Bill Hartman 25:23–25:24
Take a look. Oh, maybe a little guess. OK, why? Is it because of his dashing hairstyle? Yeah, exactly. So you see the neck, and you immediately go, wow, that neck goes on a really big, strong guy, right? OK. So literally, just by looking at someone, you made a judgment call, right? And you're probably right, right? Because again, the muscle mass kind of goes with the territory. But again, you just have to respect the fact that everybody's going to be a little bit different. And so they're going to process information a little bit differently, a little bit more slowly. In many cases, so if I have somebody that has what I perceive to be sort of one end of the movement spectrum capabilities, then I do everything slower. I might need to create a vocabulary for them because if they don't spend much time being aware of movement and I need to teach them how to do that, then that's where we get this difference between sort of like this internal, external queuing kind of a thing, right? because the internal cues are designed to provide a sensation that most people may not be able to acquire themselves. Why do you do manual therapy? Well, you do manual therapy to give them a sensation that they cannot acquire themselves, right? So again, we have lots of tools. So we have physical contact. We have verbal cues. We have movement-based activities. We have awareness. Drills and things like that that we would use and we use them all for everyone to varying degrees. Some people just need a much stronger influence in one of those than the other where you take a high level athlete And literally you just say, go over and do that. And they immediately know what to do. Like they just intuitively know what to do because their movement intelligence is so high. And then you take the guy that's been sitting behind a desk as an accountant for 25 years that can multiply three, four digit numbers in his head in 10 seconds. And we don't appreciate that, but we knock him for not being a great mover, right? Because that's what we do. And we have to approach that just a little bit differently. We have to respect what people are bringing to the table, so to speak, right? And again, it's just sometimes I got to go slow. Sometimes I can go fast. Sometimes I got to develop the movement in vocabulary so we can communicate because they don't know what we're talking about, right? And then don't ever And we all do this, but don't ever, don't ever belittle someone, even internally. Like when you're giving your best cues and everything, you think you just knocked into the park and they just go, what? Because they just don't have that understanding, right? So we just got to find a way to do that. And that is one of the levels of complexity of working with complex humans, right? We just have to figure out those ways to do that, right? So again, you just slow down and you just find a way. And one of the conversations that I have during the subjective is I always try to find out what people's background was when they were younger. So I say, what sports did you play in school? What was your favorite game? Or all that kind of stuff because that gives me an idea of a frame of reference. So if I get a guy that comes in And he goes, oh, I've done jiu jitsu for 25 years, right? And so now I have a frame of reference. So now when I'm teaching him a hip shift or something like that, or I'm trying to get him to feel something that's back, I go, now it's like, because when you lay them on their side, it feels like a hip escape and jiu jitsu to them. And so I say, now do your right hip escape. And they go, oh, so that's what, OK, now they know what it feels like. So you have to create a frame of reference. So again, you try to find that if you can. And then there's cases where everything just is like the uphill battle where, oh, yeah, I've never played a sport in my life. I've never really moved. I was a sickly kid. I had a lot of allergies. You're gonna have these scenarios that come up. You just, and again, I hate to default to this, but you just sort of find your way, right? But always respect what they're bringing to the table because they do have some, you know, probably specialized intelligence in some way, shape, or form. We just have to kind of figure out how we make that connection. So let's just talk about analogous structures for a second. So when you're looking at situations where you're looking for the analogous structure, you have to look at it from an embryological standpoint. So things that are derived from the same place, that's one possibility. The physical structures are the same. Right. The movement behaviors are the same. OK. And so, so when we look at, when we look at these things, that's how you identify analogous because they don't, they don't all look the same. And so that's what you're looking for. Right? So the point of confusion, when I say that there's five muscles in the glute max, I don't care what you call it. I'm just looking at it behaviorally. And it's like, where else? It does so many things, right? They just said, they just looked at it from a distance 2300 years ago. And the Greek guy looks at the other Greek guy and he goes, what do you want to call that? He goes, I don't know. It's a big one.
movement assessmentindividual differencesmovement cuesmanual therapyanalogous structures