Tuesday, April 26, 2005


Here is my tutorial for double leg circles on the mushroom. What you'll read below is one of my most technical posts to date. For those unfamiliar with what the skill looks like, scroll all the way down to "Odd and Ends" for links to video clips.

For those who are working towards a circle on the mushroom (and eventually the pommel horse), I hope this guide will give you the best analysis of all the movements necessary to learn this skill. I'll just be covering work on the mushroom, since I figure if you're working the circle on the pommel horse, you're beyond the scope of this page.

Despite the tome written below, the double leg circle isn't that difficult to pick up. Well to clarify, it's a skill that takes a short time to learn, but a lifetime to master.

And for the first time on this page, helping me demonstrate the skill, is Chuck:

He's from Ikea, a town in Sweden.

*crickets chirp*


The Mushroom

For those unfamiliar, here are pictures of some training mushrooms.

It's quite obvious how the apparatus got its name. The mushroom is a training device that's used to teach circles and flairs for the pommel horse.


The circles I describe will be going in a CLOCKWISE direction. So switch up lefts and rights if you are practicing a counter-clockwise circle. I will be referring to various positions on the mushroom with numbers, or by simple comparison to a clock face. Here are the positions and corresponding numbers (1 being the start, of course):

Next, we'll talk about where you should be putting your hands on the mushroom. Even though it may feel intuitive to put your hands near the middle of the mushroom, you'll actually want to put them a bit off center, away from your body as such:

So they'll be shoulder width apart, in the top 1/3 of the mushroom. When you get your hands on the mushroom, you'll understand where to put your hands so that they're forward of the center. I'll describe the importance of this below.

So together, your hands and the numbered positions will look like this:

Now we'll learn the first position and walk around to each point on the circle. These are the GENERAL positions you want to be in when going around in a circle. I will get to the specifics of each position later, when you start getting off the ground.

The First Position

To get yourself into the correct position, place your hands on the mushroom as described above. You'll want to put your legs together, get your body in a neutral to slightly arched position, and lean slightly over the mushroom.

Below is David Kikuchi of Canada, showing nice form for the first position.

The two biggest mistakes made in this position are lifting the hips up and away from the mushroom, and not leaning over the mushroom enough. As Chuck demonstrates below:

hips up too high

leaning too far away

Both will throw your circle off-kilter from the beginning, as both mistakes take your body away from the mushroom. You're going to be circling over top the mushroom, so you need to keep your center of mass over top the mushroom. Like so:

first position

Next, we'll be WALKING around the mushroom into the second position, cause you've got to learn to walk before you learn to fly.

The Second Position

For a clockwise circle, lift up your left hand from the first position and walk around 1/4 of the mushroom to your left. When you get to the second spot, you'll want to put your body in a position like so:

side view

front view

Keep your body in a straight position; don't sag down on top of the mushroom. You'll want to keep the hips close to the mushroom and lean over that right arm. Below is a picture of Ivan Ivankov of Belarus, in which you can clearly see the lean involved.

As far as the hand goes, Chuck is lifting his arm up in such an exagerrated manner so that he remembers to lift it when he's flying around the circle. I suggest you do the same.

The Third Position

Walk yourself around the circle until you hit the third position. You'll now be putting your left hand back down and getting your body into this position:

third position

This time you'll be leaning back slightly. Most importantly, you should be trying to EXTEND your hips. Like you're trying to touch the ceiling with them. Of course, you'll be extending with your body the entire circle, which includes straight legs and pointed toes. But at the front here is where many will slack off with their body extension. The biggest mistake I see in this position is bending at the waist or "piking". You don't want to be caught sitting down on the mushroom!

don't sit on the mushroom!

This is the reason you put your hands down where you did. With the hands on the front, there is not as much mushroom in front of you, so you won't have the urge to pike yourself in order to circle around.

So both hands are down on the mushroom. Arms are straight.

Here is a shot of Jair Lynch of the United States travelling through the third position.

The Fourth Position

The fourth position is simply a mirror image of the second position. So lift that right hand (extra high as a reminder), and remember to lean over that left arm.

side view

front view

After this, walk back around to the first position. Walk around the mushroom several times in this manner to get the general idea of the skill.

Ready? Let's learn how to fly.

The Cast

The cast is simply a wind-up for the circle. It will give you the power necessary to start things up.

You'll want to start by getting into the first position. Next, you're going draw your right leg back (in the case of a clockwise circle). Now it doesn't make sense to draw your leg backwards in a straight line, because you won't be travelling along a straight line. You'll want to draw your right leg back in a circular path. I think of tracing a semi-circle with my right foot for 1/4 of the circle, in other words until it reaches the "4" on our mushroom.

And raise up your left hand.

Here, in perhaps the strangest photo I've ever had taken, I'm trying to show the correct position for the cast. Notice how my hips still stay close to the mushroom (chair). Don't slack off now and pull the hips away. Tracing the semi-circle will help to keep you close.

And here is a picture of Alex Schorsch, a gymnast now competing for Stanford. This is his cast for circles on the floor. Notice how his right foot is drawn back a quarter of the circle and his hand is up in the air.

After you "wind-up" you'll start the cast by doing two things SIMULTANEOUSLY. You are going to bring down your left hand and quickly slap the mushroom, while you swing your right leg around into your left leg.

The slap on the mushroom is to give your body support as you quickly pass through the first position. It is a quick slap, because you need to lift your hand up almost immediately to pass into the second position.

The swinging of the right leg should almost feel like you're sweeping your left leg out from under you. What you're really striving for in the leg sweep is to start your body off in a horizontal plane. Problems arise when you start to JUMP into the circle, rather than SWEEP.

Below is a chart illustrating the problems when you jump into a circle. The solid black horizontal line represents the ground, while the curved line represents the path of your feet.

As you can see, if you jump up into the circle, you'll often travel past the second position without a problem, but then you'll lose your height and coming crashing down in the third position.

If you work on sweeping the right leg and bringing both legs around in one plane, your path will look much better:

Then you'll be able to hit multiple circles without fear of hitting the ground.

Hip Torque

You might have heard about the importance of torquing your hips for a circle. Why is it necessary? And when do you do it?

Look at the diagram below. In it you can see the direction the hips are facing as they come around to the third position. Now if you were to keep your hips pointed in that direction, there's no way you would clear the fourth position. You need to twist your hips to be able to make it around for another circle (see diagram).

The hip torque is achieved by twisting your hips in the opposite direction of your circle. If you were to stand up straight and be shish-kabobed through your head straight down to your feet, that is the axis that you will be twisting your hips around. So for the clockwise circle, twist your hips counter-clockwise. You are attempting to twist your hips so that they face the mushroom. Chuck demonstrates the twist of his hips while his body travels around the mushroom.

Just to stave off any confusion - while the arrow indicating Chuck's hip twisting looks to be going clockwise, as HE looks down at his hips he will be turning things counter-clockwise.

As mentioned, this will allow your body to come around and through the fourth position. If you find that you often hit your left hip in the fourth position, then it's probably the case of not twisting enough.

So when during the circle do you start the torque? Just before you hit the third position. If you think of the mushroom as a clock, with the first position as 6, and the third position as 12, then you want to try and twist at around 11. I've found that merely looking in that direction as you cast into the circle helps you to twist at the appropriate moment.

There is also a twisting of the hips at the 5 o'clock position on the mushroom. This will turn your hips outwards and allow you to go from the fourth position around to the second position. This twisting is very intuitive and it's likely you won't even notice it. It's the torque at 11 o'clock that you'll often have to remember to do.

Leading Parts

As you head through the circle, you'll be focusing on various parts to "lead" the way.

In the first half of the circle, you want to work on pushing the chest and hips through first. This will extend your circle out and prevent piking. If you think about kicking your feet through for the first half, there's a tendency to bend at the waist, which we already know is undesirable.

For the last half of the circle, you want to work on leading with the heels of your body. This will tend to keep the body straighter, so that you don't bend at the waist again. Remember one of the "don'ts" for the first position was having your hips too high? Well, leading with the hips for the last half of the circle tends to put you in such a position, which breaks that horizontal path that you're striving for.

"Amazingly", you'll switch which part of your body leads right after you've torqued your hips (11 and 5 o'clock on the mushroom).

Lean And Push

As I've mentioned throughout this post, it's essential that you lean at every point in the circle. By leaning in the opposite direction of your feet, you'll keep your center of gravity over top the mushroom.

In order to help get into the lean, you'll want to push off with your hands as you lift them up. Nothing too severe, but be aware of the work that your hands and arms have to do. If you find yourself falling off the mushroom, or catching yourself abruptly with bent arms, then you may need to push off stronger.

For right now you want to be able to keep your orientation the same, especially if you plan on taking the skill to the pommel horse. When practicing your circles, you'll soon learn the amount of pushing and leaning you need in order to remain facing forwards.

Ultimately, there are two things that will change your orientation - putting your hands down too slow, and putting your hands down too fast.

In the first of these situations, you'll be circling along but then start to push harder, lean, and ride the circle a little longer. Your hands go down slower and you start to turn. This is called "czeching" the circle, and it starts to moves your hands into a position like so:

As you take those long wide movements, your body will shift directions in a clockwise direction (in the instance of a clockwise circle). In comparison to a regular circle, czeching a circle will make things feel slower.

The next situation is where you purposely try to turn and put down your hands as fast as you can. This is called a "spindle", and will begin to move your hands like so:

As you twist quickly to get your hands down, your body will shift in a counter-clockwise direction (for a clockwise circle). In comparison to a regular circle, this will speed things up.

Now there's a time for each of these skills, but when you are learning the basic circle, you want to be able to keep control and remain facing forwards, putting your hands down in the same position each time. In general, I've seen more people have a problem czeching their circle than starting a spindle. So if you find yourself moving your hands around and turning your orientation with each circle you perform, then try to get your hands down faster.

Final Tip

One of the most important things I think you should keep in mind is that you have to find the RHYTHM of the skill. The circle should have a nice beat to it. Your hands should be going up and down like 1,2,1,2,1,2. If you sound like you're limping - 1...2,1...2,1...2, then work on getting the hands down faster or slower. Adjusting the amount of torque in your hips can help adjust the timing of your hands as well.

Training Progression

Now that you've got a handle on all the elements of a circle, I recommend starting from ground zero and adding on 1/4 of the circle at a time.

So after you've walked around the mushroom several times, you'll want to get into the first position, step back, cast, and stop yourself at the second position. It doesn't matter if you felt you could go all the way around. Just have patience and make sure you get the beginning down cold.

After several times casting and stopping to the second position, just add another 1/4 of the circle and trying casting and travelling to the third position. Be cognizant of keeping your cast horizontal, as well as making sure you RIDE through the second position on the way to the third. Just about anyone can make it to the third position by jumping over the mushroom, but sloppy technique like that will only make the next step more difficult, as you will have to go back and fix your technique.

I feel a indicator of good technique when casting to the third position is if you feel like you have to slam on the brakes to stop. You should feel like your body could continue travelling around if you hadn't stopped it. If you feel like you're dropping into the third position, then you very well might be. Remember that chart with the wave path of your feet? Don't do that. And as for hip torque, you can start it, but it's not essential that you focus on it at the moment.

If you feel ready, add another 1/4 to your circle and cast to the fourth position. This will test your technique more than anything. Do you jump into your circles? Then you won't make it around. Did you forget to twist your hips? Then you'll probably catch your inner hip on the mushroom. Besides remembering all the sticking points of a circle, the most important thing I can repeat is to RIDE the skill through each of the positions. Don't be in a rush to the end and try blowing past a position. The circle is a smooth, flowing movement.

If you're making it to the fourth position consistently, then taking it back around to the first position should be a piece of cake.

After your first circle, practice casting and performing one circle at a time. Get that one circle down well before you start up multiple circles.

When you begin multiple circles, remember the tips. Pushing with the hands, leaning, and really getting the hips out will power your circles around. A bit of practice will show you how to keeping the circles going. Just whatever you do, don't get lazy. Circles require constant force to keep going.

Odds And Ends

Now of course learning a circle on the mushroom is a prerequisite to performing it on the pommel horse or floor. Here are some excellent clips of circle work on both.

Pommel horse circles
David Durante from Stanford Men's Gymnastics.

Floor circles
Alex Schorsch, a Stanford gymnast, back in high school.

Anywhere else you could do circles? How about those concrete bollards you see around the city?

I've seen this done by a bboy named Kujo on the "Detours Video". A quick clip of Kujo is available here. No circling in the sample clip, but you will see a whole lot of planche goodness.

I mention circling on bollards simply to plant the crazy idea in your head for the next time you're walking through the city. Good luck!


Hope you find this tutorial useful. I've tried to cover everything I know in regards to the circle. If you have a question, or if something is unclear, feel free to shoot me an e-mail.

Of course, it figures that after my most complicated post I'll be out in California for the extended weekend, away from a computer, but I'll get back to any emails next week.

I hope I didn't scare too many people away with the size of this tutorial. The circle is a very fun skill once you find the flow. Once again, good luck to everyone!

Monday, April 25, 2005

A Better Straddle Planche

So I was sitting at work today thinking about how my planche progression was coming along pretty well. And it occurred to me that I had only snapped pics of a one-legged planche. How does my straddle planche measure up now?

Well, I drove home from work, kicked off the shoes and grabbed the camera. Results as follows...

I guess I still don't know where my legs are, but I'm hitting a straddle planche, more or less! And I'm balancing it on the ground, which is even more exciting. It felt much more solid than my previous parallette straddle planches.

So I guess I can recommend to work the one-legged planche in order to bridge the gap between the advanced tuck planche and straddle planche. It seems to have built up my shoulder strength enough to make extending into a straddle easier.

As far as the circle/flair post goes, I'm trying to finish up the circle post by tonight. It's pretty extensive and is taking a lot of time. I won't even be addressing the flair until another future post. But don't worry, you'll have more than enough to read right now.

Saturday, April 16, 2005

Research and Development

Hello there! While you're waiting for the tutorial on circles and flairs, I figured I'd post up some pics of my current training, simply because it's been too long. So here for your reading pleasure, is my progress...

The first big thing to announce is that I'm working the one arm chins again. I can crank one if my arm is slightly bent, but I'd like to be able to pull one (and eventually many) from a complete dead hang.

I got back into this skill with some heavy two arm chins. Heavy meaning, building up to 150% bodyweight. And I hope to continue to up that weight. I keep the reps low, no more than 5 a set generally, for the sake of my elbows. I'll end up a session with some lockoffs and negatives with the heaviest weight. This helps finish up things when I can't pull up with the weight anymore. I'll also give myself a good day or two of rest inbetween sessions to let myself recup properly.

Next, the progress that I'm most excited about is my one arm handstand. I've been trying to work this everyday for short sets. This plan has helped tremendously.

As far as technique, I've started to focus on really pressing my supporting shoulder out (just like a regular handstand), keeping my body very, very tight, and most importantly - lifting the other hand up slooooowwwwllllyyyy. If you whip that hand off the floor too fast, you'll just throw yourself out of balance from the very beginning. In addition, I'll often try to hold myself up on one hand for as long as possible, while the fingers of my other hand just barely brush and touch the floor for balance.

I've tried the skill with legs together and split. Splitting the legs lowers my center of gravity slighty, and helps to balance a bit - especially at the end of the set when I'm tired.

For the first time, I feel I can slightly control my one arm handstand balance. Like I said, I'm excited.

I snapped this next shot, because I thought it looked good with the picture on the wall... haha...

The planche is moving forward, slowly but surely. Here's a pic of my one legged plance on the parallettes. I'm trying to straighten the bent leg out slowly, bit by bit. It's going to take some time though.

The position on the ground feels much stronger now. It use to be hard to hit anything close to this on the ground, but now I don't need the extra deathgrip on the parallettes to pull it off.

I'm not too concerned with the elevated butt/crooked body right now, since it's a bit difficult to line things up with one leg out and one leg in. On the ground especially, I feel like I'm going to knock my knee. As I build up the strength in my shoulders, the legs will straighten out and I'll be able to level myself off, and my shoulders are definitely getting stronger.

The main exercise I've been doing recently is planche pushups with my feet on a chair. I find it very important to really lean as far as possible and get into the planche position at the top of the rep.

I've been adding weight to this exercise by throwing some plates in a backpack and putting the whole thing on my back. This exercise is great work for the front of the shoulders and chest. I feel like I've been making good steps by combining this with static planche holds.

Finally, I've been playing around with the wide handstand a bit. Balance is particularly tricky because the hands are turned 90 degrees from a normal handstand.

The one problem with training this is that I run out of floorspace quickly as I begin to move my hands outwards!

Working something like this seems like a good way to get yourself ready for the inverted cross. And now that the weather is getting warmer and the daylight longer, I'll be taking my rings to the local playground and working on both the iron and inverted crosses.

So that's what's been keeping me busy for the past several weeks. This is the part of the training where I've got to grind away at the skills. I mean, I'm still reaching goals and making progress, but there won't be some incredible day when I jump up into a new skill for some time now.

Onward and upward! Good luck to everyone with their training!

Monday, April 11, 2005

Circles and Flairs

By popular demand, I'll be making my next post about circles and flairs on the mushroom and pommel horse. First, I'd like to stress right here that I was NOT an elite athlete, just merely someone on a club gymnastics team.


But even still, I think I can provide enough technical explanation to start someone out. In the end, you'll want to listen to your coach of course, but I hope to help anyone who may not have adequate coaching at the time.

Tuesday, April 05, 2005

The Handstand

The handstand - a fundamental skill if you are interested in bodyweight exercises. Working it will build strength and help develop total body coordination.

I'll be throwing a lot of information at you in this post. Before you dive into this tutorial, I need to explain something. I'll be describing the handstand piece by piece, so that you can better understand the form and technique. But when you train the skill, I want you to put those pieces together in your head. As I said, it's an exercise in total body coordination. Do not get so focused on one part that you confuse yourself and neglect another part. Everything must work together. So read through everything first and try to get an overall sense of the skill.

Oh... and make sure to practice A LOT.

We'll start with the "modern" handstand as a base to jump off. This is a straight handstand that is the standard in gymnastics these days. With your body in a straight line, this is also considered the "cleanest" looking handstand. I'll describe variations as I get to them.

Let's start from the top . . .

The feet

When you first start training, try to keep your toes pointed. Yes, this is mainly for aesthetics. You could still perform a handstand with hook feet, but I feel that when I straighten my toes it helps to line everything up. The feet point upwards; the body flows in that straight, upwards direction.

The legs

When you first begin, you will also find it easier to try and keep your legs straight and together. Keeping them straight will prevent them from flopping around like limp noodles, making things harder to control. Keeping them together will prevent them from flailing about as two different entities. You've got enough on your mind trying to coordinate the rest of your body. So help simplify things and keep those legs together for now!

The torso

The torso is one of the major components that will determine the look of your handstand. As far as your torso is concerned, a straighter handstand is achieved by slightly tensing the abs to keep your body in line. You will get handstands like this:

If you were to relax your abs a bit, let your torso and legs fall towards your backside, and bring out your head (discussed below) then you'd wind up with handstands like this:

Gymnasts back in the day held handstands with this significant curve in their backs. For this reason, I'll call this the "old" style handstand.

As gymnastics changed, the handstand was straightened out for both aesthetic and technical reasons. The modern form allows harder, more complicated gymnastic skills to be performed.

The shoulders

You'll want to really extend and engage the shoulders. This tension will give you greater control. Think of shrugging your shoulders upwards or trying to push into the floor. The difference looks like this:



The head and arms

You'll find your head position will be the single greatest factor affecting your back/handstand shape. Why is this? Because the spine follows the head. If you really pull your head out (to look at the ground for instance), then your spine will follow suit and bend. This will give you that banana shape. Try and keep your head between your arms as much as you can. Instead of pulling your head out all the way out to stare at the ground, try to look upwards a bit with just your eyes. This will help to keep your head in and your back straight.

To those familiar with the Brazilian martial art known as Capoeira, the head is brought between the arms even more, so that a Capoeirista can watch his opponent, instead of the ground.

Two capoeiristas square off

a neutral head position allows one to see their opponent.

So you've seen three styles of handstands - modern, old, and capoeira. You may be asking yourself "which is the best?" In the end, none are. They are simply different variations for different situations. Unless you're in a Capoeira roda, or in front of Olympic judges, perform whichever one you want. I use each for different purposes myself.

That being said, I would still recommend that you learn all three. Each variation you try will help you better understand and control the different components of your handstand.

And as for the arms - straight and shoulder width apart for now. Not much else to say about them.

The hands and fingers

I place my hands on the ground like this.

Keep your fingers spread out slightly and facing forwards. This is to allow for the greatest amount of control and stability in the handstand. The fingers are a huge part of controlling the handstand; something I'll explain below.


To start training for the handstand, get yourself a wall. You'll be kicking up against the wall to get use to the position. So put your hands down about a foot away from the wall and kick one leg up. Bring the other leg up to follow, so now you're in a handstand against the wall:

And try to do this so that your feet come to REST on the wall, not slam into it. This kicking will start to teach you the right amount of force you need to kick up into a free standing handstand.

Now that you're in position, try to lightly kick away from the wall into a free handstand. Like so:

toes on the wall

toes off the wall, holding a handstand

If you fall back down to your feet, simply kick back up and try again. If you fall towards your back, the wall will catch you. It's your training wheels. Your back might be a bit arched at the moment, but this is something that can be adjusted later. For the now, you're trying to bring your feet away from the wall and balance the position. This leads us into the essential way to keep balance - the fingers.

Like I mentioned before, your fingers are spread out to give you the most control. Here is where that control comes into play. With the handstand, you are most unstable in one plane - front to back. When you start to feel like you are leaning towards your back, you should press your fingers into the ground and bring yourself back upright.

Now your fingers don't have to do all the work. Remember how I discussed keeping your toes straight, your legs together, and your abs tensed? Well, all this comes together now as you try to balance yourself. If you keep your body under a bit of tension, then your fingers can move this single unit back into a balanced position. If you let everything relax, then it's like trying to stand cooked spaghetti on its end.

Continue tapping away from the wall in this manner until you've got a sense of how to correctly balance yourself. As I said, fingers play a huge role in balancing, but don't forget your legs and midsection to help as well.

Away from the wall

Feeling good so far? Well then get the heck away from the wall! The sooner you drop the "training wheels" the sooner you can develop a solid handstand.

For your first couple (read:hundred) handstands, you'll want to find a relatively open area where you can land safely without kicking something.

Ready? Do you remember how hard you need to kick? Well then, give it a go and get yourself inverted. If you haven't fallen over yet then try to keep yourself upside-down for as long as you can. Feel free to walk around a bit if you need to get your balance.

If you're walking around, your legs may split a bit, your back will probably be arching, and the whole thing in general will look ugly, but you're in a handstand, and that's what matters. Fighting to stay up as long as possible will help build up the strength and balance that you need.

If something goes wrong

I covered this in the handstand press tutorial, but it's critical to describe here. Other than "falling into a heap", there are two ways you'll be getting out of a handstand when you start to fall towards your backside - the roll and the pirouette.

The roll is simply a matter of tucking your chin to your chest, bending your arms slowly, coming down on your UPPER BACK and rolling forward. Please don't piledrive your head into the ground. It's just a simple forward roll out of danger.

When you start off, you'll probably only want to do this where the ground is soft (a lawn) and where you have a bit of space (a lawn).

The second technique is the one I prefer - the pirouette. Here, you'll keep your arms straight throughout and turn your body 90 degrees out of danger. In this picture, I was in a handstand, and began to fall to my backside (the right of the photo).

Now imagine your hands are trying to turn a steering wheel 90 degrees, and turn your body off to the side. And just like you see in the picture, you'll land on your feet, facing your hands. Is this move really that difficult? I don't believe so. I hope I'm not confusing anyone or glossy over the topic. I think it'll make sense to you when you start training.

Both these techniques are greatly preferred over slamming into the ground with a flat back, or trying to put your feet down and landing into a bridge. Trust me.

Saving the handstand

Now if controlling a handstand was like driving a car, the finger pressing and ab tensing, etc, would be the normal turns and microadjustments we make during a ride. The techniques below would be analogous to violently jerking the wheel from side to side.

I'd try not to even read this section until you're handstand is starting to shape up into something you can work with. This is nothing you're going to use regularly as your handstand gets solid, but I figure it's useful to know when you are fighting to stay up.

First is a technique to save a handstand that's falling to your feet. It's a quick bend of the arms that will dip your shoulders and bodyweight forwards a bit, in hopes of saving things.

Please, oh please do not plow your face into the ground. If you don't feel like your arms and shoulders can handle the load, then don't do this. Just fall back to your feet and be no worse the wear.

This next technique is for when you begin to fall towards your backside. By quickly flexing and bending at the waist, you can hopefully shift your bodyweight back over your hands and save yourself.

Both techniques, as you can see, involve a rapid shift in bodyweight. You'll want to develop a good handstand where you won't need to do any of this violent wobbling around. But it's always good to keep in the back of your mind, should the need arise.

So there you are folks, the handstand...

Let me know if something is unclear. For such a fundamental technique, I want everyone to understand and learn the skill. Best of luck with your training.