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Kettlebells From the Center: Dynami
By Brett Jones Master RKC, CSCS, CK-FMS
and Gray Cook RKC, OSPT
With Special "Coach's Corner" section provided by Jeff O'Connor, Master RKC
Copyright 2010 Functional Movement Systems and Gray Cook

Foreword
I would like to thank Brett and Gray for providing this information. Almost all athletic training
programs focus on strength and conditioning with no regard for movement. The first has created
some unbelievably strong Frankenstein Monsters. The ones that don't do that emphasize
coordination and agility, with only a passing reference to strength training. This one makes
smooth moving athletes that are athletically limited by their lack of strength. And worst of all,
the "sport specific" programs that destroy athleticism. Any approach works on mutants, none of
them does what's best for the masses.
Getting out of your own way is the most important thing you can do as an athlete. Only when
you remove your physical restrictions can you realize your true athletic potential. Coordination
rules on the athletic field, not powerlifting totals. Perfect movement skill without power is
useless. But, when all aspects of athleticism and sport skill are relatively equal, strength and
conditioning rule the day. Dynami takes you through a progression of patterning and symmetry
to strength and finally a near game speed expression of that strength. Following these
progressions will reduce your risk of injury and give you the smooth application of power that is
a difference maker in any physical contest. Finally, it will give you the ability to deliver that
power time and time again. When everything else is equal, the last one standing wins the day.
It is a rare thing that two people with such unusual talent and ability combine their knowledge in
such a complimentary way. The ongoing theme of move good and then condition good
movement seems like a no-brainer. However no brains have ever put it together as well as these
two.
The journey that was begun with Kalos Sthenos continues with Dynami. Utilizing the
information provided will help you become the best athlete you are capable of.
Jeff O'Connor, Master RKC
Copyright 2010 Functional Movement Systems and Gray Cook 2

Table of Contents
Page 1 Title Page

Page 2 Foreword
Page 3 Table of Contents
Page 4-8 Introduction
Page 8-9 Safety
Page 10 - 13 Clearance Tests
Page 14 - 20 Introduction for the Deadlift and Swing
Page 21 - 24 Pattern Building the Deadlift and Swing
Page 25 - 27 Slow Strength - The Deadlift
Page 28 - 30 Symmetry - The Single Leg Deadlift
Page 31 - 37 Dynami - The Swing
Page 37 - 39 Common Mistakes in the Swing
Page 40 - 48 Coach's Corner for the Deadlift and Swing
Page 49 - 53 Introduction for the Squat
Page 54 - 56 Pattern Building the Squat
Page 57 - 60 Slow Strength - The Squat
Page 61 - 63 Symmetry - The Bottom Up Squat
Page 63 - 67 Coach's Corner for the Squat
Page 68 -71 Introduction for the Press
Page 72 -74 Pattern Building the Press
Page 75 -76 Slow Strength - The Press
Page 77 Symmetry - The Bottom Up Press
Page 78 - 80 Coach's Corner for the Press
Page 81 - 83 Introduction for the Push-Press
Page 84 - 87 Dynami - The Push-Press
Page 88 Common Mistakes in the Push-Press
Page 89 - 90 Coach's Corner for the Push-Press
Page 91 - 93 Movement Prep
Page 94 - 100 Programming
Page 101 Conclusion
Page 102 Special Afterward by Gray Cook

Kettlebells From the Center - Dynami
~uvaJ..l r,- Dynami - Power
No matter the language, power -- physical power for our purposes -- is the goal of this DVD
and Manual. But power of any kind can be misapplied and destructive if not properly
cultivated and earned.
Power training is one of the hottest topics in fitness today. Nearly everyone is talking about
how to train for it and what tools are best for that training (see references throughout).
Seniors, athletes, and those who strive to lose weight are all being told to train for power.
But are they ready to train for power? The primary goal of this DVD and Manual set is to
provide a systematic way to prepare for building power.
Our bodies are capable of amazing things. "Grandma lifts car off granddaughter" is a
headline or story we have all seen. This phenomenon indicates the strength and power
residing within us that we rarely tap into. Expecting a grandmother to lift a car outside of
the extreme stress of the situation is equivalent to telling grandma to hit the gym and
power through some medicine ball slams. This may be an extreme example, but too often
fitness recommendations are made without consideration of whether they are appropriate
for the individual.
Every skill must be built upon a strong foundation, and "Kettlebells From the Center" will
guide you through laying the foundation for your power. The following sequence of steps is
repeated for building each movement shown in the DVD and Manual.
Pattern Building> Slow Strength> Symmetry> Dynami
Pattern Building
Tai Chi, Qigong, and martial arts in general use a tradition of pattern building sometimes
called Katas. Katas can be defined as the slow and precise rehearsal of goal movement
patterns. We will be applying this mentality as we structure our pattern building for the
Deadlift and all of the exercises in this manual.
Do Not Pass Go! Do Not Collect $200!
Stop here and ruminate a while ...

Pattern building is the step that most people breeze by and ignore at their peril.
It is vital to slowly and precisely learn each movement pattern to the point that speed and
load cannot disrupt it. Unfortunately, this attention to fundamentals is rare in the fitness
industry. Think about it. How do you know or learn how to perform an intricate movement
pattern? You can flail away, trying to hop right in and move "at sport speed," or you can
build a deep foundation for your movement by starting slow.
Slow Strength
A golf swing moves at about 2500 degrees per second. That's fast! That's why it is so hard
to actively change or manipulate your swing while you're performing it. It is just moving
too fast. The Swing of a kettlebell is also a high-speed maneuver. It is wise to cement the
perfect groove while you learn the patterning, then begin to gradually add load to the
pattern. Weight or load begins to lock in a pattern, so the program begins with unloaded
patterning then progresses to loaded work. Spend your time here to cement a pattern that
will hold up to your power.
Symmetry
You will notice a symmetry section for each exercise. This refers to symmetry-of-strength
as opposed to the movement symmetry defined by the FMS screen. We are assuming you
will have taken care of this in some fashion prior to taking on these exercises. The Single
Leg Deadlift (SLDL) is the symmetry check for the Deadlift pattern. This assesses your
ability to use the right and left hip equally within an independent move before taking your
hips into a symmetrical power move like the Swing.
In the Squat and Press, we impose a different symmetry-of-strength analysis through the
Bottom Up Drills. These require an "even power flow", meaning that if one link in the chain
falters during the exercise, the kettlebell will not stay bottom up. That symmetry-of-
strength will be carried over to seamless power.
Dynami
This is the culmination of each of the movements - power. Power can be defined as the
time rate at which work is done or energy is transferred (about.com). The title of this
product should indicate to you where that power is produced and transferred - your center.
Throughout the manual, you will be advised to push into the ground and transfer that
energy through your center to the weight. Both the Swing and the Push Press happen at
high speed and are all about transfer of energy, providing two great examples of Dynami.

Three Steps Before Dynami?
That's right. You must progress past 3 steps before you get to Dynami. Why?
Because:
The Deadlift =the Dynami of the Swing
The Squat - Prelude to the Push Press
The Press - Overhead stability for the Push Press
The Push Press = Dynami - fast version of the Squat and overhead work
All of this structure exists to build efficient linking of the segments.
Linking Segments
As energy moves through the body it must be coordinated through the body in an efficient
manner. In Kettlebells From the Center, we are looking to coordinate and use this power
moving through the body by "Linking Segments". For a very simplified working definition,
the key point is an efficient transfer of energy through the body. Watch the Swing and Push
Press and see if you can identify the links in the chain and the movement of energy through
the body.
Push/Pull
One of the oldest means of splitting up a training routine is by breaking the exercises into
pushing and pulling categories. The upper-bodyflower-body split might be the oldest, but
push/pull has to be a close second. According to Dave Draper, "Pushing on one day and
pulling on the next is a popular way to split up muscle groups to assure maximum like-
muscle action with a minimum liability of overtraining." (davedraper.com)
Another way to coordinate push/pull workouts is to balance a pushing exercise with a

pulling exercise - push-ups followed by pull-ups, for example. In Kettlebells from the
Center, the Deadlift/Swing is the pull and the Press/Push Press is the push. Within the
programming, you will see both variants discussed.
You'll notice that the push and pull exercises are not your typical push-and-pull choices, but
rest assured that they were picked for very good reasons.
It's all in the Recipe

... or how you mix the ingredients.

There are a lot of recipes that have similar ingredients but reveal very different tastes due
to the mix and/or amounts used. Exercises are similar in this regard, and there will be
different ingredient mixes provided in the programming section. Patterning moves will be
mixed with strength moves. Breathing patterns will be mixed, breaking rhythmic patterns
with cyclic patterns (see the next section). Strength moves will be mixed with power
moves.
Breathing
One of the unique aspects of these lifts is the opportunity to use contrasting breathing
styles. So let's define what breathing styles we will be using.
Anatomical Breathing - In this type of breathing, the body gets compressed as air gets
squeezed out of you and expands as you take air in. Anatomical breathing is particularly
effective for stretching and mobilization work.
Biomechanical Breathing is the opposite of Anatomical. When your body gets compressed,
you have actually inhaled to produce a bubble of intra-abdominal pressure. You expand
when there is a forced exhalation. This is the style of breathing used for Swings and all of
our strength and power movements. Within the Biomechanical style, there are two subsets
- Rhythmic and Cyclic.
Rhythmic Breathing is apparent in the Swing where the relative sequencing or timing of the
breath occurs in the same pattern (Sniff in during the hike and air gets forced out at the
top.). Cyclic Breathing moves between inhales, breath holding (pressurization), and forced
exhales over longer periods of time and "disturbed sequencing". A Press or Push Press is a
good example of this process. You inhale to initiate the pressurization, followed by a forced
exhale to the top in a Press or a quick breath hold while "popping" the hips and transferring
energy to the weight. Inhalation occurs at the top to re-pressurize for the pull back down,
followed by another tight, forced exhale. This "Disturbed Sequencing" means there is no
rhythm to get into.
Rhythmic Breathing enables you to perform sets of 20, SO, or 100+ Swings in a row by
providing a consistent exchange of gases. Cyclic Breathing disrupts the exchange of gases
and creates a very different stress on the body. This is due to the extended forced exhales,
breath holds, and multiple cycles of inhales and exhales during each repetition. These
contrasting breathing styles are used to create unique impacts on conditioning during the
programming. Monitoring breathing and your loss of control over the breathing pattern
can indicate problems with conditioning or breathing patterns. When you have fixed the
breathing patterns, you will truly grasp and be able to monitor and improve your
conditioning.

Proper diaphragmatic breathing is key here, and Gray and I introduced Crocodile Breathing
in our Secrets of... DVDs to check and begin to correct breathing patterns. Lie on your
stomach with your forehead on your hands and breathe through your nose. There should
not be any movement up into the upper back and neck. Rather, your breath should go down
and make your stomach "push" into the ground as your lower back rises and falls with your
breath.
The "push" into the ground is a natural action as opposed to sticking out your belly as in the
old "belly bucking" contests. Your breath should also go wide (If someone pokes you in
your obliques, your air should push their fingers out.). Practice Crocodile Breathing for 5
minutes a day and then progress into other positions -- on the back, sitting, standing etc ....
Safety!
A knife in the hands of a surgeon can heal but that same knife in the hands of a criminal can
do great harm. You will be swinging weighted implements that resemble a cannonball or
wrecking ball. It is therefore essential that safety be a primary focus.
So let's lay down some rules:

1) Keep a safe and clear working area.
2) Do not move into pain.
3) Move slowly to begin.
4) Keep a safe and clear working area.
5) Remember that no safety list can account for all possibilities.
6) Remember that you alone are responsible for the safe and proper use of the
kettlebells.
7) Do not "hope" that safety happens - Plan for it and make it happen!
8) Adjust all movements and descriptions to fit you.
Let us discuss each of these briefly:

A safe and clear working area should be clear enough, but remember to factor in the length
of the kettlebells into your equations. Taking out an overhead light, lamp, or other valuable
item will not win you any praise at home or in the gym. Also factor in a buffer zone where
people or pets can enter the area AND give you time to stop.
Do not move into pain should also be clear, but in the high-intensity world of extreme
fitness, the warning signs are often ignored. Pain exists for a reason, so ignore it at your
own peril. Moving your body through its available ranges of motion should not hurt.

If you run into a movement that does hurt, stop performing that motion and get evaluated
by the appropriate medical professional or seek the advice and coaching of an appropriate
fitness professional.
Moving slowly to begin re-emphasizes the progressions in this manual. From a safety
perspective, this also seeks to have you groove movements at a speed that will not damage
your body or your property. Once the kettlebells are swinging at a good rate of speed, they
are capable of causing pain or damage.
A safe and clear working area is repeated not only to add length to the manual, but also to
once again cement in your mind this essential safety point.
No safety list can account for all possibilities. This manual and DVD cannot possibly
account for every risk and danger involved in exercise and kettlebell training. If a gnat flies
into your eye during a set of Swings or a pet jumps onto your stomach during a Kettlebell
Get-Up, you have run into the "unexpected". The best policy is to expect it.
You, and you alone, are responsible for the safe and proper use of the kettlebells. Take your
time to follow the instructions and advice and do not attempt to color outside the lines or
innovate. It is your responsibility to use the kettlebell as the power tool they can be and to
respect the advice and techniques presented herein.
Do not "hope" that safety happens - plan for it and make it happen. There is an old military
saying: "failing to plan is planning to fail." Safety is no different. If you fail to plan a safe
working area, it will not be safe. Take the time to think a few steps ahead and plan safety
into your routines.
Adjust all movements and descriptions to fit you. You must move within your available
ranges of motion and do NOT attempt to copy the model. Forcing yourself beyond your
current ranges of motion in an attempt to copy the model will only get you injured. Terms
like "fully" or "completely" are to be adjusted to your individual ability to achieve said
positions. Remember not to move into pain and never go beyond your ranges of motion.

Clearance Tests
While we expect you to have cleared any movement issues during "Kettlebells From the
Ground Up" or through a full Functional Movement Screen, there can still be issues hiding
within our bodies. The tests are intended to reveal pain. If they do provoke pain anywhere,
you should seek the guidance of an appropriate fitness professional or medical
professional. Gone unaddressed, pain will cause the body to compensate around your pain
or dysfunction.
Four tests should be performed before you begin. These tests identify whether certain
postures/positions provoke pain or assess your range of motion and mobility. Any
sensation of pain (a positive test) is reason for referral to the appropriate medical
professional. Inadequate mobility means you need the assistance of a Fitness Professional
skilled in dealing with such issues (an FMS Certified Professional). It will also be beneficial
to review and work on the Kettlebells From the Ground Up or the Secrets of the Shoulder
programs. (Please visit www.functionalmovement.com for details on FMS Certified
Professionals)
Test 1: Spine Flexion
Purpose: To place the spine and body into flexion to see if pain is present.
Description:
Start in a Tall Kneeling Position with the feet pointed behind you so the tops of your feet are
on the ground.
Bring your hips to your heels, fold forward at the waist, and place your hands on the ground
in front of you (arms straight). Continue to fold until your abdomen is against your thighs
and your forehead is on the ground.
This move will fully flex the knees, hips, spine and shoulders and extend the ankles. If pain
is noted in any of these areas, it is considered a positive test.

Test 2: Spine Extension
Purpose: To place the spine and body into extension to see if pain is present.
Description:
Start prone (laying on the stomach) with the body flat and hands underneath the shoulders.
Press the upper body off of the ground until the elbows are straight.
Attempt to keep the hips on the ground, but if they lift off, keep the thighs relaxed and
continue until the elbows are straight.
If pain is noted in the spine (especially the lower back), arms or hips, it is considered a
positive test.

Test 3: Shoulder Mobility
Purpose: To gain an appreciation of upper back and shoulder mobility as well as scapula
stability and symmetry between right and left.
Description:
Measure your hand from the first wrist crease (closest to your hand) to the tip of the
longest finger.
Stand with your feet together, arms extended out to the sides.
Make a loose fist with the thumb tucked into the fist.
Reach one hand over and behind the head while simultaneously reaching the other hand
behind and up the back.
Have a friend measure the distance between the two fists (closest knuckles).
Repeat on both sides and score each side by the arm reaching over the top.
If the measurement is within 1 hand length you score a 3.

If the measurement is between 1 and 1.5 hand length you score a 2.
If the measurement is 1.5 or beyond 1 hand length you score a 1.
If you have a 3 on each side or 2's on each side you have an acceptable level of shoulder
mobility.
If you are asymmetrical (2/1, 3/1, or 3/2) in some combination or score l's, you do not
have an acceptable level of shoulder mobility and need to seek assistance from a
professional in gaining shoulder mobility.
Kettlebells From the Ground Up or Secrets of the Shoulder DVDs are also recommended.

Test 4: Impingement
Purpose: To determine if pain is present while placing the shoulder in an adducted,

internally rotated and flexed position.
Description:
Stand with your feet together and reach across to place one hand (palm) on the opposite
shoulder.
Keeping the palm down and hinging at the wrist, lift the elbow as high as you can without
losing contact with the palm.
Does this cause pain or pinching?
Repeat on the other side.
If this test does provoke pain, please seek referral to the appropriate medical professional.
Special Thanks to Functional Movement Systems for the Clearance Test and
Shoulder Mobility pictures. For more information on the Functional
Movement Screen log onto www.functionalmovement.com
So here we go ...
Dynami is waiting. But you must earn that power with purposeful progression through and
mastery of the following exercises.

The Deadlift and Swing
To quote Master RKC Mark Reifkind, "The Swing is the center of the RKC Universe:'
This implies that the Swing is the foundational movement within the Russian Kettlebell
Challenge (RKC) School of Strength. (www.russiankettlebell.com) The goal of the Swing
section of this manual is to break the Swing down into its component parts. The Deadlift
provides the structure for the Swing. Too often people are shown a Swing without the
platform necessary to support the power and load imposed by this tremendous exercise.
Here we will begin at step one, the Hip Hinge, and follow through to Dynami.
It is vital to understand that if you bring restrictions, asymmetries and faulty movement
patterns to the Deadlift and Swing, these weaknesses can break you. I highly encourage you
to check out both "Secrets of Core Training - The Backside" and "Kettlebells From the
Ground Up - Kalos Sthenos." The "Secrets of Core Training" DVD will progress you through
clearing your mobility and stability patterns for the Deadlift. "Kettlebells From the Ground
Up" will lead you through the Get-Up, clearing up any mobility and stability patterns within
the 7 steps. All advice to follow assumes that you have "cleared the slate", so to speak, and
that you are ready to take on the power of the Swing.
Pattern Building for the Deadlift and Swing - The Hip Hinge
Now, I know what you are saying - "It's just a Deadlift. No problem."
Well, based on my experience, it is a problem!
Proper Deadlifts are about as rare as Bigfoot sightings, and things do not get any better
when speed, load, and power are added to the equation.
Here is the sequence for Pattern Building the DeadliftjSwing - The Hip Hinge:
1) Touch the Wall
2) Touch the Wall with Stick
3) Touch the Wall Deadlift
4) Good Morning with KB Behind Neck
Getting started is as simple as an empty bit of wall. Put your right heel against the wall and
step the left foot forward the length of your foot. Bring the right foot the same distance
from the wall, keeping the feet around shoulder width apart. You can adjust wider or
narrower as needed. Reach back with your hips to touch the wall with your glutes. If you
do it correctly (see the photos on page 21), your hips will touch the wall quickly and quite
high. Now wiggle away and find the furthest point from the wall where you can still touch
the wall without falling back into the wall.

Incorporate the breathing as well - sniff in as you reach back with the hips and force air out
as you bring the hips back underneath you. At the top, your glutes and abs are squeezed
tight. Yes, this is a repeat of what you will read in the exercise descriptions to follow but it
adds length to the manual ;-) and it really is that important!
There are a few things I want to highlight before you go ahead to the exercise descriptions
for this section:
1) Engaging the Lats
2) Pushing into the Ground vs. Upper Body Pulling
3) Grip Activation
4) Elevated Deadlifting
5) Achieving Symmetry
6) Sets and/vs. Reps
7) Being Barefoot
8) Alignment of the Eyes and Neck
9) There are No Small Points
Engaging the Lats (or latisimus dorsi)

Eric Cressey has an excellent article titled "Lats: Not Just Good for Pull downs"
(http://ericcressey.comllats-not-just-good-for-pulldowns). It highlights the many ways in
which the lats are involved in how we move and perform. Of particular interest for learning
the Deadlift is the interaction between the lats and the thoracolumbar fascia and glutes.
From your humerus and scapulae to your glutes, there is one interconnected chain! (Also
see Anatomy Trains by Myers)
When you read the descriptions of keeping the arms against the ribs and activating the lats
for your Deadlifts and Swings, this is intended to take advantage of this chain and to link the
upper and lower body together as a unit. Ignore this piece of the puzzle and you'll suffer
the consequences! These include stress on the lower back, decreased power and strength,
and an urge to sing show tunes -- and these simply won't do!
Pushing into the Ground vs. Upper Body Pulling

Even though the Deadlift is referred to as a pulling movement, we are going to execute this
pull by pushing into the ground rather than pulling with the upper body. Keep in mind that
during the Touch the Wall Patterning Drill, you reach back with your hips and then bring
them back underneath you. You initiate this by pushing your feet into the ground, then
push against the ground and drive your hips back to lockout. When you do this with the
lats engaged and a solid "core", you will pull the weight along with you.

If you simply pull with the arms and try to lead with the shoulders, you will throw stress
quickly into the lower back and more than likely go into back extension at the top (not a
good thing). So push down in order to pull up.
Grip Activation
When you grasp the kettle bell handle, you have the opportunity to activate your grip. Do
not waste this opportunity! As Pavel points out in his book Naked Warrior. we can take
advantage of irradiation by crush gripping the handle and increasing the number of links in
the chain. Lat activation and shoulder stabilization (another under-realized benefit of
Deadlifting) will be facilitated as well. Whenever possible, take the opportunity to engage
and/ or re-engage your grip.
Elevated Deadlifting
... or don't try to fit the round peg into the square hole!
There are times when we refuse to admit our limitations and try to force the issue.
Observing most guys dance is a good example. Another is when our mobility ability is not
up to the demands of a full-range Deadlift (as defined by the height of a barbell or kettlebell
handle). If, during the Touch the Wall Deadlift, you discover that you cannot reach the
kettle bell handle with perfect form, you must do two things:
1) Admit that you need to work on your flexibility -- and actually work on it.
2) Elevate the kettlebell to a level that allows you to perform the movement perfectly.
As your mobility ability improves, you can slowly and progressively lower the kettlebell
until you can perform perfect Deadlifts from the floor. Another area where you will run into
this is during the Single Leg Deadlifts (SLDLs). Swings don't work from an elevation, so
until your Deadlifts are perfect, no Swings for you!
{How do you work on your mobility ability? See an FMS or CK-FMS expert
www.functionalmovement.com and get the DVD "Secrets of Core Training - The Backside"}
Achieving Symmetry
For the Deadlift, this takes the form of the Single Leg Deadlift (SLDL). While this can have a
movement or mobility aspect, we are looking to perform reps and weight within 10-15% of
each side. For example, your right leg can perform 10 Single Leg Deadlifts at 16 kg, but
your left leg can only perform 7 reps at that weight. This 30% difference will carryover
into your Swings.

Try letting 30% of the air out of your tires on one side and see how driving feels! Correct
this difference before expecting symmetrical hip power during the Swing.
Sets and/vs. Reps

I often joke with my clients that the repetition police do not exist. People have a true fear of
not hitting a certain number of reps that they may have laid out as a goal. They act as
though some malady will transpire or global markets will fail if 10 reps are not hit. So, form
be damned, they'll do whatever is necessary to hit that number!
Stop and take a nice deep breath ...
We want you to approach your sets and reps from two perspectives:
1) For Deadlifts - 8 sets of 1 rep is preferred to 1 set of 8 reps.
2) No matter the recommended reps, stop if form breaks.
What does it mean? Performing 8 sets of 1 rep allows the opportunity to focus entirely on
each movement and to re-engage the perfect sequence for every rep. 8 sets of 1 rep does
not mean you should take a 5-minute break between sets. It means you should rest only as
long as you need to ensure perfect form on the next rep. Once you get to Swings, you will
have to string together multiple reps but this is where you must stop once form breaks.
Being Barefoot
Your feet are amazing -- an incredible feat of neurological, mechanical, and structural
engineering -- and you need every bit of their incredibleness while deadlifting and
swinging. Pavel talks about the need for the proprioceptors in your feet to be maximally
stimulated during the Deadlift in his book Power to the People. Dr. Eric Cobb and Z-
Health (www.zhealth.net) speak extensively about regaining all of the neurological
functioning in your feet (and whole body). Even the book Born to Run makes reference to
our feet and the need for them to be integrated into our movements.
Being barefoot for exercises like Deadlifts and Swings provides a zero impact opportunity
to use your feet. Your weight should be evenly distributed through the center of your feet,
not rocked forward to the toes or back to the heels. And being barefoot will allow you to
feel precisely where the force is being placed.
Obviously, you have to abide by the rules of your gym, and being barefoot is not always an
option. You can get a pair of wrestling shoes or Chuck Taylors.

Alignment of the Eyes and Neck
Traditional gym advice says to look up when squatting and deadlifting. You will notice that
we do not use this cue. Rather, we want the neck and eyes kept in a neutral position. You
will experience this neutral position when you practice the Touch the Wall Drill with the
Stick Along Your Back. Once you learn neutral there is an allowable degree of neck
extension (Jeff will cover this in the Coaches' Corner).
Basically, we want the eyes on the horizon (meaning where the wall and the floor meet)
during Deadlifts and Swings, and the eyes straight ahead while pressing or push pressing
(the notable exception being the Bottom Up Press).
There are No Small Points

... or the Devil is in the details!
But so is much of the benefit, and that is the paradox of seeking perfect form. I demand
perfect form and laser-like focus from myself, and I expect it from you.
While it's possible to get too deep into the details, there is a balance to be struck where you
effectively journey toward perfection, experiencing the necessary struggles but still striving
for perfection.
Watch the video - read the manual - take your own notes and video. Laugh and have fun
but with an underlying determination that every rep is a step in the process toward perfect
form.
Now, as you begin to add speed and power to the Deadlift by swinging, there are a few other
aspects to highlight:
1) Lats - Yes, Again!
2) Projection of Energy
3) Safe Finish
4) Hips Lead the Race
5) One Kettlebell vs. Two - or - Speed vs. Load
6) Elevated Heels
7) Don't Be a Bobble Head
Lats - Yes, Again!

Hiking the kettlebell behind you at the start of the Swing is where engaging the lats in the
Swing begins. Don't waste it!

You will read repeatedly to get and/or keep the arm against the ribs as a cue. This is an
essential part of efficient energy transfer from the hips to the kettlebell. And it is once
again based on activating the lats.
Projection of Energy
During the Towel Swing, you will be looking for the kettlebell to project straight away from
you. There is a balance struck between the kettlebell projecting away from you and keeping
the shoulders connected and your center stable. I'm only asking for everything, as I tell my
clients. (And they don't think it's funny, either.)
Safe Finish
We are particular about how you begin a Swing, and we are equally as particular about how
you finish your Swing, Deadlift, Clean, or Press ...you get the idea. Always return to your
perfect Deadlift position to decelerate the kettbell, and set it down safely. The set is not
over until the kettlebell is safely on the ground. If you are sloppy setting the weight down,
it is not a matter of whether you will get injured but when. Pay attention to how I set the
kettlebell down during the video.
Hips Lead the Race

Your hips should lead the race to the top and the race to the bottom. Pay attention on the
video to the sequencing of my Swing. Observe when my hips finish versus when the
kettlebell reaches the top. The Towel Swing begins to teach this sequencing, since the
kettlebell should project smoothly away and not jerk up or down. Where are your hips in
the race?
One Kettlebell vs. Two - Or - Speed vs. Load

(Yes, I was a "Rocky and Bullwinkle" fan as a kid.)
The question will arise as to which is better: one kettlebell or two? This is the same as
asking if peanut butter is better than jelly. They are both great, and you can mix as you see
fit.
Speed vs. Load is a consideration inherent to the choice between one kettlebell and two.
One kettlebell gives you a chance to achieve maximal acceleration, or what Mark Reifkind
refers to as "virtual force." If you hike and accelerate the kettlebell going back, and you snap
the hips and accelerate it to the top, the weight of the kettlebell "increases" under speed.
This asymmetrical load creates unique activation. But two kettlebells places you under
significant overall weight or load. "Catching" double the weight only to redirect that force
into an aggressive acceleration is load. Mix accordingly.

Elevated Heels
It is pretty much universally agreed that high heels are bad for you. But, for some reason,
we turn a blind eye to the elevated heels of running shoes and most "cross training" shoes.
The 1" to 2" of elevation at the heel throws your center of mass forward, making it nearly
impossible to properly load the hips. Don't fall for it. (Reread the Being Barefoot section.)
Don't Be a Bobble Head!

While popular as a promotion at baseball games, the bobble head belongs on your
dashboard, not in your Swings. Pay attention to the section above about alignment of the
eyes and neck. This alignment becomes crucial when the speed of the Swing kicks in.
Hyper-extending the neck at the bottom of the Swing not only places a lot of stress on the
neck, but also hampers your ability to hinge properly into your hips. Then your neck will
snap back to the top, or even "chicken" neck forward at the top, with neither of these being
good for you. We have no problem with the idea that the back should be maintained in
"neutral". The neck is part of the spine, so treat it with the same attention you give to your
lower back.

Pattern Buildin~ the Deadlift and Swin~
Touch the Wall Drill
Purpose: Introductory drill to learn the Hip Hinge
Execution:
Stand a foot length from the wall in a
symmetrical shoulder-width stance.
Without falling back into the wall, reach back and
touch the wall with the glutes.
If you are successful, move the feet away an inch
and try again.
Repeat, each time moving forward, until you find
the furthest point from the wall where you can
successfully touch the wall without falling
backward.
At this point you can practice the Hip Hinge,
initially using the arms as a counter balance by
reaching forward.
Add an element of breathing. Inhale on the way
back to touch the wall, then exhale at the top as
you tighten the glutes and abs, creating a straight
line from the ears to the ankles.
Key Points:
The hips reach back first and stay high.
The chest will tilt forward as the hips reach back.
Don't confuse an upright back with a flat back.
Don't squat and lower the hips.

Touch the Wall with Stick on Back
Purpose: To pattern the Hip Hinge and proper spinal alignment
Execution:
Assume the same position as in the first
Touch the Wall Drill and place a dowel rod
along the spine. Be sure that the stick is
touching the back of the head, t-spine and
sacrum. Placing one hand behind the neck
and one hand in the curve of the lower back,
open the elbows so they point to the sides.
Perform the same reach back to touch the
wall, but keep the stick touching all three
points.
Key Points:
This drill emphasizes the Hip Hinge vs. spinal
movement, teaching a stable spine with the
hips as the fulcrum of movement.
Keep the stick touching all three points and
adjust the distance from the wall as
necessary.
Rotate placement of the hands behind the
neck and behind the back every few reps.

Touch the Wall KB Deadlift
Purpose: Transition from un-weighted to weighted
patterning of the Hip Hinge
: "
same stance you

found during the first two
Touch the Wall Drills.
Place a kettlebell at the appropriate height h"l"ur....n the heels
or slightly behind them.
Adjust your stance as wide as necessary to accommodate the
kettlebell, but not wider.
Keeping the arms glued to the ribs, reach back with the hips
to touch the wall while grasping the kettlebell at the bottom
position. Don't forget your inhale.
Keeping the spine alignment and arms against the ribs, return to the top position by
pushing the feet into the ground and extending the hips until the body forms a straight line
at the top. This should be accompanied by a forced exhale with tight glutes and abs at the
top.
Inhale again and return the kettlebell to the ground, keeping the arms against the ribs and
the spine perfect. Release the kettle bell and stand up.
Key Points:
If you must elevate the kettle bell to adjust to your mobility ability, place it on the
appropriate surface to ensure perfect form and lower as your mobility improves.
Keep the same spine alignment learned with the dowel rod on the back.
Keep the arms glued against the ribs.
Push your feet into the ground to start the movement and do not lead with the shoulders.
Remember to incorporate proper breathing.

"Good Morning" Touch Wall with KB Behind the Neck
Purpose: To feel the loading of the hips with an

elevated Center of Gravity
Execution:
Assume the starting position for the Touch the
Wall Drill and place a kettlebell behind the neck
at the top of the spine.
Perform the same Hip Hinge to reach back and
touch the wall and return to the starting position.
Incorporate your breathing.
Key Points:
This drill is only used if you have trouble feeling
the loading of the hips in the Touch the Wall
Deadlift.
Keep perfect spine alignment.
Only perform as many reps as necessary to feel
the loading of the hips.

Slow Stren~th - The Deadlift
Lat Engagement (Arm Against Ribs)
Purpose: Emphasize the use of the lat in the Deadlift
Execution:
Place the opposite hand or a folded towel
under the armpit. Squeeze the arm against
the ribs, feeling the connection of the armpit
to the hips.
Key Points:
Don't skip this, as it is an essential part of
linking the entire body into the Deadlift and
eventually the Swing.
You can have someone try to pull your arm
away from your ribs to get even more
engagement.
2 Arm / 1 KB Deadlift
Purpose: Transition from patterning to

strengthening the Deadlift and prepare
for the 2 Arm Swing.
Execution:
Assume the stance you found in the Touch the Wall KB Deadlift, but without the wall behind
you.
Perform the same movement from the Touch the Wall KB Deadlift
Key Points:
No training wheels here - you have already patterned the movement.
It should look the same as the other drill. If it does not, go back to patterning.
Keep your arms glued to your ribs.
Keep perfect spine alignment
Push your feet into the ground to start the movement and do not lead with the shoulders.

1 Arm/1 KB Deadlift
Purpose: Show Rotational Stability against an asymmetrical load and

prepare for the 1 Arm KB Swing
Execution:
Same starting position as the 2 Arm/l KB Deadlift, except one arm is
glued against the ribs. The other hand is either on the hip or held out
to the side, away from the body.
Perform the same Hip Hinge and grasp the kettlebell with the arm that
is glued to the ribs.
Keeping the body perfectly symmetrical (no twisting or changing
shape), return to the top position by pushing into the ground with the
feet.
Return the kettlebell to the bottom by keeping the arm against the ribs
and performing the Hip Hinge.
Key Points:
Do not lead with the shoulders - push the feet into the ground.
Do not let the off-center load create any dipping of the should er or
twisting of the body.

2 KB Deadlift
Purpose: Increase the load

of the Deadlift to cement
the perfect Hip Hinge
Deadlift form .
Execution:
Assume a stance wide
enough to allow for the two
kettlebells, but no wider.
Place the kettlebells even
with or slightly behind your
heels.
Glue the arms against the . p Hinge, grasping the kettlebells at the
bottom.
Keeping perfect spine alignment, push into the ground and extend the hips to form a
straight line with the body at the top.
Return the kettlebells to the bottom, reversing the Hip Hinge.
Key Points:
Do not lead with the shoulders to pull the kettlebells up, but rather push into the ground
with the feet.
This is where things get heavy, so until this is perfect, you are not ready to Swing.

Symmetry - The Sinl:le LeI: Deadlift (SLDL)
Are your right and left hips contributing to the Hip Hinge equally?
SLDL with 2 KB
Purpose: To assess Right and Left hip contribution in the Hip Hinge
Execution:
Assume a single leg stance on the
left leg. You may use the right foot
as a balance assist at the top.
Begin a Single Leg Hip Hinge by
reaching back with the right leg
and creating a straight line from
the right ankle to the ear. Use the
right leg to hinge the left hip,
keeping the hips level and
symmetrical.
Grasp the kettlebells at the bottom. Keep perfect spine alignment with lat engagement as
you push the left foot into the ground. Perform hip extension with the left leg coming to the
top, creating a straight line from the ankle to the ear.
Return the kettle bells to the bottom by reversing the movement. Remember to reach away
with the right leg, keeping perfect extension.
Key Points:
You can practice the Single Leg Hip Hinge with the dowel rod along the back as you did with
the Touch the Wall Drill.
The left knee will bend - do not keep it locked.
The left shin may move forward some.
Do not go deeper than your mobility allows. You may bring the kettle bell up to the
appropriate level and go lower as your mobility improves.
The leg that is reaching back should form a straight line.
Keep both glutes engaged and the hips level.

1f2 Way SLDL with 2 KB
Key Points:
Notice here that you cannot tell if this is on the assent or
decent of the movement.
Note the extension of the "back" leg and the straight line up
from the ankle to the ear.
Note the position of the kettlebells with the lats engaged the
kettle bells are in line with the shoulders and will come to rest
aligned with the arch of the stance foot.
SLDL 1 KB - Contralateral
Purpose: Assess right and left contribution to the Hip

Hinge under an asymmetrical load
Execution:
Assume the same starting position as you did for the SLOL
with 2 KB, but place one kettIebell to the inside of the
stance foot (up by the toes).
Perform the same Single Leg Hip Hinge by reaching back
with the right leg.
All tips on alignment given for the SLOL with 2 KB apply.
00 not allow the asymmetrical load to create any twisting
in the spine or hips.
The shoulders and hips should remain perfectly level and
symmetrical.
Key Points:
The left knee will bend - do not keep it locked.
The left shin may move forward some.
00 not go deeper than your mobility allows. You may bring
the kettlebell up to the appropriate level and go lower as
your mobility improves.
The leg that is reaching back should form a straight line.
Keep both glutes engaged and the hips level.

1h Way Down SLDL 1 KB - Contralateral
Note the alignment from ankle to ear and the loading of the left
hip.
Note the shoulders are square to the hips and both lats are
engaged.

Dynami - The Swine
Transition from patterning and slow strength to speed and power.
Towel Swing
Purpose:
The Towel Swing
disconnects you from
the kettle bell, allowing
you to feel and see the
action of the Swing.
The kettlebell should
pull straight away on
the towel at all times
in a smooth motion.
There should not be any jerking, and the kettle bell should not hang down. This shows that
it is being lifted with the arms.
Execution:
Assume the same stance as you did for the 2 Arm/1 KB Deadlift, except now the kettle bell
is set a foot or more in front of you with the towel threaded through the handle. Your
perfect Deadlift position does not change!
Grasp one side of the towel in each hand about one inch or so from the handle. DO NOT
grab the very end of the towel. Your grip should be close to the handle. (Your floor, pets
and possessions will thank you.)
Once in the starting position, begin the Towel Swing with a sharp inhale through the nose.
Hike the kettlebell back between the legs so that the upper arms are against the ribs, the
forearms go high in the groin, and the kettle bell projects straight away behind you. The
kettlebell should not point to the ground.
At the moment of greatest load, perform an aggressive hip extension, keeping the arms
against the ribs for as long as possible, do not lead with the shoulders, but rather push into
the ground with the feet.
Bring the hips through until the body forms one straight line from ear to ankle. Clench the
glutes and abs tight at the top of the Swing and get some air knocked out (exhale under
pressure).
The kettlebell and your arms should form another straight line at the top of the Swing.
As the kettlebell begins to fall back down, bring the upper arms against the ribs. Perform
your Hip Hinge, catching the kettlebell at the bottom position again before extending the
hips and returning to the top.

Key Points:
The Hip Hinge, spine alignment, and finish position are the same as in the Deadlift. This
move is just happening at a much higher speed.
Keep your arms glued to your ribs as much as possible. They will come off the ribs at the
very finish of the hip extension, but reconnect them as soon as possible.
Keep your forearms high in the groin during the hike. Be sure to keep the center of mass of
the kettlebell as close to your center of mass at all times.
This means the shoulders are stable and connected during the Swing as well. Do not let the
kettlebell pull your shoulders forward - keep the armpits tight.
There is a rhythm to the Swing. There will be a brief pause as you hold the top position,
before the kettlebell begins to come back down and you re-hike the kettlebell.
Don't rush the movement. The kettlebell catch at the bottom and the hip pop to the top are
quick, but don't lose the pause at the top.
Drive the centers of the feet into the ground and stay centered on the feet. Do not rock
forward to the toes or back to the heels.
Trust your hips and do not try to lift the kettle bell with the shoulders. There should be a
delay between the full extension of the hips and the kettlebell reaching the top. If there is
no delay, you are not using your hips efficiently.
Do not lean back at the top.
Coordinate your breathing biomechanically. Inhale at the bottom and get some air forced
out at the top.
DO NOT try to swing high on the first rep. Begin by swinging at belly-button level and then
add height as your hips allow until you've reached chest level.
When you have completed the desired number of reps (or the number of reps that could be
completed perfectly), DO NOT just quit on the exercise. You are not finished until the
kettlebell is safely placed on the floor. Stay in your perfect Hip Hinge Position until the
kettlebell can be safely put down. DO NOT round your back and just quit!
1fz Way Towel Swing

Notice that the hips are nearly fully extended, but the upper arms are still against the ribs.
This connection of the arms to the body until the hips are finished and power can be
transferred to the kettlebell through the body is critical.

2 Arm Swing
Purpose: In the Towel Swing, you learned to not lift with the arms
and the rhythm of the Swing. Now achieve that same feel without the
towel.
Execution:
All tips for execution and key pOints (except those pertaining to the
towel) apply.
Assume your perfect Hip Hinge Posture with the kettlebell a few
inches in front of the toes (your distance will vary based on your build
and mobility) and grasp the kettlebell handle with both hands.
Begin by taking a sharp sniff in through the nose and hike the
kettle bell back between the legs. Your upper arms should be against
the ribs and your forearms high in the groin.
The kettlebell will project straight away behind you.
Once the hips are loaded, perform an aggressive hip extension by
pushing down into the ground with the feet. Do not lead with the
shoulders.
Finish the hips fully, bringing the body through to a straight line from
ear to ankle with the glutes and abs clenched at the top. Get some air
knocked out of you with a forced exhale.
Do not lean back at the top.
The shoulders stay connected throughout the swing.
At the top, the kettlebell and arms form a straight line.
DO NOT try to swing high on the first rep. Begin by swinging at belly-
button level and then add height as your hips allow until you've
reached chest level.
As the kettlebell begins to fall back down, return the upper arms to the
ribs and hike the kettlebell back between the legs. Repeat the
sequence for the desired number of reps.
Key Points:
All alignment cues from deadlifting apply - spine perfect, neck in alignment.
Remember all the key points from the Towel Swing and apply them here.
Trust your hips and do not try to lift the kettlebell with the shoulders. There should be a
delay between fully extending the hips and the kettlebell reaching the top. If there is no
delay, you are not using your hips efficiently.
When you have completed the desired number of reps (or the number of reps that could be
completed perfectly), DO NOT just quit on the exercise. You are not finished until the
kettlebell is safely placed on the floor. Stay in your perfect Hip Hinge Position until the
kettlebell can be safely put down. DO NOT round your back and just quit!

Hardstyle Finish to Swing
Notice the compression and contraction at the top of this

Swing.
1 Arm Swing
Purpose: Generate power with an asymmetrical load
Execution:
The 1 Arm Swing is shockingly similar to the 2 Arm Swing, except
only one hand grabs the kettle bell handle.
The free hand is placed on the side of the hip or out to the side, but
it does not touch the leg.
All execution tips and key points from the 2 Arm Swing apply.
Do not allow the asymmetrical load to cause any rotation or
twisting of the shoulders or hips.
Key Points:
Shoulders and hips stay squared off. Allow no twisting or rotation
due to the load being in one hand.
Shoulders (especially the one loaded by the kettlebell) stay in the
socket and do not get pulled forward.
Trust your hips and do not try to lift the kettlebell with the
shoulders. There should be a delay between fully extending the
hips and the kettle bells reaching the top. If there is no delay, you
are not using your hips efficiently.

Alternate Finish to 1 Arm Swing
Notice that the left arm is slightly pulled forward and there is
some upward momentum of the kettlebell. This is still a good
finish, but not perfect.
2 KB Swing
Purpose: The 2 KB Swing places you under heavy loads, requiring perfect form and
Dynami.
Execution:
All tips for execution and key points from the other Swings
apply.
Place the kettle bells just in front of the feet and grab one
kettlebell in each hand.
Your stance will be adjusted wide enough to accommodate the
size of two kettle bells. Too narrow and your knees will not be
happy, too wide and your hips will not be happy. Adjust until
perfect.
Both shoulders stay in the sockets and connected.
Arms against ribs and keeping the center of mass of the
kettlebells close to your center of mass becomes even more
important.
Key Points:
Never try to rescue a bad rep. If the kettlebells pull you
forward at the top, or if they knock you off your base at the
bottom, you need to be in a situation where you can let go of
the kettle bells. Outside is ideal - inside not so much.
Perfect Deadlift alignment is maintained. This is why you need
20 perfect reps with the 2 KB Deadlift.
You may NOT lean back at the top ofthe Swing. There may be a
projection back, but the spine is perfectly straight, performing
a counterbalance to the forward pull of the kettlebells.

You must drive your feet into the ground and stay grounded. Remember to drive through
the center of the foot, and do not lead with the shoulders.
Trust your hips and do not try to lift the kettle bells with the shoulders. There should be a
delay between fully extending the hips and the kettlebells reaching the top. If there is no
delay, you are not using your hips efficiently.
Highlight Finish of Hips in 2 KB Swing

Notice the difference in the hips. In the first photo, they are an inch or so from full
extension. They are at full extension in the next photo. Note the height of the kettlebells in
the two pictures and how much energy is transferred to the kettlebells by finishing the hips.
Side Stepping Swing
Purpose: Adding movement to a dynamic power move, weight transfer and stability, and
single leg hip extension.

Execution:
Assume the same starting position as the 2 Arm KB Swing.
Begin by hiking the kettle bell back appropriately.
As you are performing the hip extension, shift your weight to the left foot (un-weighting the
right foot) and achieve full hip extension on both hips (even though you are on one foot and
do not twist or lose alignment).
As the kettlebell is coming back down, get the arms against the ribs and step out with the
right leg to return to the start position as you hike the kettlebell back.
Once at the bottom of the hike, begin your hip extension again. But this time, shift your
weight to the right foo t (eventually un-weighting the left foot) and achieve full hip
extension on both hips (even though you are on one leg).
Repeat for the desired number of reps, then return to the start position and safely place the
kettlebell on the floor.
Key Points:
It is HIGHLY recommended that your feet be apart when the kettlebell comes back down to
the hike position.
Again, there is a rhythm to this Swing variation.
Do not step too far apart when returning to the hike position between reps.
Take your time and build up the power on this move. Start low and easy to get a feel for the
rhythm and timing.
Incorporate your breathing and remember that all cues from the other Swings apply even if
you are in movement and on one leg.
Common Mistakes in the Swine
Hyperextension of Neck
While some neck extension is allowable, it should not result in hyperextension (as shown)
or the bobble-head effect of bouncing the neck in and out of the straight position at the top
and the hyperextended position at the bottom. Remember the spine alignment taught by
the dowel rod along the back. That included the neck as neutral as well.

Over-rotation in the Hike
During the 1 Arm Swing, do not allow the kettle bell to produce
rotation of the shoulders and torso. Keep the shoulders square.
Thumb Up Instead of Neutral at Top of Swing
The thumb may point behind you to some degree at the hike
position, but the thumb is neutral at the top (and can be
throughout the Swing). Pointing the thumb up during the
Swing can overload the elbow and lead to issues.
Over-rotation at the Top of Swing
Remember that the shoulders and hips stay squared off during
the Swing and the shoulder stays packed (tight at the arm pit
and connected to the body). Do not let the kettlebell pull your
shoulder open or rotate your body.
Looking Down During the Hike

We want the neck alignment to be neutral to slight extension,
but we DO NOT look down and follow the kettle bell with our
eyes. This will cause your lower back to round (go into
flexion).

Back Hyperextension
Remember that, at the top of the Swing, the body forms one
straight line. DO NOT lean back at the lower back.
Back Hyper + Knees Bent at Top
Another fault is not straightening the knees fully at the

top. This will lead to "scooping" the body, or hyper
extending the back and trying to lift the kettle bell with the
back. Pull the kneecaps up and fully extend the knees
without snapping them back into hyperextension.

Coach's Corner - Patternin&: the Hip Hin&:e
Intent changes, principles don't. Adding Dynami to a movement might slightly

change the motion and expression of strength, but not the movement pattern.
Note the commonality of the 3 photo's. There is a difference of intended action
of each, but they are all expressions of a Hip Hinge Pattern. There might be a
slightly different joint angle in a Swing or Deadlift, because it is a slightly
different motion, but the important things like neutral spine and moving from
the hips rather than the knees always remain the same.
Coach's Corner - Slow Strenltth - Deadlift
The lats aren't the only thing that connect the

shoulders to the core, but they are the upper
body "super-muscle" that, when functioning
properly will dramatically impact physical
performance and improve shoulder and back
health. Keeping the elbows locked and
pressing them into the ribs will help you learn
to engage the lats. These are critical cues
when learning to perform a KB Swing.
Although the elbows breaking contact with
the ribs at the top of the Swing doesn't
necessarily mean the shoulders became
disconnected, the intent to keep them "glued"
down will help ensure that they don't.
These subtle internalizations within an exercise are the difference between
training and working out. Training is an activity that is performed with the
intent to improve performance. Working out is a social activity.

Now, just as the lats are the upper body "super-muscle" the glutes are the
biggest difference maker in the lower body. "Gluteal Amnesia" (McGill) goes
hand in hand with low back pain. If the glutes aren't working to extend your
hips when you run, jump, lift, etc., then more than likely your lumbar spine is
hyperextending to compensate. From a health and performance standpoint this
is a less than optimal movement pattern.
So, when we Hip Hinge, we want the spine to remain neutral and movement to
come from the hips and shoulders without them "disconnecting" from the core.
It may sound complicated, but it's mostly a matter of getting out of your own
way and allowing your body to work the way it's designed to. For optimum
performance the force directed into the ground needs to be transmitted through
the body with as little interference as possible. And, as much as it might hurt,
it has to be accepted that "isolation" movements like Crunches, Lat Pulldowns,
and Leg Extensions can cause these interferences by destroying posture,
reflexive stabilization, and coordination.
Even the most basic study of anatomy makes it apparent that nothing in the
body stands alone. Everything is inter-related. Some things, however, have a
much more direct connection than others. The lats and glutes fall into this
category. Following the ''Anatomy Train" (Myers) allows you to see that each lat
"becomes" the opposite glute and vice versa. So the very act of "gluing the lats
to the ribs" and "clenching the glutes" not only uses this connection to link the
hips and shoulders together, but trains the body in it's natural design rather
than a as collection of body parts.
Using the cues that you've been given will help you to utilize the power of your
super-muscles to find your true power and athleticism.
Lat Engagement, Head/Eye Position, Spine Alignment and Shin Angle
All parallel lines are approximate. Allowances can and should be made for
individual structure along with current strength and flexibility levels. However,
if in your Deadlift stance your hip to shoulder line isn't straight and your shin
and upper arm lines aren't close to parallel then there is potentially a hip/
torso/shoulder disconnect that is "leaking" power on your Deadlift. If it's
happening statically then you can be reasonably sure that it's happening
dynamically. It needs to be mentioned that we are referring to the KB Deadlift
as it applies to both movement patterns and as a progression to the Swing. In
a Barbell Deadlift, the shin/upper arm angle's will change. However,
everything else is constant. The lats are still engaged. Remember, the
expression of strength might change, but the movement pattern doesn't.

Just as some allowances may be made for different
bodies, they may be made for different training
situations. Some examples of this would be things like
bent elbows and shin angle. Your knees might bend
slightly more or less than what Brett demonstrates here.
That's acceptable as long as they're not forward of the
toes, your spine remains neutral, once the concentric
action begins there is no further flexion of the knees or
ankles. Generally speaking, the less forward movement
of the knee there is, the greater the glute and hamstring
activity.
Although some very advanced trainees might, as a matter of preference, swing

with bent elbows, this would usually indicate a shoulder restriction or
disconnect in a newbie. However, in the case of very thick athletes like super
heavyweight lifters or offensive linemen, the sheer girth of their legs and
torso's might be a limiting factor. If this is the case, 1 Arm or 2 KB Swings
might be more appropriate. The important thing is the training effect of the
shoulder, hip, and core connection. It's not to fit everyone into a "cookie cutter"
exercise model.
Another area of allowance is eye position. The eye positions demonstrated here
are shown both as a teaching aide and to take advantage of certain
neurological functions that may increase safety, strength and performance.
Sometimes the eye movement up and down on the Deadlift and Swing create an
overload and degrade the movement, if this is the case try a tip from Master
instructor Geoff Neupert and "keep the eyes on the horizon". Experiment and
use what works best. Best is the one that makes the movement better, not
necessarily the one you like.
Finally, neck position must be addressed. The neutral spine taught with the
stick is great for beginners because most people don't have reference point for
moving from the hips and maintaining a stable torso. Also, there are
indications that this neck position will allow the highest levels of force
production in advanced strength athletes. Most of us, however, fall somewhere
in between newbie and advanced, and the overall training effect must be
considered.
Most athletes train to improve their sport, not just to be the best at exercise.
And since the body adapts to whatever it does regularly, the eye and neck
positions must be considered. For example, if a linebacker drops his eyes to the
ground and keeps his cervical spine neutral when he hinges hips to make a
tackle, nothing good can happen for him. Now, this might seem silly in most

cases, and isn't even worth consideration in some, but it must be remembered
that under times of stress the body reverts to training. If this linebacker has
hinged his hips thousands of times more for Swings than tackles .... well, let's
hope for a missed tackle and not a neck injury.
If you're teaching Swings to a professional linebacker, it probably wouldn't be

much of a concern, because his training to tackle should override his Swings.
But, I train mostly kids, starting as young as 6. They've possibly performed
thousands of Swings by the time they make their first tackle, and significantly
more by the time they leave for college. This is all done while their nervous
systems are the most plastic and open to suggestion. Because of this, I will
normally encourage an "eyes up so you can see the play" not to be confused
with "eyes to the sky" Swing. This brings their neck into the universal ready
position. As Brett states in the video, some cervical extension is allowed,
hyperextension should be avoided.
Because the head tries to maintain it's relationship with the horizon, some
extension is natural. But, because the nervous system is so complex, natural
for you doesn't necessarily mean more powerful, so consider your application
and outcome. If you're a beginner, blindly follow the DVD and manual. If
you're a powerlifter that performs a few sets of Swings for CPP (general
physical preparedness) consider using the neck and eye position of your
Deadlift or Squat but try all of the cues to see what works. But if you are (or
train) an athlete like a football player or fighter, think about the long term
effects of strength and conditioning on movement patterns and how it might
affect sport. Please take note that I didn't say anything about making a Swing
sport specific. Don't try it, it will only mess up the sport and conditioning. But
as with anything else, think about what habits are developed and make sure
they support the desired outcome.

Coach's Corner - Sinl:le LeI: Deadlift (SLDL)
The hip flexion portion of the Deadlift isn't passive. One common mistake is
"bending over" instead of flexing the hips to reach the weight. Remember, the
principles don't change just because it's one leg rather than two legged
Deadlift. The body is designed so that extension of one hip facilitates flexion in
the other. The intent to glue the elbows to the ribcage activates the lats which
helps activate the glutes. The extension of the hip helps activate the lats. Are
you seeing the pattern develop? This is what Brett means by "there are no
small points". Everything relates to everything. So if on the descent you "glue
the elbows" and "reach for the wall with your heel" your body will do what it's
supposed to which is link the hips and shoulders to the core. I'm not sure if
that's been mentioned.
Note how much more stable and athletic Brett looks in the first picture.
Everything matters when you're training for a desired result. Not much does if
you're just spending time at the gym. If you don't own it slowly, you won't
when it's at game speed.
The SLDL is critical for developing and checking symmetry. If one side looks
like the first picture and the other looks like the second but you insist on upping
the intensity of your Swings and Deadlifts it is likely to show up sometime as
injury. Sometimes it's chronic, like that ache in your back that keeps you from
training as often and hard as you like. And sometimes it's a traumatic injury
during a game.
Another consideration, is that if the movement is symmetrical when fresh, but

the amount of weight or reps that you can perform differs from one side to
another then one side will carry more load as fatigue sets in. To use Brett's
analogy, beefing up the engine without aligning the front end just allows for a
more spectacular crash.

Benefits of the SLDL
It is my contention that the Contralateral SLDL must be included in any
program. From a general strength and conditioning standpoint, the body
awareness and symmetry is critical for safety and performance. But from the
standpoint of stride mechanics, this exercise is the best there is. Standing up
on two legs to run is one of the biggest difference between us and all other
members of the animal kingdom. It is quite simply what we are designed to do.
The body is anatomically linked with facial "x's" that support bipedal motion.
These encourage energy absorption, storage, redirection and transfer. When
one hip extends, it helps the other flex. But even more interesting is that it
helps the opposite shoulder extend. The flexing hip flexes the opposite
shoulder, ad infinitum.
When these x's function properly in there strength/
stability, tension/relaxation, and timing relationships you
have a smooth and effective stride. So from a health
standpoint, the more linkage and less leakage you have
the better you'll walk. This may not be a concern for most
of you reading this, but go to a mall and watch people
struggle to walk. Then go to a nursing home and watch
people not walk. I'd bet most of those people didn't think
much about it either. There is no reason to lose our
ability to ambulate with increased age. But it happens
when the relationship of the x's break down.
Now from the athletic standpoint, speed kills. I have never heard a coach say
"we're just too fast, let's work on slowing down this off-season". To run as fast
as possible it stands to reason that having a smooth effective stride is pretty
important. It's obviously possible to run fast poorly, but you have to wonder
what price is being paid for that ultra fast, galloping stride. Actually you don't,
the price is longevity. If the leg drive off of one leg is significantly different
than the other, the stride length is different and energy is sent to unintended
places. That must be compensated for to bring the force back to it's target.
That's just wasted energy. If one arm is crossing the midline the same thing is
happening. So as a coach, if you can help an athlete create a more
symmetrical stride, it automatically will improve their endurance and reduce
the risk of non-contact and/or chronic injury. This is very simply because there
is less "bad" stress on the joints and the athlete isn't expending unnecessary
energy fighting there own disfunction. Those two things alone will allow the
athlete to run more. Being able to practice more and better is a good start on
getting faster. This can be done simply by patterning the movement. Once the
athlete is symmetrical they can receive the true benefits of strength and
conditioning. The better you move, the faster you'll move and more
importantly, the longer you'll move.

It makes no difference how perfect your program is or how hard you work if
you're hips and shoulders can't remain linked to your core. If you're not
symmetrical you're at best missing out on some of the performance you 're
capable of and at worst, training for injury.
Coach's Corner - Dynami - Swin!:
A properly performed Swing is a thing of beauty. Note the connection of the

shoulder via the lats. The straight line of the shoulder elbow to the bell shows
this connection. The Towel Swing allows you to see and correct power leakages.
It's a great tool to teach connection without restriction.
This is absolutely necessary to maximize longevity and
performance.
The Swing should be smooth and

powerful. Any rough or jerky
movements are indicative of
movement restrictions or power
leakages. The breathing should be
smooth, even, and match the force
production.
Straight Line Finish of the Swing
The rhythmical action of the hips as they absorb, redirect

and generate force is something every athlete needs.
The line from the shoulder, hip, knee, ankle ensures that the
force is directed into the ground and not being leaked
elsewhere. This is very much the same as jumping and the
acceleration phase of running. When maximum force is
applied to the ground, Newton's 2nd Law comes into play.
Because the earth is unlikely to move away from our feet, the
force is redirected. Without interference, can be sent to our
place of intent. When the right force is properly directed
with correct timing, the result is power and speed.

Comparison of Finishes of the Swing
Observe the differences in the three finish positions. The first is considered
"good". The second is "a little loose (note the height of the kettlebell above the
shoulders}". The last is a full and complete "Hardstyle" finish.
The first photo is a positionally correct Swing. However, the third photo
demonstrates maximum tension and force production at the end of the Swing.
The lockout here is termed "Hardstyle". A Hardstyle lockout demonstrates the
transition from relaxation to maximum tension. Anyone can learn to develop
tension. The same is true of relaxation. But the ability to rapidly move from
one to the other and back again is the difference maker.
Both can be situationally appropriate. The "Hardstyle" Swing would be the

acceleration phase of a sprint and the first would be the top end maintenance
speed. One is power, the other is efficiency and endurance.
The center photo isn't really an example of a "bad" or incorrect Swing.

However, the bell floating above shoulder height shows a lack of timing or
strength in the lats to stop the flight of the bell. However you can see from the
picture, that Brett's shoulders are still connected to the body. The bell should
feel as if it becomes weightless and floats. This photo demonstrates the ballistic
action that means strength and speed have come together without a restriction
blocking their application. The problem develops when the focus becomes on
how high the bell swings. The intent of a high swing tends to cause people to
pull with their shoulder and hyperextend their backs rather than extend their
hips and generate power from their center. This completely defeats the
purpose and benefits of this movement. So, a general rule is to project the
force forward, rather than up. Stopping the bell at or below shoulder height
helps with this and makes the lats fire faster and harder.

Shoulder Packing
The incomplete extension of the hips

and the disconnected shoulder in the
first photo is the result of focusing
on how high the bell swings instead
of how it swings. The body is
moving like an independent
collection of parts to lift the bell.
The second photo represents

Hardstyle in all it's glory. Note the
complete hip extension and shoulder
connection. Each helps the other.
"Finishing the Hips" - Full Hip Extension and Flow of Power
Although we don't want to focus on

the height of the bells, the powerful
and complete hip extension will
make them fly. This is the
difference between standing up and
a complete hip extension. Note that
the intensity stops at the neck. Ugly
faces don't make you stronger.
When it all comes together, your
Swings will be smooth and powerful
with a crisp finish that momentarily
locks everything in place at the top.
"Core" Stability- Hips and Center of Body Stable on Left Leg
Most things involving motion take place on one leg. You

can have an 800 pound Deadlift that becomes very
ineffective if all that strength lost when you go into a
single leg stance dynamically. Even though Brett is
transferring the drive and balance to one leg and then the
other, nothing else changes. The lines remain true and
everything is connected. This is true core stability.

The Squat
Perhaps one of the most contentious exercises of our day, the Squat is considered
everything from the panacea to all an athletic needs or the worst exercise of them all.
Whatever your stance on the Squat (pun intended), it is what we consider an essential
movement pattern. It is a movement that we screen in the Functional Movement Screen,
but here we are going to assume your screen is clear and that you are ready to exercise.
The Squat section will again start with movements designed to pattern the correct Squat for
you. To quote Dan John, "Squats don't hurt your knees. The way you squat hurts your
knees." So approach the pattern building as a way to ensure a perfect pattern to load.
There are several aspects of squatting that will be highlighted:

1) Spine Position
2) Open the Hips
3) Quad Dominance and Pelvis Position
4) They Don't Allow Training Wheels in NASCAR
5) Screening vs. Exercise
6) Squat Rack vs. Mobility
7) Train the Deadlift - Pattern your Squat
8) Depth of the Squat
9) Don't Shoot your Hips
10) Pulling Yourself into the Squat
11) Symmetry in Your Squat
Spine Position
Dr. Stu McGill has correctly identified flexion of the lumbar spine as a risk factor and cause
of lower back injury and pain. (See his book "Ultimate Back Health and Performance" for
more information.) During the Squat, rounding of the lower back can be a factor, especially
when the hips lack mobility and you don't learn to pattern the squat correctly. When Dan
John, (danjohn.net) an RKC from Utah, brought the Goblet Squat to our attention, we
recognized it as a means to quickly and safely teach the Squat.
Notice in the pictures (starting on page 54) of the Goblet Squat how straight and extended
my spine is kept. Take your time to learn this spine extension, and your back will thank
you.

Open the Hips
Believe it or not, there is great space available in your body. Pavel (in his book "Relax Into
Stretch") introduces the concept of finding space in the body, and the hips are an ideal
example of this. During your Squat, you want to actively try to find space in your hips and
literally open them up. Open hips have the ability to squat well. Open hips will align well
with the knee and foot, and not create angles that place stress on the joints. You can
literally "run into yourself" and impinge your hip joints if you do not open them up. Pay
attention to my hips during the video and in the pictures.
Quad Dominance and Pelvis Position

We sit a lot. I mean a lot. One-to two-hour commutes in a car. Eight hours behind a desk.
You can add three to four hours of television a night to the tally. Then we sleep for 6-8
hours a night. Not much of the day extends our hips and opens our body, and we therefore
end up in a situation of quad dominance and an anterior tilted pelvis. And this is not good
for your Squats, or your knees, or your back. .. and it doesn't do wonders for your
appearance, either.
Your quads are the front thigh muscles, but one of them crosses the hip joint, and the quads
as a group are more than happy to take over when allowed. Take over what, you ask? Well,
in Vladamir Janda's Lower Cross syndrome, they take over and try to be your "core". The
pelvis then ends up in the anterior tilt position. (Google "lower cross syndrome" for
details.)
What does this mean for your Squats?

Well, if your quads are busy literally holding you up, they are not prepared to bend and
stretch. (I mean, really, don't you hate being asked to do two things at once?) If your pelvis
is in the anterior tilted position, it creates hip impingement and lower-back stress
immediately in the Squat. Remember, we assume that you didn't bring any of this to your
Squat because you already practiced your Kalos Sthenos Get-up or FMS Drills!
They Don't Allow Training Wheels in NASCAR

Or - why not to use a heel lift!
One of the popular methods for compensating for a bad squat is to elevate the heels on a
weight plate or piece of wood. This can provide relief from any of several issues. It offsets
restricted ankles, provides an anterior weight shift by providing some artificial core
activation, and makes for less demand on actual hip mobility. But as the title of this little
section indicates, by the time you are allowed to go 200 MPH, you will have earned it and
the training wheels will be off.

By the time you are squatting fully under load or producing power in something like a Push
Press, the training wheels should be off as well. Earn your Squat! Don't compensate for it.
Screening vs. Exercise

I travel the world teaching the Functional Movement Screen, and our first screen is the
Overhead Deep Squat movement pattern. The feet are straight ahead and shoulder width
apart with a dowel rod overhead at lockout. You squat as deep as you can while keeping the
dowel overhead. If you can't do it on the flat ground, we put you up on a 2x4 and try it
again.
I can hear you now - "Oh yeah, what about the training wheels?" "What about having the
feet straight ahead - it says here to point them out 10-15 degrees?"
Well, stop and understand or appreciate the difference between screening and exercising.
When we screen the Squat, we create a difficult Squat that makes compensations easily
revealed. But by the time we are using the Squat as an exercise, we have cleared the pattern
and are ready for load. These are two very different goals.
Once we have cleared the pattern, the turn-out of the feet provides a "buffer zone", keeping
the stress on the hip lower.
So don't get confused by the instructions for the screen and the instructions for the
exercise, as they are different for a reason.
Squat Rack Rules vs. Mobility

Continuing on the same thought process of different goals for different movements/
exercises, we should also touch on the difference between being in the squat rack and
squatting for patterning/mobility. Once you are in the squat rack with a barbell across your
back, a different set of guidelines kicks in ... and for good reason. The center of mass for you
and the barbell and the loads possible are just a couple of reasons for the different
guidelines. When squatting for patterning or mobility, you will squat deeper and with a
different body alignment.

Train the Deadlift - Pattern your Squat
Based on our experience in the FMS, we would recommend that you perfect your Deadlift
and use it first in training, and that you pattern your Squat for all of the mobility it can
provide. As stated in the section on quad dominance, most people already rely on their
quads too much. Deadlifting takes you away from this and hits the inhibited glutes and
posterior chain. Notice that we are not saying not to squat, but rather to put the Squat in its
place until perfectly patterned and ready.
Depth of the Squat

"Never squat below parallel:' This gym maxim is so often repeated that by now it may have
become part of our genetic code. It is a well-intentioned - but misguided - attempt to
enforce "safety" for people not prepared to squat.
The point of greatest knee stress is at parallel. The knee, a hinge and glide joint, is mid
hinge and mid glide. Does it make sense to stop there and reverse gears?
If you take the time to earn your Squat through proper patterning and use of the Goblet
Squat, you will squat deeply and safely.
Notice that all of the Squats represented here have different alignment than the classic
powerlifting Back Squat. There are different guidelines there, as stated earlier. For learning
this type of Squat, look into Pavel's "Enter the Kettlebell" book and DVD for details on the
Wall Squat.
Also, just so we are clear, do not squat below your current mobility ability. If you cannot go
deep without rounding your back or your knee(s) caving in, then you have not earned the
privilege of squatting deep. Get back to work until you can, or seek out an FMS or CK-FMS
expert.
Don't Shoot Your Hips

Repeated frequently in the exercise descriptions of this section is the advice to not let the
hips shoot back and up first on the ascent from the bottom of the Squat. The Squat is a
synchronized and coordinated movement. You rise from the bottom of the Squat in one
piece, as a solid unit. If you cannot ascend from the Squat without this happening, you have
probably gone too heavy too soon or skipped your patterning.
This movement of shooting the hips back and up first ensures lots of back stress and
potential misery. Don't do it.

Pulling Yourself into the Squat
This is a concept covered in detail in the "Secrets of the Knee and Hip" DVD -- actively using
the hip flexors to pull yourself down into your Squat. Fortunately, Jeff O'Connor revealed
the Curl Goblet Squat as an effective means of teaching this technique. Pay attention to how
I perform the Curl Goblet Squat on the DVD and to the instructions here in the manual.
Pulling into the Squat is half of the climbing pattern that was once present in our fitness
programming. Don't skip this or assume that it does not apply to you. It most certainly
does.
Symmetry in Your Squat

The symmetry-of-strength drill for the Squat is the Bottom Up Squat. Again, this is a check
of the continuity or evenness of your strength through the entire squatting pattern. Look
for any loss of control during the execution of this drill.
There are other ways to look for symmetry in the lower body, such as the Pistol or Single
Leg Squat from Pavel's Naked Warrior, or in the FMS screens. The Bottom Up Squat,
however, looks for uniformity and smoothness of activation and transfer of energy through
the Symmetrical Stance Loaded Squat.

Pattern Buildin&: the Squat
Goblet Squat
Purpose: Patterning the Squat from Dan John
Execution:
Pick the kettlebell up and hold it by the horns at chest level. Notice that
the upper arms are against the ribs but the elbows are pointing slightly
forward.
Achieve a shoulder-width stance with toes pointed out 10-15 degrees,
meaning the inside of the foot lined up with the outside of the shoulder.
Adjust to fit your body!
Sit back and down simultaneously until the points of your elbows touch
the Tear Drop muscle on the top inside of the knee. Do not go deeper with
the elbows.
At this point, push out with the elbows -- opening the hips, lengthening
the spine, and going lower with the hips (not the elbows) if possible.
Sniff air in at the bottom and push the feet through the floor, coming up in
one smooth motion. Do not lead with the hips.
Key Points:
Sit back and down simultaneously. Do not just stick the hips back and
lean forward with the chest. This is not a Barbell Back Squat.
Coming out of the bottom, be sure you inhale to pressurize and drive out of the bottom in
one motion. Do not let the hips shoot back and up first!
The elbows stop at the Tear Drop muscle (Vastis Medialis). Do not continue deeper with
the elbows, as this will lose the stable point from which to lengthen the spine and open the
hips.
Knees track toes - do not allow the knees to cave inward or go outward.
Feet are flat and stable the entire time. Do not roll out on the feet or cave in at the arches.
The spine should be straight and tall. Do not round the back. If this happens, you are at
your maximum depth. Only go deeper as your mobility allows
Stance is adjusted to fit your individual body type - too narrow and alignment is difficult,
too wide and you will over-stress the hips and lose depth,

Goblet Squat % Way Down
Goblet Squat - Side View
Note the spine alignment and control

of the depth of the Squat

Curl Goblet Squat
Purpose: Irradiation of the flexors for strength and stability in the Squat
Execution:
Achieve the same starting position as for Goblet Squat. Then perform a Negative Curl so the
upper arms are glued to the ribs and elbows are straight, holding the kettle bell at the
bottom of the Curl.
As you begin the decent into the Squat, initiate a Curl with the kettle bell -- but it actually
will not go any higher than its starting position. You will actually curl yourself underneath
the kettlebell as you descend into the Squat.
Your elbows will touch higher up on the thighs instead of by the knees.
Keep the spine tall and perfect.
Use the extra tension of the Curl to pull yourself into the Squat.
Coming out of the bottom, you can 1) keep the kettlebell in position, or
2) perform a Negative Curl as you rise out of the bottom of the Squat.
Remember to push into the ground with the feet and rise out of the Squat in one piece. Do
not let the hips shoot back first.
Key Points:
Once you perform the Negative Curl at the start, the kettlebell will not lift any higher than
that point during the Squat.
Actively pull yourself under the kettle bell, using the Curl to create extra tension, and pull
with the hip flexors.
Keep perfect spine alignment, perfect alignment of the knees over the toes, and knees
aligned with hips.

Slow Streneth - The Squat
KB Cheat Clean
Purpose: To get the kettle bell into the Rack Position without the technical skill of the Full
KB Clean
Execution:
Sit back into perfect Deadlift position.
Place the kettlebell between your feet.
If you want to clean the kettlebell with your right hand, grasp the kettlebell handle with the
right hand then place the left hand over top of the right.
Keeping both hands in position, swing the kettle bell back in a mini hike, placing the right
arm against the ribs.
Then extend the hips as you bend the right elbow (remember the upper arm is glued to the
ribs) and use the left hand to guide the kettlebell into the Rack Position.
Remove the left hand.
To return to the bottom position, replace the left hand over top of the right. Keep the right
arm glued to the ribs as you sit back into your hips and use both arms to decelerate the
kettlebell to a safe stop at the bottom.

Key Points:
The upper portion of the arm cleaning the kettlebell gets glued to your ribs.
In the Rack Position, the wrist is straight and strong - not extended.
In the Rack Position, the upper arm is against the ribs and forearm is close to vertical.
Don't forget your hips. It may be a Cheat Clean, but your hips are still the driver.
Use both arms to bring the kettlebell back down, and avoid stressing the elbow.
This can be an effective stepping stone to the full KB Clean. Just gradually use the off hand
less and less.
The kettlebell ends up at the top in a smooth motion without banging the forearm. Control
the kettlebell!
1 KB Squat
Purpose: Perform the KB Squat under an asymmetrical load
Execution:
Once you have Cheat Cleaned the kettle bell into
the Rack Position and the arm holding the
kettlebell is glued to the ribs, you will descend
into the Squat just as you did performing the
Goblet Squat (except for the elbows thing).
Sniff in as you descend, paying attention to all
alignment cues from the Goblet Squat (spine,
knees, hips, etc.).
At the bottom, pause for a brief second, then
return to the top. Once again, be sure that the
hips do not shoot up first.
Key Points:
The upper arm of the side with the kettlebell stays glued to the ribs.
Spine is tall and in perfect alignment - no rounding the back.
Sniff in on the descent and grunt to start the ascent out of the bottom position.
Do not let the hips shoot up first. Rise from the bottom by pushing the feet into the ground
and moving the body as one unit.

2 KB Clean
Purpose: To get both kettlebells into position for the 2 KB Squat or 2 KB Press
Execution:
There is no way to Cheat Clean two kettle bells, so you have to learn to clean them both
simultaneously.
Achieve a starting position, the same as you did for the 2 KB Swing.
Perform the hike of the kettlebells as you did for the 2 KB Swing.
Out of the bottom position with the upper arms glued to the ribs, perform your hip
extension. Allow the elbows to bend and guide the kettlebells to the Rack Position using
the power from your hips.
Adjust your hip power to bring the kettlbells in for a soft landing. Don't use full power or
you'll bang your arms up.
To lower both kettle bells from the Rack Position, keep the upper arms glued to the ribs and
sit back into the hips as you guide the kettle bells back into the hike position, keeping them
high and tight. Then, using the hips and perfect Deadlift alignment, .decelerate them and
place them on the ground safely.
Key Points:
Dial in the right amount of effort to bring the kettle bells to the top in a smooth manner and
in for a soft landing.
Remember that the forearms are nearly vertical, the upper arms are glued to the ribs, and
the body is tight and strong at the top of the Clean. You are braced and ready - not loose
and sloppy!
Watch your fingers and do not let them get caught between the handles at the top of the
Clean.
Don't forget your Hips!
Do not allow the kettlebells to swing away on the way up or down. Keep them in tight.

2 KB Squat
Purpose: Symmetrical, "heavy" load for the KB Squat
Execution:
Perform the 2 KB Clean. Practice the 2 KB Clean first.
Adjust your stance from the width necessary for the 2 KB Clean into
your stance for your 2 KB Squat. They are not the same, so take time for
this adjustment and readjust before lowering the kettlebells.
At the top in the Rack Position, you may leave the kettlebells in the
independent Rack Position on each side, or you may bring the handles
together and interlace the fingers at the top of the handles. Your body is
in the tight and braced position from your 2 KB Clean this entire time.
Once the kettle bells are properly positioned and you are ready to
perform your Squat, keep the upper arms glued to the ribs. Do not
project the kettlebells and elbows forward.
Sniff in and begin your descent on the path learned in the Goblet Squat.
Keep the spine tall and perfect.
Squat to the depth your mobility will allow and do not round the upper
back.
Out of the bottom position, do not allow the hips to shoot back and up
first.
Grunt and push the feet through the floor, moving the body as a unit.
Key Points:
Keeping the upper arms against the ribs is critical. This enforces the form needed for
proper pressing and push-pressing.
Keeping the upper arms against the ribs (especially with the fingers interlaced) places a lot
of stress on the breathing muscles.
The loads get heavy and the center of mass of the kettlebells and you is unique, so perfect
form is a must. Do not let the hips shoot back first on the way up.
Remember to adjust your stance from your Clean width to your Squat width and back again
on the way down.
2 KB Squat - Side View

Symmetry - The Bottom Up Squat
1 KB Bottom Up Clean
Purpose: To learn the Bottom Up Clean - an excellent check of

symmetry-of-strength in the Squat and the Press
Execution:
Starting position is similar to the Cheat Clean, but without the
addition of the off hand - perfect Deadlift position with the kettle bell
placed between the feet.
Place the right hand on the handle and perform a hike, with the
kettlebell gluing the upper arm against the ribs.
Extend the hips and allow the elbow to bend as you snap the kettlebell
to the top position. Use the free hand to spot you at first. Place the
kettlebell in the Bottom Up position, with the forearm vertical and
upper arm against the ribs.
Lowering the kettle bell is the same as in the normal KB Clean. Keep it
close to the body and the upper arm glued to the ribs. Decelerate the
kettlebell with the hips, keeping the stress off of the elbow.
Key Points:
Grip strength and precision play a critical role in hitting the perfect Bottom Up Clean
position. Remember, as opposed to the normal KB Clean, you will snap the elbow under the
kettlebell as it goes bottom up, stacking it on top of a vertical forearm and crush gripping it
for stability.
Don't forget your hips!
Spot yourself and make sure you can hold the perfect top position for 5-10 seconds before
going without the spot and before trying a Bottom Up Squat.

1 KB Bottom Up Clean and Squat
Purpose: Learn the Bottom Up Squat and begin to check Right to Left
symmetry-of-strength
Execution:
Perform the Bottom Up Clean.
Once the kettle bell is in position, descend into your Squat just as you
would for the 1 KB Squat.
All tips for alignment and execution of the normal KB Squat apply.
The Bottom Up kettlebell must remain steady. Be ready to bail out if
needed.
Key Points:
Crush the handle and keep the Bottom Up kettlebell in perfect
position.
Don't forget all of your squatting tips and key points.
Keep perfect alignment - spine, kettlebell etc ...
2 KB Bottom Up Clean and Squat
Purpose: To check symmetry-of-strength during the Squat
Execution:
Perform a 2 KB Bottom Up Clean. The stance is wider, but the Bottom Up
Clean is the same except now you must control two kettle bells into the
perfect Bottom Up position. Practice these until you can hold the top
position perfectly for 5-10 seconds. Only then do you move on to the 2 KB
Bottom Up Squat.
Once at the top of the 2 KB Bottom-Up Clean, descend into your Squat,
keeping the kettle bells in perfect position and performing a perfect Squat.
Grunt and push the feet into the ground to begin coming out of the Squat,
and keep the body moving as one unit to the top position.
Key Points:
This is a test of symmetry-of-strength during the squatting pattern.
Watch for any loss of stability in the kettlebells during the Squat, and be
prepared to "bail out" (meaning to drop the kettlebells away from
yourself and others).
Coordinate your breathing with the movement, sniffing in during the
descent and grunting to come out of the bottom.

2 KB Squat -
Bottom Position
Coach's Corner - Patternine the Squat

Opening the Hips and Knees - Alignment, Breaking at the Hips First
Please understand that we are talking about patterning

the Squat here. Many power and olympic lifters squat in
ways that are potentially stressful to the knees, hips and
back for the sake of their sport. They do this for a
leverage advantage and are willing to take the risk to
win the game they are playing. We're not talking about
world record lifts here, but a safe and effective Squat
pattern. So, just because there is a fellow that squats a
lot in your gym, doesn't mean that his style is the best
for you from a health and movement perspective.
The hips have to unlock first for the Squat to be smooth

and effective. Movement will appear simultaneous from
the hips and knees, but the hips have to "break" first.
This is a skill all in itself and is not to be overlooked. The chopping action is the
same as the Deadlift pattern, but the intent is more vertical. If the hips are
chopped back, an anterior pelvic tilt will occur at the beginning of the Squat.
This will make the hip flexors and quads think they're supposed to be
stabilizers and create lower back stress. So, instead of reaching back for the
wall with your butt, reach for the floor just behind your heels and visualize a
rope attached to the top of each knee that's pulling them to the ceiling. This
will help to stabilize the pelvis and torso properly and allow the hip flexors to do
the job of pulling you down into the hole. Failure to get this correct will doom
the movement from the start. Also, cuing the "knees out" will help to open the
hips and align the knees.
Speaking of aligning the knees, there is a lot of misconception about what that
actually means. The most important things to be aware of is that the femur is
pointing in the same direction as the foot. If they're not, then you're potentially
stressing the knee instead of loading the hips. Also, the knee generally
shouldn't extend past the toe. This once again indicates that you're moving
from the knees rather than the hips.

As your strength and flexibility change, there is a good chance that your stance
will need to also. Everyone is an individual, so continue to experiment until
you've found the Squat stance that is best for you. Some people will need to
squat wider than others to keep there spine from rounding. Be aware that as
depth goes past "parallel" this can be quite stressful on the hips. Wide stance
deep squatting just isn't for everyone. A general guideline is that the further
below parallel you squat with a neutral spine, the narrower your stance will be
and the more foot turnout you 'll need to have to allow the ball and socket of the
hip to articulate properly. Once again, we're not talking about olympic or
powerlifting here, just addressing the Squat pattern and joint health.
What is Different in the Squat and Deadlift and What is the Same in the Squat and
Deadlift?
Although the Squat and Deadlift have different ranges of motion and intents,
the principles remain constant. Note the same line from hips through shoulders
and ears. The lats remain connected and the movements comes from the hips.
The knees track the feet and the spine remains neutral.
The difference is mostly that instead of hinging the hips back and keeping knee
movement to a minimum in a Deadlift, a Squat hinges the hips down for a
greater range of motion in both hips and knees. There are exercises that blur
the lines between the two. For example, the way some powerlifters perform Box
Squats or Good Mornings. Once again, this is for a sporting intent. Don't
confuse the two. From a movement standpoint, it's best to own both motions.

Coach's Corner - Slow Streneth - KB Squat
Knee and Foot Alignment and Stable Center with Off Center Load
The unilateral load demonstrated here creates one of the

best "core training" activities possible. Most alleged core
exercises put the body in situations that actually worsen
muscle recruitment patterns. One of the primary jobs of
the torso is to resist rotational forces during motion. Also,
the ankle, knee, and hip position is exactly the same on
each side. With this in mind, notice the fact that although
our fitness model has a load on one side of his body his
position remains the same as in the Goblet Squat. The
activation of core muscles to stabilize the hips and torso
under this type of load and motion is exactly what we need
for optimal performance. It's also the way out body is most
often loaded in real life or athletic activities.
Straight Back -Spine Alignment
Neutral spine. Have we mentioned it? At the point where most people find
restriction, they tend to round their back and "fall" through it. This can become
very dangerous under load. As soon as you forfeit muscular support the stress
goes directly and fully to the connective tissue. When combined with poor
posture and alignment bad things tend to happen. Just because it may not
create a traumatic injury initially doesn't mean the chronic effects won't build
over time. Never give up stability to gain range of motion. It is critical to view
the Squat from the side to spot this. Continue reaching for the ground the
same as you reached for the wall in the Deadlift pattern.

Valgus Collapse and Pronation in the Squat
Just as spinal alignment must be viewed from the side, knee

alignment has to be watched from the front. Look at the
very slight valgus collapse and pronation on the right side.
The easiest way to spot this is to watch the arch of the foot.
If it collapses, one or both of these things must happen.
Now, you might tend to think that this is somewhat nit-picky,

and for someone that is learning to squat with no load I
might agree. However, as the load increases, the margin for
error decreases. Gray has explained how high intensity
exercise cements a movement pattern. This particular one is
what is responsible for the thousands of ACL and MCL
surgeries on our children. These injuries occur during force
absorption with less that 20 degrees of knee flexion and a
valgus collapse. If you're allowing this with athletes you
coach during their training then you 're not just contributing
to the problem, you're responsible for it.
That may seem a little harsh but it is a fact. I'm sure that no one sets out to
hurt kids, but ignorance and apathy have the same effect as evil intent. As
Brett has often said, "there are no small points". One favorite coaching quips
states that "practice makes perfect". The reality is that "practice makes
permanent". What do you want to make permanent for yourself and those you
train?

Coach's Corner - Bottom Up Squat
Alignment of "Weight and Force"
Even though the load resides outside the body, the

intent is to remain "square". The tension provided by
focusing on keeping the hips and shoulders level and
facing forward under a unilateral load creates the core
activation necessary both for safety and performance.
The lines never change. Even when another bell is

added and a Squat is performed.
Proper joint alignment and projection (or direction) is

talked about a lot. However, like gymnastics, scoring it
is somewhat subjective. A drill like this makes it nearly
impossible to do wrong. Focusing on the lessons
provided and applying them to a self-correcting drill
will allow the body to re-Iearn what is has been
designed to do. In this case how to properly align and
direct force.
Being able to perform equally on each side of a Bottom

Up Squat and with a 2 KB Bottom Up Squat is a pretty
good indicator that you have it (the Squat) patterned
and are ready to condition it.
This ability to stabilize the core and move from the

hips is critical not just for safety, but critical for
optimal athletic performance.

The Press
How much weight you could put overhead was once THE test of strength. Benches did not
really exist for bench pressing yet. So the question of "how much ya bench?" had not
invaded the lexicon. Picking a weight up and placing it overhead was the goal of lifting, and
the Overhead Press was the strength exercise of choice. Kenneth Jay, Master RKC, will have
a book coming soon about the Press, and I highly recommend it. (And, yes, I have seen an
advanced copy) .
Now, you may have heard a variety of things about the Press -- the good, the bad, and the
ugly, as it were. While not as divisive as the Squat, it is a good first runner up.
Well, I have to state once again that if you are here and ready to press, then you have
cleared yourself through the Kalos Sthenos Get-up or the "Secrets of the Shoulder" DVD.
Bring a bad movement pattern to the Press (or any of these exercises, for that matter), and
you can have trouble brewing quickly. So we assume that your thoracic spine is mobile,
your scapulas are stable, and your glenohumeral joint is well timed and pain free as you
begin your work on the Press.
There are several points to highlight with regard to the Press:

1) Do Your Get-Ups
2) Hard to Get There If You Haven't Been There
3) Hips Level and Stable
4) Keep it Vertical
5) Grip
6) Push into the Ground
7) Find Your Arc
8) Breathing
9) Plyos Anyone?
10) Tension and the Cardio of Strength Work
Do Your Get-Ups
Would you believe there's an entire two-DVD product and manual dedicated to one
exercise? Who on earth would make it and why would anyone buy it?
Well, "Kettlebell s from the Ground Up - the Kalos Sthenos" is just such a product. Please
see the product testimonials for it on the dragondoor.com website (http://
www.dragondoor.com/dvs017.html).
This one exercise lays the foundation for your Overhead Pressing and more.
So to state it simply, do your Get-ups!

Hard to Get There If You Haven't Been There
There are a great number of people in this world that simply do not know what an
Overhead Lockout should be like. You see, they actually have never been there, so it is hard
to get there if you haven't been there. Do not skip the patterning section here. While
Overhead Holds and Overhead Marching score low on the Cirque De Soliel scale, they are an
essential part of perfecting the correct Overhead Position for your shoulders. Once again,
the Get-Up fills in quite nicely here.
Hips Level and Stable

Your Press, like every building, needs a solid base. The base for your Press is everything
from the chest down, all solid and ready to act as a platform for a strong Press. Your hips
should be level and stable during the Press. There is a Coaches' Corner segment on this, so I
don't want to beat a dead horse here. However, there are some instances where you may
kick a hip out during a heavy 1 Arm Press.
What's heavy? Let's say that over 50% of your bodyweight on a 1 Arm Press begins to
qualify as heavy.
The patterning of our Press in this instance leads us to the Push Press, an exercise that does
not allow for kicking the hips at any point. So keep the hips level and stable. An additional
caveat and critical point here is that the spine stays solid and in alignment. You cannot at
any time lean back at the lower back. Period.
The Overhead Press was eliminated from the Olympics for this reason, and it places your
spine at great risk, so just avoid it all together. While there are some pressing subtleties like
extending the thoracic spine at the finish of the Press, there is never a reason to lean back
into the lower back.
Keep it Vertical
Dumbbell pressing has led to some unfortunate pressing habits for some people. Most
notable of these is the tendency to angle the forearms in toward each other during the
Press so you can bang the weights together in a half press/half an overhead fly motion. Do
not bring this motion to the KB Press. Instead, focus on keeping the forearm of the pressing
arm perfectly vertical during the upward and downward motions. This alignment allows
for the best pressing groove and application of strength in the Press. Imagine a booster
rocket is strapped to the bottom of your elbow. If it is going to blast the forearm
somewhere, I would suggest that it be straight up and not at an angle.

Grip
Since the kettlebell is held in the hand, I must once again remind you to engage and re-
engage your grip before and during each Press. Irradiation from the grip will improve your
strength and stability in this movement. Just grip it.
Push into the Ground

Yet again, the ground comes into play. And, yet again, I will advise you to push down in
order to make the weight go up. People will typically try to lift the weight. This leads to the
shoulders rising and the weight shifting up. The strength for your Press, as noted just
above, comes from your base. Drive your base into the ground and the body will link up
into your Press. This does not mean your knees bend or that you change shape in any way.
Find Your Arc

Ok, Indiana Jones, now get crackin' on finding that Arc. But before you leave, remember
that we are talking about the Press and not archeology.
The arc in your Press refers to the groove your shoulder will take between the Rack
Position of the Clean and the Overhead Lockout Position. There is some serious real estate
to cover between those two points, so the groove needs to be a good one.
By activating your lats (yes your lats - again!) and respecting the length of your upper arm
bone while maintaining a vertical forearm, your body should show you the right arc. Some
of you will press very straight ahead while others will open the shoulders quite
dramatically. And some will create somewhere around a 4S-degree angle. Whatever it
turns out to be, make sure you find your arc and do not force your body into someone else's
arc.
Breathing
How you synchronize your breathing for the Press is extremely important. At the top of the
Clean, you should be braced, solid and ready, which includes sniffing air in to create intra-
abdominal pressure. To initiate the Press, you either grunt and hold the breath/pressure,
or you begin a forced exhalation (tight hissing literally forcing the air out through a small
opening). At the top, when you pause at lockout, sniff more air in and begin another forced
exhale as the weight is pulled back to the Rack Position. The key point here is that there is
never a loss of tension, and you do not fully exhale at any point. Full exhalation will leave
the bubble of intra-abdominal pressure empty, which places your spine at risk. See Naked
Warrior by Pavel for full details on the high-tension techniques.

Plyos Anyone?
Plyometrics have been popular since they fell out of the secret training techniques box from
the former Eastern Block Countries, but simply "doing" plyos is a bad idea.
Why mention this here? Swings and Push Presses are variants of plyometrics. I believe
the late Mel Siff would have called them powermetrics, since they lack the shock (impact)
associated with true plyos. See his excellent book Supertraining for details.
Also, there is a serious strength base needed before plyometrics are both:
A) safe and B) effective. So put your time in here on patterning, slow strength, and
eventually Dynami before dropping into plyometrics. (Get it? - dropping into ...)
Tension and the Cardio of Strength Work

I have been criticized for saying that anything over three reps is cardio. But after you truly
apply the breathing and tension techniques, I think you will come to agree with me.
Creating the tension through the body for a stable base for the Press is difficult enough. But
add to it the breathing and intra-abdominal pressure, and you have serious work being
done before the Press even leaves the Rack Position.
In order to keep focus and tension high, you will see only low reps recommended for the
Press and the Squat. Don't worry, Sunshine! You can always add sets! ;-)
Symmetry in the Press

Once again, a Bottom Up Drill is used to check the symmetry of your strength through a
Press. Seamless strength and integration are key here as well. What is important to note,
however, is that as powerful a tool as the Bottom Up Press is, it lacks one thing. A perfect
Lockout is difficult to impossible to achieve on this style of Press. Note in the instructions
that permission is given to look up (but NOT lean back), and this will make a perfect lockout
very hard to perform. So use the Bottom Up Press as a part of your pressing practice, not
the entire practice. It is a way to check symmetry-of-strength and can have great benefit to
your Press, but the goal is still the standard KB Press.

Pattern Buildin~ the Press
Overhead Position
Purpose: To find the perfect Overhead Lockout Position
Execution:
Cheat Clean the kettle bell to the Rack Position, then get it overhead to
Lockout in the safest manner (could be a Press or performing a Get-Up
to the top).
This is critical to patterning the Press. If you cannot achieve a full
lockout due to movement restriction, please revisit "Kettle bells from the
Ground Up" or "Secrets ofthe Shoulder".
Once you have the kettle bell to Lockout, sink the shoulder blade and find
where the weight of the kettlebell centers down through the body to the
heel and is not "held" by the shoulder.
Bring the kettle bell down safely.
Key Points:
If you have a movement restriction, do not go any further.
You are looking for a perfect Lockout where the arm is in line with the ear, shoulder blade
sunk into the back pocket, hips solid and level, and the weight of the kettlebell centering
down through the body to the heel, not held by the shoulder.
Perform on both sides.
Do not skip this step.
Overhead March or Walk
Purpose: To further develop the Overhead Lockout and stability

during weight shifting
Execution:
Place the kettlebell up in the perfect Overhead Lockout position, then
perform low marching, shifting the weight from foot to foot but
keeping the hips and shoulders stable and level, with the Overhead
Lockout maintained.
If possible, you can perform this as an Overhead Walk if you have
space.
Key Points:
Maintain the perfect Lockout even during the weight shift.
Perform on both sides, looking for equal time or steps.

Overhead Rotations
Purpose: To further develop the Overhead Lockout and stability
Execution:
Place the kettle bell up in the perfect Overhead Lockout
Position, then perform a rotation of the body to the left
and to the right.
Repeat on both sides, looking for equal time and/or
rotations.
Key Points:
Do not rotate further that you can control. This is not a
flexibility move.
Allow the rotation to further sink the shoulder into
perfect position.
Tall Kneeling Press
Purpose: To begin to pattern the Press from a different position
Execution:
Get into the Tall Kneeling Position, kneeling on both knees.
Cheat Clean the kettlebell into the Rack Position.
Tighten the glutes and lengthen the spine. Make a straight line of the body from the ear to
the knee.
The kettlebell should be in the Rack Position with the forearm nearly vertical and the wrist
straight (not extended), with the upper arm against the ribs.
Sniff air in and pressurize the abdomen, making sure the glutes are tight.
Begin the Press by activating the armpit muscles (try to put your armpit on your hip
without moving the spine or torso).
Get the forearm perfectly vertical and press from the elbow.
Your pressing arm will open up in an arc away from your body - how much depends on the
length of your upper arm bone and activation of the armpit muscles (more on this in the
Coaches' Corner).
Keep pressing from the elbow until the kettle bell is at the perfect lockout position.
The arm will be in line with, but not touching, the ear.
To begin the descent, you will use your back muscles (lats in particular) to actively pull the
kettlebell back to the Rack Position. This is a slow move with tension, not a quick yank of
the kettlebell down.
Once in the Rack Position, reset the breath and press again (if wanted).

Key Points:
Keep the forearm vertical, not angled.
Breathing - sniff in and pressurize to begin the Press. Then you may have a forced exhale
(hissing) to the top. At the top, make a quick inhale again before actively pulling the
kettlebell down with forced exhale (hissing).
Glutes and abs are solid throughout the entire Press. If you lose tension in either area, you
are done with your set.
If you lose breathing rhythm, you are done with your set.
The shoulder stays down in the socket with the armpit connected to the hip. If the shoulder
rises at all, you are done with your set.
Perform low-rep sets.
Perform on both sides.
Do not lose the straight line from the ear to the knee. If your hips stick out, stop and re-
establish the body alignment.
Tall Kneeling Press - Side View
Note the alignment of the body - straight line from ear to knee

Slow Strentnh - The Press
1 KB Press
Purpose: Strengthening the KB Press under an asymmetrical load
Execution:
Perform a 1 KB Clean.
Remember that your Rack Position/top of the Clean has the knees
pulled up, glutes tight, and abs tight, as though you are made of
cement from the chest down.
Perform the Press as detailed in the Tall Kneeling Press.
Key Points:
Now that you are standing, you will make a straight line down from
the ear to the ankle - knees "pulled up", glutes tight, and abs tight.
Finish your Clean before starting your Press. There should be a brief
second where the Clean is completed and the body is solid before
starting the Press.
You may not use the legs to start the Press.
You may not lean back or lose tension in the glutes or abs.
Press smoothly - don't "blast off".
All of the pressing cues from the Tall Kneeling Press apply - vertical
forearm, opening up, perfect lockout, pulling the kettlebell down,
breathing, shoulder packed, etc.
Keep the eyes focused straight ahead.
Highlight Individual Arc in Press

Notice the difference in this halfway position vs.
the other. You must find your individual arc.

2 KB Press
Purpose: To practice symmetrical strength in the Overhead Press
Execution:
Perform a 2 KB Clean.
Remember, you are made of cement from the chest down, and there is a brief second
between finishing the Clean and beginning the Press.
From the Rack Position, inhale and pressurize, and perform a simultaneous press with both
arms to the perfect Lockout Position.
Actively pull the kettle bells back to the Rack Position.
Reset for the next rep or safely put the kettlebells down.
Key Points:
All pressing tips for a 1 KB Press (Tall Kneeling or Standing) apply but must now be applied
equally to both arms at once.
You may not use the legs to start the Press.
You may not lean back or lose tension in the glutes or abs.
Press smoothly - don't "blast off".
Keep the eyes focused straight ahead of you.

Symmetry - The Bottom Up Press
2 KB Bottom Up Press
Purpose: To check symmetrical strength in the Overhead Press
Execution:
Perform a 2 KB Bottom Up Clean.
Once at the top of the Bottom Up Clean, perform a 2 KB Press,
keeping the kettlebells in the perfect Bottom Up Position.
Actively pull the kettlebells back down to the starting position.
Key Points:
Remember to have practiced the 2 KB Bottom Up Clean to
perfection before moving into the 2 KB Bottom Up Press.
Notice at the Lockout you will be looking up at the kettlebells vs.
looking straight ahead as in the other Presses.
The kettlebells must remain steady and perfect. Be in a position
to, and be ready to, "bail out" if necessary.
All Pressing cues from the 2 KB and 1 KB Press apply.

Coach's Corner - Patternin~ the Press
Weight Shift and Alignment of Shoulder and Body
As stated earlier, a slight kicking out of the hip on the weighted side can occur
on a heavy 1 arm Press. This isn't it. When patterning the Press and looking
for symmetry, a "neutral" position must be located to have a starting position.
Square hips and shoulders with straight, even lines from ankle to shoulder give
us this beginning position. Light weights and a lack of body awareness or a
casual attitude can create bad movement patterns. The concept of leakage has
been well covered. Just remember that it applies universally.
Right Foot Out-turn and Proper Alignment
Note the loss of alignment on the right foot, knee, and hip. Although this is the
Press section, Brett's ongoing hip dysfunction drama gives us the opportunity
to reinforce the point that there are no small points.
If you are training athletes, this loss of
alignment under minimal nervous system
stimulation and stress should be noted and
addressed. This is not the "razor's edge"
positioning of the hip, knee, and ankle that we
would like to see when and athlete sprints. Also,
if this happens in an open chain movement, what
is going on under the load of a heavy Squat or
Deadlift? Everything is another opportunity for
assessment. Every stimulus creates or reinforces
adaptation. The question that you have to
continually ask yourself as a coach or trainer is
whether that adaptation is positive or negative.

Hips Underneath and In Alignment
Aligning your structure to support the Press and Push

Press is critical and the Tall Kneeling Press provides an
excellent opportunity to learn how to get your hips
underneath you and properly align yourself.
Loss of alignment is easily noted if there is any lean

back or if the hips get "stuck out" behind you instead of
staying stacked underneath the shoulders.
Coach's Corner - Slow Stren&:th - Press
Individual Pressing Arcs
One common mistake is trying to exactly duplicate someone else's movement.

This is especially true in the Press. Your individual structure, strength, and
mobility will dictate the pressing groove. Be aware that as your strength and
mobility change, your pressing groove might also. Focus on the tips provided
and allow the groove to take care of itself.
Another mistake is "panicking" and bumping the weight with the body to start
the Press. Save push pressing until you've earned it and get the full benefit
from it. A great cue from Pavel is to visualize that you are pushing yourself
away from the weight. Slow strength is first for a reason. Own it.
Remember that the Press is set up by and only as good as the Clean. Skipping
mastery of this skill will keep you from optimizing the Press. Mastery of the
Press is a requirement for Push Presses. Walk before you run.

Coach's Corner - To Follow Symmetry - Bottom Up Press
2 KB Press Finish and 2 KB Bottom Up Press
A heavy 2 KB Bottom Up Clean and Press just doesn't allow for significant
asymmetries, leakage, or force production. That is why the 2 KB Bottom Up is
the final drill in both the Press and Squat. It's what we refer to as "self-
correcting". Because of the high neurological demand it is an incredibly high
payoff drill that makes a lot of things better. Remember though, it's a drill, the
skill is the Press itself.
Note the difference in the top of the two Presses. The fear and loss of
awareness that can be created by taking the eyes off the bells to fully finish the
Bottom Up Lockout is a limiting factor. It's possible to do it but best left to very
experienced lifters. The risk vs. reward of the final lockout makes it unsuitable
from the perspective of fully patterning the Press. That's why it's used here as
a drill rather than a skill. The value of the Bottom Up for beginner and
intermediate pressers is in the alignment and linkage. It forces ownership of
slow strength.

The Push Press
The Deadlift lead directly to the Dynami of the Swing, but we had to go through the Squat
and the Press to end up at the Dynami of the Push Press. Now that the pieces are in place,
integrating the Squat into the Press is all that is left.
Contrary to popular gym mythos, I do not feel that Push Presses are the way to work
toward pressing a heavier weight. There are other more effective ways to do that. The
Push Press is a tremendous exercise in Kinetic Linking as discussed in the opening of this
manual.
There are again a few aspects of the Push Press to highlight before the exercise descriptions
themselves:
1) Mini Squat?
2) Arm Against Ribs
3) Blastoff is Different From Pressing
4) How to Descend
5) Long Push Press
6) Keep Your Feet Grounded
Mini Squat?
While nothing like your favorite mini bar, the Mini Squat is an essential athletic maneuver.
Look at how athletes load up to jump or change direction and you will see a shallow Squat
or move into the hips. So why did we spend so much time patterning and training a full
Squat? Because having access to the full pattern is really important. It opens up a great
buffer zone of safety because you are not bumping into your maximum depth and
restrictions every time you want to move. Also, the squatting pattern is more important
than the exercise. Huh?
A full and unrestricted Squat can tell us a lot about your movement restrictions. See
functionalmovement.com for details.
Arm Against Ribs

Once again, the cue to keep the arm against the ribs will be repeated many times during the
exercise descriptions for the Push Press. Since kinetic linking is the goal of the exercise, it
should make sense to be linked until the energy created literally drives the arm off of your
body. If the arm disconnects too soon, you will have to press the weight, since the energy
created by the drive will be lost. Or you will have to create a second drive of energy from
the wrong places (upper traps or lower back) in order to get the weight overhead.

The key to all of this "keep the arm against the ribs" stuff is patience. That's right, patience.
Arms disconnect early because people are in a rush and focused outwardly on the weight
instead of being focused inwardly on efficient transfer of energy. So get some patience (it is
a virtue, after all), and keep those arms against the ribs as long as possible.
Blastoff is Different From Pressing

In looking at the photos for the Push Press, you will notice some obvious differences and
contradictions from the Press. But the apparent contradictions are not contradictions at all.
You just tried to bring one answer over from another part of the test. Another way to put
this is to paraphrase a famous title - "Yes, Virginia, there is more than one answer."
Blastoff of a weight from the Rack Position is different from the slow, high-tension grind of a
Press from the Rack. In blastoff, the energy seeks a straight line to the top, so the arc and
key points of the Press are not used here. The weight will be much closer to the head and
driven up in a more vertical manner. Pressing in a slow grind requires an entirely different
set of angles and support.
How to Descend
There are two options for descending once you are at Lockout. Recreate the active pull
down from the Press, or let gravity do its job and have a quick descent. These are described
in the exercise description section. Both have benefits and should be mixed into the
programming (which you will see in the programs recommended in the manual).
Remember in the Breathing section of the manual where cyclic vs. rhythmic was described?
Here is yet another opportunity to mix and disrupt breathing patterns, creating additional
training stress and conditioning.
Long Push Press

Pay attention to this exercise, both on the DVD and the exercise descriptions here, because
it is worth your time. Driving energy smoothly from a full Squat through to a full Lockout
provides incredible time under tension, kinetic linking, breathing stress and conditioning
benefits. The key here again is patience. It is especially critical to keep the arms against the
ribs and to fully transfer the energy to the weight at the right moment.

Keep Your Feet Grounded
Drive your feet down in order to drive the weight overhead. Sound familiar?
One of the mistakes seen in the Push Press is bringing the feet off of the ground or coming
up on the toes in an effort to lift the weight to the top. This is not the style of Push Press
recommended here. Drive your feet into the ground. Drive your energy into the ground.
Crisply extend the hips, pushing energy down so it can rebound through you to the weight.
Losing your connection to the ground shows a lack of patience and focus on the weight, not
on the energy transfer through the body.
For the Push Press, Swing, Deadlift and Press, I want to see an impression left in the ground
by your feet.

Dynami - The KB Push Press
1 KB Push Press
Purpose: Asymmetrical loaded linking of segments
Execution:
Perform the 1 KB Clean
Once in the Rack Position, keep the upper arm against your ribs
as you perform a Mini Squat or Dip to load the hips.
Crisply extend the hips up to fully extend the hips and legs.
Use the energy from the hips to drive the arm off
of the ribs to a full Lockout position. You may
need to finish the Lockout with the arm in order
to smoothly float the kettlebell to the top.
Pause at Lockout.
On the descent, you have two choices - a fast or
slow descent.
For the slow descent, simply perform the active
negative of the KB Press.
For the fast descent, you let gravity do its job and
guide the kettlebell as it falls back to the Rack
Position to be caught as the upper arm
reconnects with the ribs. You may absorb this
impact by getting some air knocked out or by
dipping slightly at the knees.
Key Points:
Keep the upper arm against the ribs all the way
to full hip extension. Do not disconnect early.
The Dip is a short-range Squat (Mini Squat) to
load the hips, but do not lose tension in the abs
during the dip. Stay connected.
This movement is all about bringing energy from
the ground through the hips, transferring that
energy up through the body, and driving the
kettlebell overhead

1 KB Push Press - Side View
Highlight Difference Between Fast and Slow Descent
Notice the different paths of the kettlebell's descent - can you tell which one is the slow
descent and which is the fast descent?

2 KB Push Press
Purpose: Symmetrically Loaded Kinetic Linking
Execution:
Perform the 2 KB Clean.
Once in the Rack Position, perform a Mini Squat or Dip to load
the hips.
Crisply extend the hips, fully extending the hip and knees.
Use the energy from the hip extension to drive
the arms off the ribs to a full Lockout. You may
need to finish the Lockout with the arms in order
to smoothly float the kettlebells to the top.
Pause at lockout.
On the descent, you have two choices - a fast or
slow descent.
For the slow descent, simply perform the active
negative of the 2 KB Press.
For the fast descent, you let gravity do its job and
guide the kettlebells as they fall back to the Rack
Position to be caught as the upper arm
reconnects with the ribs. You may absorb this
impact by getting some air knocked out or by
dipping slightly at the knees.
Key Points:
Keep the upper arms against the ribs all the way
to full hip extension. Do not disconnect early.
The Dip is a short-range Squat (Mini Squat) to
load the hips, but do not lose tension in the abs
during the dip. Stay connected.
This movement is all about bringing energy from
the ground through the hips, transferring that
energy up through the body, and driving the
kettle bell overhead.

2 KB Long Push Press
Purpose: Incorporate a full Squat into the Push Press, lengthening the
time under load and increasing the abdominal tension and
conditioning impact
Execution:
Perform the 2 KB Clean and Squat
As you are coming out of the Squat, keep the arms against the ribs and accelerate the body
crisply to Lockout, transferring the energy from the hips to the kettelbells and driving them
to Lockout. You may need to finish the Lockout with the arms in order to smoothly float the
kettlebells to the top.
Pause at Lockout.
On the descent, you have two choices - a fast or slow descent.
For the slow descent, simply perform the active negative of the 2 kettlebell press.
For the fast descent, you let gravity do its job and guide the kettlebell as they fall back to the
Rack Position to be caught as the upper arm reconnects with the ribs. You may absorb this
impact by getting some air knocked out or by dipping slightly at the knees.
Key Points:
Keep the upper arms against the ribs all the way to full hip extension. Do not disconnect
early.
This movement is all about bringing energy from the ground through the hips, transferring
that energy up through the body, and driving the kettle bells overhead.
This can be performed with one or two kettle bells.

Common Mistakes in the Push Press
Collapsing Knees - Bad Dip
Notice the inward drift and weak dip.
Bad Dip - Elbow Disconnect
Notice the upper arm has come away from the ribs. This
ruins any chance of ever transferring energy to the
kettlebell from the hips. Keep the arm(s) on the ribs until
they are driven off by the energy from the hips.

Coach's Corner - The Push Press
Center of Mass of the Kettlebell and the

Difference Between Bottom Up and Rack
Position
Anytime you add external load to the body

it will automatically try to become efficient
in the way it balances the load and forms
a combined center of gravity. It does this
because it doesn't know how long it will be
required to hold this load and is trying to
conserve energy. For our purposes,
however, we don't want to allow this.
Note that even though the combined center of gravity changes in the two
photos, nothing but the arm holding the kettlebell does. The hips and shoulders
remain square and the torso is even and braced. Slouching to allow a more
efficient combined center of gravity would promote energy leakage and lessen
the desired training effect.
Depth of the Dip and Alignment
Remember, the Squat is the skill, the Push Press is the drill. Dropping too deep
into a Squat causes you to miss out on the stretch reflex and will diminish the
drive. It's a "Dip" or "Mini-Squat". The range is dependent on the individual and
load. However, the thing to keep in mind is to go just low enough to make the
Press smooth and strong. Save the Squats for Long Presses and ... ... Squats.

Difference between Fast and Slow Decent in Push Press
The slow descent should mimic the pressing groove and

provides a fantastic muscular workout. The slow breathing
pattern of this coupled with the rapid pattern of the Push
Press produces a conditioning effect that is very effective for
sports and real life. Unless you live on a treadmill, your
breathing patterns have to continually change and adapt to
changing conditions. This is part of what is described as
"matching the breath to the force."
The rapid descent obviously will be tighter to the body. This

increases coordination demands and creates a greater
activation of the stretch reflex. Both are highly valuable
from a sporting perspective. The rapid descent also creates
a rhythmic breathing pattern which is necessary for
endurance. The type of endurance that is necessary for
maintaining top end speed. No matter who or how well
trained you are, you will only maintain max speed for 1-2
seconds. From there on out, the one who slows down the
slowest wins. Breaking the rhythmic breathing pattern
disrupts the movement pattern and is one of the best ways to
slow down faster. The key is to be able to transition
seamlessly between rhythmic and cyclic breathing patterns
as they're disrupted since very few activities only require one
breathing pattern. See the Programming Section for more on
this.
Asymmetrical Lowering
Note the asymmetrical lowering of the bells. If it's

happening when the movement is slow then it's
happening when it's fast. If it's happening fast it's
creating an unequal compensation that is at best
robbing performance or at worst, souping up that
engine for a bigger crash. Assessment never ends.

Movement Prep
Movement prep is a strategy for preparing for training by addressing specific areas of
restriction, concern, or patterns that will be challenged during the training session. For
most people the hips (specifically the hip flexors) and shoulders (specifically the thoracic
spine) are in need of a bit of attention before loading during a workout. These movement
prep moves should open the pattern so that you can achieve better alignment and move
force through the body efficiently without having to travel around restrictions. Please
review these movements on the DVD.
It is recommended that you seek out a Functional Movement Screen specialist for a
complete movement screen (details on www.functionalmovement.com) and we
recommend that you have spent your time working on the Get-up from Kettlebells from the
Ground Up - Kalos Sthenos.
Kalos Sthenos - Ankle and T-Spine Mobility - Open

1fz Kneeling, Ankle, T-Spine
Begin in a Tall Kneeling Position, then move the left leg

up and open to the left so that the left foot and leg line
up with the right knee. The left knee is at 90 degrees
with the foot flat and is up pointed straight away to the
left. The hips stay squared off and straight ahead with
the right shin pointed straight back.
Move forward into the left ankle, bringing the left hand
to the ground just inside the left foot. Perform 10-20
small movements forward and back, rocking into the
ankle without collapsing the arch.

Move back to the start position. While keeping the
spine straight, hinge into the right hip and bring the
right hand to the ground while keeping the right arm
straight.
Lift the left arm to the sky (straight line down to the
right hand)
While keeping the hips and right arm still, reach down,
inside and behind the right hand.
Exhale as you turn, reaching behind you. Then inhale

and return to stretch the left arm up and slightly behind
you.
Repeat 5 times.
Repeat the sequence on the other side.
Hip Flexor Mobility
Begin in 1(z Kneeling (right knee up, left knee down),

then extend the left leg back behind you. Point the toes
away and straighten the left leg as you drop into a deep
lunge, bringing the hands to the ground inside of the
right leg, but place the right hand on the right big toe.
While in the deep lunge, use the right hand to stabilize
the right foot and circle the right knee (clockwise and
counterclockwise), keeping the arch from collapsing.
Next, keep the left hand on the ground as you turn the shoulders toward the right and reach
back to catch the left foot with the right hand, getting into a quad stretch while dropping
the left hip toward the ground.
Release the left foot and continue to shift the hips from side to side, finding any tightness or
restriction.
Repeat on the other side.

Breathing
Critical during the movement prep is your breathing. While performing a movement for
mobility, you will use the anatomical breathing described earlier in the manual. If you get
compressed during the movement, let air get released. If you expand during the stretch,
inhale. Pay special attention to any movements or positions where you lose or hold your
breath. Stay in that position until you can breathe freely and easily.
Depth of a Stretch
"How deeply do I go into a stretch?"
"Do I have to do what the person on the OVO did?"
As to the first question of how deeply to move into a stretch or movement prep position, it
is recommended that you only go until you find the beginning of the stretch do NOT
continue until you have a maximum stretch. If you will begin at the beginning and ease into
the positions your body will be more likely to open up willingly and more effectively. If you
push into "as much stretch as you can take" and create pain or loss of breathing then your
body will fight you and it is a fight you may lose.
For the second question the answer is NO you do not have to "copy" or replicate the
positions I achieve on the OVO or pictures. If you follow the guidelines above and find the
beginning of the stretch not the maximum stretch and focus on your breathing and
alignment then you will find YOUR best stretch/movement prep position.

Programming
As noted earlier in the manual, "It's all in the recipe or in how you mix the ingredients."
Each recipe results in a different dish with flavors unique to it but sometime the ingredients
must be added in specific order to achieve the desire taste. And you thought being a Chef
was easy.
What this means in reference to the programming for this manual is that we will be mixing
the movements, slow strength, symmetry, Dynami and breathing patterns to achieve
different effects from the workout. Specifically workouts designed for Strength, Metabolic
Conditioning, Power and Neural Load.
A quick note on what weight kettlebell you should select for the workouts, you should
select the appropriate weight for you. I cannot tell you which weight you should select
specifically but can tell you that it is the weight that makes the movement best. For a
strength move it means a weight that requires perfect alignment but doesn't push you into
compensating. For a power move it means a weight that you can move with power but one
that requires the correct alignment and force application. If the weight is too light it will
flop or feel out of control. Use your judgement to select the appropriate weight and if
during a training session you realize the weight is too heavy and causing you to break form
then go lighter or if the weight is too light to enforce good form then go a notch heavier. But
it is your judgement.
Any of the programming suggestions below are only suggestions. If you are the "round peg"
do not try to fit into the "square hole", in other words be willing to adjust to your individual
needs.
Not So fast ...
Before you get too excited remember that this manual and DVD are based on a sequence
that leads to power by developing the proper base to support it so the first program is
based on developing the patterning for each movement.

Patterning Program #1
Movement Prep Drills
Touch the Wall Drill x 20 reps x 3 sets
Overhead Rotations x 5 reps each direction x 3 sets
Overhead Marching (or walking) x 15 seconds each side x 3 sets
Alternating sets of:
Tall Kneeling Press x 5 reps each side x 3 sets
Goblet Squat x 5 reps x 3 sets
Stretch and Movement Prep Drills
This program could have many variations please select the patterning drills that fit your
level of experience and your needs. You may need more squat patterning than overhead
patterning etc ... Just remember that this is a critical step in earning your power!
Patterning Program #2
Movement Prep
Touch the Wall Deadlift x 20 reps x 3 sets
Overhead Marching x 15 seconds each side x 3 sets
Curl Goblet Squat x 5 reps x 5 sets
Cheat Clean x 10 reps each side x 3 sets
1 KB Bottoms Up Clean x 5 reps each side x 3 sets
2 KB Single Leg Deadlift (SLDL) x 5 reps each side x 3 sets
Another example of a program designed to gain familiarity with the movements and learn
the proper pattern and positions. Work on the Cheat Clean, 1 KB Bottom Up Clean etc .... is
also included since you should have great familiarity with those movements before loading
them for strength. Again you should adjust the exercise selection and reps to fit your needs
and abilities.
A Quick Note on Reps
Repetition suggestions are only suggestions. If the "program" calls for 20 reps but you start
to lose form on rep 11 then you to stop at rep 11. Period! This is critical not only for safety
but for learning as well. If 11 out of 20 reps are good and the last 9 are poor form then your
body will learn more from the poor reps. Yes you will go through the learning process of
finding your form to begin with (which may include some less than perfect reps) but if you
are now approaching these programs for patterning and conditioning the patterns you
need to stop when form deteriorates.

This is also important for strength work and power work. You should know you are going
to successfully complete the next rep with great form. If you wiggle, shift and compensate
for the last rep it didn't count and you should have stopped with the previous rep. For
power work the set is terminated when the kettlebell slows down. A loss of power (the
kettlebell slowing down) means you need to stop the set and rest before beginning again.
To recap, repetitions provided in a program are only suggestions. Use the guidelines above
and your judgement to stop the set when appropriate regardless of what the program says.
Strength Programs
Strength Program #1 - Deadlift Symmetry, Pressing Slow Strength, Squat Patterning
1 KB Deadlift x 20 reps each side x 1 set
1 KB Single Leg Deadlift (SLDL) Contralateral x 8-10 reps each leg x 3 sets
2 KB Press x 3-5 reps x 3-5 sets
1 KB Squat x 5 reps each side x 5 sets
Strength Program #2 - Deadlift Strength, Pressing Symmetry, Squat Strength

2 KB Deadlift x 10 reps x 5 sets
2 KB Bottom Up KB Press x 3 reps each side x 3 sets
1 KB Squat x 5 reps each side x 5 sets
Strength Program #3 - Deadlift Patterning, Pressing Slow Strength, Squat Symmetry

2 KB Bottom Up KB Squat x 3 reps x 3 sets
1 KB Press x 5 reps each side x 5 sets
1 KB Deadlift x 10 reps each side x 5 sets
Strength Programs can be any combination of Symmetry Drills, Slow Strength Drills and
heavier Patterning Drills. Mix and match to hit the areas you need for your individual
situation. Rest between sets as long as necessary to ensure perfect form and successful
completion of the next set.

Power ProKrams
Power Program #1
1 Arm KB Swing x 10 reps each side x 5 sets
2 KB Push Press x 5 reps x 10 sets
Power Program #2
2 KB Swing x 5-8 reps x 5-8 sets
1 KB Push Press x 5-8 reps per side x 8 sets
Power Programs can be any combination of a Swing Dynami movement and Push Press
Dynami movement including the Long Push Press (even a Long Push Press with a Clean
between each rep). Rest between sets long enough to ensure perfect form and successful
completion of the next set. Focus on speed of the movements
Metabolic ProKrams
Metabolic Program #1
2 KB Push Press with Slow Descent x 5
Superset with
1 KB Swing x 10 each side
x 5-10 supersets
lKb Push-Press with Quick Descent x 10 each arm
Superset with
2 Kb Squat x 5 reps
x 5-10 supersets

2 KB Press x 5 reps
Tri-set with
2 KB Squat x 5 reps
Tri-set with
2 KB Push Press with Quick Descent x 5 reps
x 5-10 Tri-sets
Metabolic Programs are designed to stress conditioning and calorie burning. The programs
listed here focus on switching between Cyclic and Rhythmic Breathing patterns. Metabolic
Programs could also be as simple as timed intervals of Swings, for example: 30 seconds on
and 30 seconds rest of Swings x 10 - 20 sets, or Time Interval Ladders (see below).
Time Interval Ladder

1st Rung/set of the ladder: 15 seconds work with 45 seconds recovery
2nd Rung/set of the ladder: 30 seconds work with 30 seconds recovery
3rd Rung/set of the ladder: 45 seconds work with 15 seconds recovery
repeat the ladder for the desired number of sets
This could be used for any of the Swing or Push Press variations or in combination.
Neural Load Programs

Neural Load Program #1 - Upper Body Focus
Overhead Marching/Walking x 30 seconds each arm x 3 sets
Tall Kneeling Press x 5 reps each arm x 3 sets
1 KB Push Press x 5 reps each arm x 3 sets
Neural Load Program #2 - Lower Body Focus

1 Kb Single Leg Deadlift (SLDL) Contralateral x 5 reps each leg x 3 sets
Curl Goblet Squat x 5 reps x 3 sets
Side Stepping Swing x 10 "steps"/Swings x 3-5 sets

Neural Load Program #3 - Breathing Focus
Goblet Squat x 10 reps
Breathing Ladder Swings (see below)
Breathing Ladders are a technique to match number of breaths with number of breaths
between sets. This forces breath control and slow diaphragmatic breathing.
For example: 2:1 Reps to Breathing Recovery ratio

1 KB Swing Right + 1 KB Swing Left =1 breath "recovery"
2 KB Swings Right + 2 KB Swing Left =2 breaths "recovery"
3 Swings each arm (6 total reps) =3 breaths
And so on ... up to 10 reps each arm with 10 breaths "recovery"
This could also be done on a 1:1 Reps to Breathing recovery ratio (1 right + 1 left = 2
breaths). Rob Lawrence a former RKC first wrote about Breathing Ladders in this article on
dragondoor.com: http://www.dragondoor.com/articler/mode3 /72/
Neural Load training is designed to place less stress on metabolic, strength or power and
more stress on the neurological aspects of training. Overhead Walking or Marching will tax
the stabilizing system/motor control and produce some "shoulder fatigue" but it is a very
different stress than 5 sets of a heavy Kettlebell Press. Heavy Kettlebell Presses will cause
stress to the muscle tissue and increase the metabolic demands of the tissues. Neural Load
training seeks to target motor control but not increase the metabolic demands of the
muscles in the patterns worked.
Breathing Ladders will tax breath control and should be terminated if you hit a panic state
of breathing. Meaning you begin "gasping" for breath or if you have to take more breaths
than planned by your Reps to Breath ratio.
Programming Wrap Up
As you can see there are quite a few ingredients that can go into a given recipe/workout.
The key is to know what you want to achieve from the workout. If you are designing a
Metabolic Workout then be careful about putting heavy Strength work in the mix. Select
the kettlebell weight according to the desired outcome as well. For example: lighter
weights for Neural Load training, moderate weights for Power training, Heavy (for you)
weights for Strength work etc ...

You can cycle the workout goals in two week "blocks" (power workouts for two weeks
followed by strength workouts for two weeks) or mix the workout goals in a weekly
rotation (strength, power, metabolic three days a week for three weeks and then one week
of neural load training).
Remember that all recommendations are just that recommendations not unbreakable laws
and you should follow the guidelines provided in adjusting rep ranges, weights, and
everything in the recommendations to fit your individual situation.
Special Author's Note in regards to the use of the term High Tension and High
Tension Techniques
In the DVD you can hear me talk about using Maximum Tension and High Tension for the
Slow Strength Sections. Some of you may hear this and misinterpret what I intended to
come across in the DVD.
When I refer to high tension and maximal tension I am referring to the use of tension in
preventing "leakages of strength". In a Press if the knee caps are not pulled up with the legs
straight or if the knees are bent this is an area where energy for the Press can "leak" away
from you. But this does not mean you should become a "Frankenstein" lifter with a tense
and robotic effect.
Instead, as Pavel has so eloquently stated, you use as much tension as you can so that it
HELPS with the lift but does not become the FOCUS of the lift.
Being tense is not the goal of the lift but rather the pressing or squatting of the kettlebell is
the goal. Tension just makes the Press better if used in the appropriate manner.
See Pavel's Fast and Loose DVD for details on how Relaxation Drills can help you learn how
to "shake off the tension".

Conclusion
In the end it all boils down to one thing. Patience.

Patience to follow the program from patterning to slow strength to symmetry and
eventually to power. Patience to allow for the proper linking of segments. And Patience in
the earning of and application of power in your training.
This manual has set a suggested path to implement two of the best power moves around.
Please allow for the patience to walk the path and not run before you are ready.
Special Thanks
We would like to send a special thanks to:

Jeff O'Connor
Pavel
John DuCane
Chris Poirier
Danielle Cook
Geoff Neupert
Brian Gill
Paul Liggitt
Reference Section
The Greek word for power (dynami) can be found at:
http://www.redroseministry.org/ glossary_4.aspx
Dynami - power
The Greek spelling for Dynami comes from Google Translate - .6.uva~ r,
Any mistakes in this manual are the fault of the author.

Kettlebells From The Center - Dynami
Following the popularity of the Kettlebells From the Ground Up - Kalos Sthenos DVD and
manual, Brett Jones and I started planning our next project. We wanted to build on our
interpretation of the nature of the Turkish get up. In Kalos Sthenos we introduced the get
up, not as a lift, but as a self-appraisal - a self-screen if you will ... We uncovered a user-
friendly model for mobility, stability, and movement right under our noses. We realized that
the get up was not so much an awkward or difficult lift - it was a way to frequently
reconnect the circuits that give us coordination and are the source of our strength. By
breaking the Turkish get up into 7 steps we forced ourselves and those we train to
acknowledge the fundamental mobility and stability problems that were neglected and
even reinforced with strengthening and conditioning efforts.
By cleaning up the "get up" - we were actually cleaning up movement patterns. Once
movement patterns were clean, true conditioning and performance training could become
the primary focus.
Having Kalos Sthenos behind us - we wanted to introduce the fundamentals of strength and
power training. We wanted to put the focus on a few well-executed exercises and
progressions instead of multiple exercise options. We wanted to create performance
exercises for movement patterns not muscle groups. Once again we chose the kettlebell
since it lends itself to unilateral training at both fast and slow speeds. We wanted to
incorporate kettle bell movement training for the largest crosscetion of our exercising
population - those in fitness and athletics. We also chose basic pulling and pushing
patterns. We also enlisted the help of Coach Jeff O'Connner as a resorce and co-author for
this manual. His insight working with young athletes as well as beat up old strong men has
yielded a consistent theme that fits every thing we do. Clean up movement, master your
slow strength, and then make your slow strength functional by making it fast.
- / aJ:e tifrle to frloVe we/l.. then frloVe o.f'ten...

Gray Cook & Brett Jones - Kettlebells From The Center Dynami - Manual (2010)

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, .

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02010.". Gray Ceolr -.t FUJdio__1Mo"'4?aaeal: 8,rie... U_lIl:1.oriaed _ of eaeio.ed

Copyright 2010 Functional Movement Systems and Gray Cook

Jeff O'Connor, Master RKC

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Page 1 Title Page

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~uvaJ..l r,- Dynami - Power

Pattern Building> Slow Strength> Symmetry> Dynami

Do Not Pass Go! Do Not Collect $200!

Stop here and ruminate a while ...

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Copyright 2010 Functional Movement Systems and Gray Cook 5

Another way to coordinate push/pull workouts is to balance a pushing exercise with a

It's all in the Recipe

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Copyright 2010 Functional Movement Systems and Gray Cook 7

So let's lay down some rules:

Let us discuss each of these briefly:

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Test 1: Spine Flexion

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If the measurement is within 1 hand length you score a 3.

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Purpose: To determine if pain is present while placing the shoulder in an adducted,

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Engaging the Lats (or latisimus dorsi)

Pushing into the Ground vs. Upper Body Pulling

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Sets and/vs. Reps

Stop and take a nice deep breath ...

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There are No Small Points

Lats - Yes, Again!

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Hips Lead the Race

One Kettlebell vs. Two - Or - Speed vs. Load

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Don't Be a Bobble Head!

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Purpose: Introductory drill to learn the Hip Hinge

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same stance you

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Purpose: To feel the loading of the hips with an

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Purpose: Emphasize the use of the lat in the Deadlift

Purpose: Transition from patterning to

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Purpose: Show Rotational Stability against an asymmetrical load and

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Purpose: Increase the load

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Purpose: Assess right and left contribution to the Hip

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