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Ask the face
We use the smile in one direction: something feels right, the face confirms. Sam Govindin uses it the other way. Before a difficult jump, he attempts a smile on purpose and reads what comes back. The standard procedure for checking whether you’re ready is to ask yourself—but the inner narrator is also the party most…
From the archives: Andy Fisher
At eleven, last in the morning run and arriving to find the breakfast gone, Andy Fisher made a decision: “I wasn’t going to be defined by my condition, and I could grow.” Decades later, that refusal threads through his teaching, his passion projects, his ongoing work on efficacy. The connection between his unconventional pursuits and…
The same door
We treat physical courage and emotional openness as separate competencies. Flynn Disney points at what the separation hides: bear, well, love, honey—threats and goods come through the same door. The nervous system that lets you take a physical risk is the same one that lets you risk being known. The body that won’t close down…
From the archives: Cara-Michele Nether
Cara-Michele Nether unexpectedly inherited an Aikido school and took it in stride, bringing the same approach she uses in acupuncture. Her philosophy goes against the harder-better-faster grain: “Nobody wants to do something that they feel awful about. So you have to make it easy and smooth for them and give them small reasons to celebrate.”…
What gets atrophied
Movement culture celebrates the override—pushing through pain, fatigue, fear. Brian A. Prince points at a cost the celebratory story leaves out. The capacity to ignore the body’s voice, practiced for decades, doesn’t just override the signal. It trains the receiving channel itself to go quiet. After filming Predator, his partner could see his distress before…
From the archives: Janne Laurila
When Janne Laurila started parkour, movement was constant exploration aimed at improvement. Years in, the relationship has changed. The point isn’t getting better at the movement; it’s how the movement changes the way you see a challenge in the first place. The shift is from improvement to adaptation — and the deeper one is the…
Calmness or nothing
Most physical practices let you lie about how you feel. You can run scared, lift distracted, train through anxiety. The body cooperates with whatever you bring. Tori Kubick chose contortion, which doesn’t. The tissue won’t lengthen if she’s anxious. Self-deception collapses on contact with the floor. The practices that meet you where you are will…
From the archives: Anna Bezuglova
For Anna Bezuglova, there’s no real boundary between official practice and the rest of life. Driving, talking with her husband, teaching, walking — all of it carries the same dialogue of sacredness she brings to physical practice. The shift isn’t about adding ritual to mundane moments; it’s about noticing that the distinction was never really…
Why we want to share
Joe Boyle doesn’t share what he knows—not because he’s withholding, but because the urge to share isn’t only generosity. The giver of unsolicited wisdom is also collecting: a small affirmation that they’re useful. The student has to ask. Until they do, the share lands on dry stone. What gets dignified isn’t the sharer’s good intentions.…
From the archives: Joe Boyle
Joe Boyle is interested in a question most communicators skip past: when to offer help and when to withhold it. Sometimes the more useful move is the harder one — letting someone find their own way through. Joe’s broader instinct points the same direction: “Anything that, sort of, gets you out of the rigidity of…
With, not on
Movement vocabulary keeps the human in charge and the matter passive. We jump from rails, land on concrete, push off walls. Then there’s Nika Jankovic talking about the floor: friends, caress, melt, relation. The floor isn’t receptacle—it’s interlocutor. When the floor stops being something you act on and becomes something you act with, what kind…
From the archives: Ryland Lanagan
Ask Ryland Lanagan what gets adults into a parkour-based fitness program and the answer is fun. But fun isn’t the first thing that happens — permission is. Permission to falter in front of strangers, to put yourself out there. Once you’re willing to do that, Ryland says, a whole cascade follows. The pitch is movement;…