmills, typically on a basketball court as a profession, what percent of the time should you expose yourself to other things?
Miguel Argancello: 00:44:23 So there\'s two as to what does the ideal and the, the actual thing that happens, I\'ll go into the ideal for our stuff. Um, whether or not you\'re, we can even talk about, and just sports in general, the ideal aspect here would be always having the ability to change. But this quickly turns into how many venues can you get yourself into? Just the practice. For me, when I was at temple in Philadelphia, we only had like a hallway. Um, we just got into and then, and now I, hopefully they are doing more than that. I helped set up the, uh, the club there, but hopefully now they have more abilities to get to different venues as in like different areas and different floorings. So the ability to change venues is dictated on what kind of access you have, especially in break dancing. I mean, you\'re going to have access to like nothing if you first start out and you have, you have nothing.
Miguel Argancello: 00:45:17 Like it comes from a culture of where nothing making something out of nothing. If, if you have access then yes, go to like a gymnastics gym or one of those, uh, what are those a par corp s can gyms where they have the bouncy floors, go to those then go to like a basketball gymnasium and then go to like regular practice at your boy\'s house, whatever it is. Just so you can have different things there. The pragmatic side of it is most dancers are not going to have that just because it\'s like you don\'t have access to those things. Um, from a sports perspective, uh, the realities of it and just going to some really quick philosophy on these things. If you have a certain movement pattern that starts to plateau, that is the way that, you know, you need to change something and not really sure what you know, I can\'t really say like you need to do this because it\'s super nonspecific right now, but if you, for example, are doing windmills and he\'s like, you can\'t get better out of it, you can\'t get more jump out of it. And you\'re trying to do things a little bit more dynamically, do need to go to a different environment or you need to challenge yourself to stay within a closer constraint or whatever it is. So instead of going all around the room when your windmills, you just try to stay within like a five by five taped off area and you just try to really stay in that area, if that makes sense. So you had to challenge yourself physically in that way.
Sebastian Gonzales: 00:46:40 Interesting. I\'m just thinking about the, the, the come from nowhere thing is can, can, could they just do something like have a cardboard foreign and then flip it over and having no Liam Florin and then have like a gym flooring? Um, yeah. I mean that\'d be really, I\'d be the best. And they have a three by three now. They get a transport it, yeah, that\'s exactly it. Cool. Yeah, that\'s, that\'s good. Uh, it\'s good information actually. Um, is there anything you want to talk about actually that I\'ve been guiding this conversation a little bit, but I know that you sent me a couple of things that were, they look good. Yeah, we just haven\'t talked about it. That\'s I know Boris. Yeah.
Miguel Argancello: 00:47:21 The, the couple of things I did send you and that it has some elements that nothing, the example I just talked about has some elements with like a tracker, wells and attractor states for behaviors. Um, the plateauing idea, if I can just use that as a tangent thing, uh, to segue into the next thing for like one or two minutes. If you change how individuals move, well how does that happen? Do you just tell them and then something happens? This is even going back to the discovery side of things because if you move in a certain way on a marley floor, your discovery of how you move on a basketball gymnasium floor is going to be vastly different. But nobody told you that it\'s going to be different. You discovered it on your own. You slipped while you tried to do the thing because it was so slick of it, of an environment.
Miguel Argancello: 00:48:10 You didn\'t need explicit instruction. So then sensation was different. For example, if you\'re trying to do a lunch on a regular gym floor, rubber Mat, and then we put both socks from a slide board on and then we have you do a slide board lunch, are you going to be as successful? And then that we have to question yes or no. Um, so not saying we need to change how you move, but we need to change your behavior based on what you think the environment is giving you. Um, so, so there\'s different states of behavior that we can kind of look at and to go to the sports performance side of things. If you\'re throwing a baseball for example, uh, an interesting idea is if you\'re stuck at a certain mohs power, which everybody always says I need to get, you know, five more, five more miles per hour.
Miguel Argancello: 00:48:57 There was any five more, one, two, three, you know, whatever it is, I just need to get to 92, whatever arbitrary number. If you\'re stuck at 90 and you\'re doing the same things over and over, well guess what? You need to do something differently. But what, how there\'s no real like handbook and saying now you can do this. Well what I\'m saying is you need to alter your extension or you\'re stepping distance. You might need to change, uh, which direction you throw. You might need to learn how to group, like in terms of accuracy and precision. You might need to group differently. You might need to intention and learn how to throw a outside plate all the time. You might need to learn to how to intentionally throw like literally all over the map, not just in the strike zone because by getting a greater grouping or mapping, now you\'re going to understand where, how your body feels and then the outcome of where you throw.
Miguel Argancello: 00:49:53 So there\'s like this gapping or does this temporal gap of like I did the thing, I felt the thing and then I threw hi, so let me change how I feel to me be thrill lower. It\'s, it\'s kind of as easy as that because the behavior will change based on the sensations it sounds like. Then a lot of the things, although we\'ve talked about flooring a lot, it\'s just exposure to a variety of things and feelings with movements and then the outcomes and then realizing that\'s the desired or not desired effect right then, but you have the exposure. Exactly.
Sebastian Gonzales: 00:50:28 And uh, I know a lot of people probably like say with throwing, they would jump to a heavy ball or like she\'ll, they\'ll change the implement versus the different of step in just the exposure to the, I guess less efficient movements.
Miguel Argancello: 00:50:42 Yeah, exactly. Like something I\'ve intentionally done with pitchers, medicine ball throws, I intentionally have peoples like I want you to throw it to my foot, I want you to throw two over here just to change the way that they perform their movements. And then I asked them how they feel initially. I don\'t tell them that or at all rent rather. I don\'t tell them this is right, this is wrong. I just want them to experience the concept of throwing again.
Sebastian Gonzales: 00:51:08 Yeah, I liked that. Um, well shit, I don\'t even know where to go from there. Cause that is, um, well let\'s, let\'s give an example of, um, give me an example with you already gave me a lunch. You gave me a baseball, we talked about uh, floor work with dancing. Um, give me an example of jumping maybe how can we expose someone to something like jumping,
Miguel Argancello: 00:51:33 even jumping, you can change how somebody, how somebody experiences the concept of jumping. Most people when they go through jumping one, they either already know how to jump because they played many sports that involve the concepts of jumping, like basketball or volleyball or whatever you\'re kind of like geographical location allows you to do. Um, or on the other hand you just haven\'t done anything. So you\'re like playing hockey or you\'re, you know, just doing running sports and you know, runners just normally don\'t work on their vertical jumps, that kind of thing. So there\'s a lot of different ways that you can understand somebody\'s background and ask them the background because like, Hey, have you ever done a vertical jump before? And then you see the soft kind of jump where they kind of don\'t even extend fully and you know, it\'s their heads are kind of down looking downwards and it\'s just like, it\'s not a really like intentful jump versus like the person that has dunked a basketball before and they hurt their knee and they\'re trying to get back very different individuals.
Sebastian Gonzales: 00:52:28 So it sounds like you\'re just taking parts of, uh, what they have not been exposed to. Again, exposing them to it and overall they should improve as an overall athlete because they\'ve been exposed to different things. Are there, I know we didn\'t talk about yet. We\'re exposing the nervous system to, to, okay, we\'re not, we\'re not muscle based right now. Oh yeah. Okay. Exactly.
Miguel Argancello: 00:52:51 We\'re brain-based is kind of where my brain\'s going. Okay. Because we\'re talking about development. Uh, if I\'m talking about a 12 year old that\'s never played basketball versus, you know, a Lebron\'s kid, two very different individuals. Obviously he\'s not 12 anymore, but like if they were both 12 right now, two different individuals. So with, with the concept of jumping, we can change many things. Obviously we can change the loading the sets and reps, the standard things from a muscle based perspective. That makes sense. It\'s like, all right, you just need to do squats and you\'d do some jumps and box and so on and so forth. But what you can do is from either an external cuing perspective thinking, nick winkelman and so on, you can say push the ground away. You can say, try to tap your hand too. You know, this object that\'s x amount of distance away.
Miguel Argancello: 00:53:42 On side note, early success usually leads somebody to try to keep on going. So don\'t have the object via basketball rim if they\'re like five, three like me and five, four rather than think, uh, but haven\'t really close by and had them almost hit it. Um, so they can see like, oh wow, I\'m almost there. I really, I\'m really close. I\'m going to keep on coming back so I can try to do it again. So you develop different behaviors again. Um, so external, you know, reaching or visually seeing it that you\'re almost there. And then an interesting that you can do is change the environment. Say, all right, we\'re going to try not to trampoline now. Uh, like those little small individualized trampolines or a big trampoline, whatever it is, those fat burning turn points. Yeah, I would love to have like 20 of those and just give them to like all the youth athletes everywhere.
Miguel Argancello: 00:54:32 But anyway, um, like, cause now you\'re going to definitely be moving differently. Um, the other side of it is, it\'s really interesting. Maybe not just vertical jumps, but broad jumps, lateral jumps, lateral bounds. The interesting side of it is how do you know you\'re moving forwards in a broad jumps? Because you can mark the distance, but now you\'re just looking down at the grounds as you do this. What you can do is, what I\'ve done is really interesting and I like to mess with people when I\'m calling them on the phone and I say to them, let\'s say you\'re sitting down like this is the driving example. Not, not really. I\'ll bring it back into the broad jump. You\'re driving and you\'re looking forwards. How do you know you\'re actually moving while the environment is moving behind you? You\'re sitting down so you\'re not really moving.
Miguel Argancello: 00:55:20 You only know because the windows are telling you that you\'re doing that. So where I\'m coming from, the broad jump is how do you know you\'re getting from point a to point b? Well, you physically move, which makes sense. Like you\'re, you\'re on a different point a point b. But what I also do is I want them to see the peripherals as they jump forward and see the world move around them as they do it, which is a, it takes a couple of reps because they don\'t understand what I\'m talking about all the time, but by telling them to look around while they\'re jumping, it gives them more access to seeing not just the focal point of the ground. Like when you\'re playing a sport football, you\'re catching a ball, you\'ve got to jump to something. It catching the ball. Your focus is somewhere else where your feet, you got to know where you are in space, right? There\'s so many good, good catches this past season that v this is a really good example because your body is mapping where you\'re, where you are in space. I\'m always going back to mapping is spite your focus being somewhere else. I feel like I want to get up right now and just go do a long, long jump and then
Sebastian Gonzales: 00:56:24 yeah, and then search the horizon to feel it feels like
Miguel Argancello: 00:56:27 it might, it might do something. It might make it feel easier. It might not be all the time about greater distance, but it might make the Rpe easier, which is safe, which says something to individuals are coming back. Return to play.
Sebastian Gonzales: 00:56:40 I\'m just, I\'m just thinking about it. I know there\'s probably not have any, any merit at all, but I\'m thinking about the other senses. So say it\'s a windy day and you can feel the wind coming against you or like citizen motorcycle and you have a windshield. Right? Right. Is it, would the, would the feeling of the wind moving around you help at all?
Miguel Argancello: 00:57:01 I mean it might very well, Mike Helton really, really cool. Um, I use, I mean like thinking about it, right? Like what are the things that tell you you\'re moving fast, wind moving around you as you sprints. So like that would be, I never thought about that. That would be really cool to do now cause it\'s a cup. Here\'s the thing. That thing is called coupling. You\'re coupling that sensation of moving fast with the wind moving fast and now you think you\'re moving fast whether or not you actually are. So it could be placebo. I Dunno. Never really cool. I got to play around with that. I\'ve got to get a huge fan now.
Sebastian Gonzales: 00:57:33 It\'s probably true. Yeah. I wonder if I stand in front of my athletes, I wonder if just the overall exertion that they get in the feeling of the wind moving through their hair is it offsets the, the, the fan actually the wind actually pushing back and making it so you don\'t jump as far. Um, but I know that a, there\'s a, there\'s a place I run by my house that like it\'s a, so the wind goes certain direction almost all the times by the beach. And then on the way back, it\'s like dead, stagnant air because you\'re moving the same, probably the same pace as the air. And it just feels like you just sweat in a high health. Like it doesn\'t matter if it\'s a windy day or not, it\'s just like you\'re always sweating on the way back. Yeah, it feels harder, but I\'m probably probably moving quicker I guess. Yeah. Who knows? Maybe the wind on your back, we\'ll help you. You know, you\'re right. You\'re right. It at that point, the environment is definitely helping me. Um, I mean
Miguel Argancello: 00:58:25 I don\'t, I don\'t run, but I do know that if runner\'s say the winds helping them in their back and stuff, we can help them, you know,
Sebastian Gonzales: 00:58:30 you know, I think if you just get really wide, you know, wear big baggy tee shirt, you can say.
Miguel Argancello: 00:58:37 Yeah, that\'d be perfect.
Sebastian Gonzales: 00:58:41 Um, is there anything you would like to, uh, touch on before? I think we\'re about to close up here on this.
Miguel Argancello: 00:58:47 We did it. We did a lot of talking now.
Sebastian Gonzales: 00:58:49 Yeah, we did a lot of talking to her ranch. We\'re around an hour here. Um, let everyone know where they can reach you at actually
Miguel Argancello: 00:58:56 on all social media platforms, twitter, instagram. Uh, I don\'t think my facebook is, is, uh, at the, at handle yet, but at Mugsy bogues Mig, G S Y B o g u e s if you don\'t know who muggsy bogues is while checked me out instead. And my website is ww dot. And then my full name Miguel arrogance, zillow.com.
Sebastian Gonzales: 00:59:21 I\'m going to have all those on the uh, the clickable links on the show notes. So if everyone\'s looking for those, uh, do you have, um, any cool videos? I know that there\'s a couple of things that you sent to me that I\'m on. Uh, uh, these are your tractor well and your philosophy and any other cool videos of you doing shit like break dancing.
Miguel Argancello: 00:59:39 Yeah, I, I got injured doing it. Surprise, surprise. Um, and I, I did a couple things. I did go to a park or gym last year. It tricking slash park court. I learned how to do it. I don\'t know if you know anything about any of these subcultures, some John Rezza of movements. Actually Hashtag [inaudible]
Sebastian Gonzales: 00:59:57 Parkour is one of the only things I follow on instagram. Are you serious? I can\'t believe humans can move that way. It\'s fucking crazy.
Miguel Argancello: 01:00:06 I learned how to do a b twist in like four hours. Like I taught myself so hard, right. I had an instructor, I had an actual instructor tell me all these things and I practice, I like recorded it so I could see my, my before and afters and um, from like five 30 to nine 30 at night, I like just beating myself into an oblivion and the next couple of days were just tough to walk for sure. Maybe I\'ll say it. Yes. Any of that one. That one. That one\'s a fun video to watch.
Sebastian Gonzales: 01:00:30 Yeah. They\'d love to see. I liked you. You\'re actually the creativity on the ones you put on. Um, like your, your youtube ones. Um, I uh, yeah, yeah. That took you do your own video editing.
Miguel Argancello: 01:00:40 Yes. And it\'s not amazing, but I, I get it done.
Sebastian Gonzales: 01:00:44 It looked like he came out of the hamper, so I think it was pretty good. All right. Well thanks so much for being on. Um, but uh, yeah, hang on one sec. I\'ll, uh, I\'ll close everything out. Okay. Definitely. Thank you. Thank you again. Yup. Him, Miguel, thanks so much for being on that. That was great. That was great. You send me a couple times though. Usually I\'m a little quicker on the draw I think, but this was recorded actually the last day of my, uh, one and a half week vacation from a work into the, uh, uh, just past the new year. So I\'m gonna Start my work day tomorrow and, uh, I think, I think I still need to, to make sure I\'m on point here. So if everyone, if you\'re looking for mcgill\'s or Sre for a Miguel\'s a website, that is Mig u e l last name is a r a g o n c I l l o.com.
Sebastian Gonzales: 01:01:36 I\'ll put it in the show notes. You can find those show notes at [inaudible] sports care.com and just type up the session number or just type up, um, Miguel, why I keep saying Miguel, Miguel, uh, into the, he\'s the only one I\'ve, I, I\'ve interviewed so far, uh, of that name. So type them into the oven to search bar and you\'re going to find all the notes for it. Um, if you go to his website by the way. And then the about section, I think it\'s a really great little story. He doesn\'t promote that. He used to be a, um, you know, an athlete for a lot of years in high school and college and a lot of people tend to kind of throw that in your bio. He tells a story of all of a lot of his failures, which I think is very nice to see because sometimes a lot of these people you, that we follow and that we look up to, you don\'t really see the actual story of how they came to be, how they are.
Sebastian Gonzales: 01:02:25 So, um, he shares that and he shares some of those videos of, of his superb editing skills. And showing how breakdancing, uh, can integrate into his gym life anyways. So, um, thanks so much for listening in and everybody, uh, I can\'t tell you how grateful I am to have a over a thousand people every week listen to this podcast. Um, I know that I only have certain amount of time in my week to listen to certain podcasts as well and uh, I\'m, I\'m happy that you made me one of them. So if you\'ve enjoyed this content so far, uh, and you want to change another person\'s life, please send it to them too. Um, I, I tend to think these podcasts and a lot of the great information out there, um, all of the viral videos and all the viral articles that go out, they only become viral because of you.
Sebastian Gonzales: 01:03:15 So you are a big part of the restore and who move in team and you are the promotional team. So I would love if you take some of that, um, excitedness you have to say about some of these topics and Sharon was someone that you think it will, will change their lives. So please do that for me. Please do that for them. Uh, you can find a little share button at the bottom, and that\'s all I ask of you today. That does the one call to action. Share it with a friend or colleague who you think it will help. Lastly, lead people better and how you found them, and they\'d Eagle Scout. I\'ll see you guys next week. We have a great one to come next week. You\'re going to be absolutely blown away.
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