The Science & Practice of Movement | Ido Portal

Ido suggests starting by choosing 'containers' (specific movements like squats, planks) then filling them with 'content' (meaningful engagement). The entry point can be anything, such as focusing on the spine or pelvis, or even starting with playfulness. Education and self-inquiry are key to understanding if one is doing 'movements' or truly engaging in a 'movement practice.'

Ido suggests focusing on non-verbal experiences and the awareness of motion in daily activities. Examples include walking through a crowded street and avoiding touch, or simply rocking in a chair subtly to maintain dynamic engagement rather than static stillness. The key is to recognize the dynamic nature of all activity.

Ido believes that the less developed one's personal practice and understanding, the more external tools they tend to rely on. The 'more you've really worked on yourself, the more high-tech you are,' using low-tech tools like the floor or a wall. This approach emphasizes human adaptability and internal development over external equipment.

The Squat Challenge is Ido Portal's recommendation to accumulate 30 minutes a day in an unloaded, resting squat position. It's meant as a fundamental resting posture, not a strength exercise. Benefits include improved digestion, relief for lower back, hip, and knee pain, and general anti-aging by preserving the body's 'foldability.'

Discomfort and failure are markers that one is 'in the right place' for growth. Neuroscientifically, the nervous system enters a heightened state of focus after a failed attempt, preparing for deeper learning from subsequent trials. This 'ugh' or 'nah' signal is an entry gate to neuroplasticity, essential for progression.

Spinal waves, which involve undulating movements of the torso, can unblock physical and emotional stagnation. While there's no formal 'evidence' Ido offers, he notes experiences of emotional releases during these movements. He believes old traumas and emotions can be stored in the tissues around the spine, and these movements allow for shifting and adaptation.

Drawing on the work of Erich Jarvis, Andrew Huberman suggests that species with elaborate language and true song also possess the capacity to dance. Voice may have evolved first for song, and movement of the body (dance) may have driven the evolution of sophisticated speech and language. Ido Portal agrees that movement is the primary, underlying force.

Collective knowledge, transmitted through traditions (like Capoeira) and teachers, provides techniques and insights that accelerate development beyond what individuals could achieve in isolation. Self-knowledge involves 'digesting' this collective information, making it personal, so 'you are it versus you are doing it.' The challenge is to not be constrained by technical rules but to find individuality.

Vision is a powerful starting point for addressing movement difficulties, as eye movements can be trained to improve broader effects. There's no single 'correct' way; it depends on the practice. Sometimes a soft, panoramic awareness is best for broad engagement and faster reaction times (often neglected in modern culture), while other times focused vision is appropriate. Exploring both extremes is valuable.

Touch and proximity are often limited in modern culture, leading to suffering. Integrating touch in movement practices like grappling or contact improvisation can reduce reactivity, allowing one to control emotional responses. It's also seen as important for 'discharging' and 'reframing' traumatic experiences, fostering stronger communication and connection between people.

Ido Portal suggests that 'visualization' should be 'experientialization,' involving more than just visual elements. It is not very useful unless one has already developed significant tangible experience and feedback from real-world practice. Without real feedback, mental rehearsal can lead to delusions and stronger, but potentially less 'alive,' patterning, moving away from the true aliveness of movement.

Ido encourages 'infusing elements' into existing practices rather than just sticking to fixed linear movements. For example, lifting weights in varied stances (like one foot in front of the other for bicep curls) or incorporating different head postures, breath-holding, or even just smiling or frowning during a workout. The goal is continuous exploration and variation, challenging the 'fixed' notion of 'better.'