Flow Interview – Homero Diaz – Redbull Enduro Rider

Flow Interview – Homero Diaz – Redbull Enduro Rider

Enduro Flow Performance Skills Pilot Stories Tips and Training

Roaring around on a motorbike since the age of four, Mexican Enduro rider Homero Díaz has built a whole life around the world of off-road, two-wheel racing ever since. He’d already won his first race by the time he was eight and is not only a three-time National Mexican Enduro Champion, but also a three-time Latin-American title holder.

We had the chance to interview him and know more about he gets into flow:

Cameron: I guess we start off with what might you know about flow, and what’s your experience is to date, and then maybe go into questions you might have around the state, and then go into a little bit about what we can do in the future, and the rest of it. Sound good?

Homero: Yep.

Cameron: What’s your current understanding of flow? Can you explain a flow experience that you’ve had?

Homero: Well, I’ve been thinking a lot about this since the first message that I got from you, and… I think it relates to that moment… Well, I guess the connection we have, you and I, is because of the sport I practice, right? So, I think the main thing about flow is that that moment when you stop… when you stop seeing stuff and you start feeling stuff. Like, in my sport it’s during a special test or a track or whatever, and you feel more… Like, the way you enter into a turn, or the way the bumps feel, or the jumps feel, or the ~rides~ or whatever; it’s more about feeling than seeing I guess, and it also translates into being on a slow motion… I guess everything goes in slow motion, but it doesn’t mean you’re going slow; it just means that you’re… it comes into your brain really, really clear, that it makes you comprehend it really well. That way… I guess that’s the reason why you feel everything’s coming in slow motion, because you comprehend it really, really well and so clear.

Cameron: Yeah. And can you explain a moment or a previous experience that you might have had, either at a tournament, or just you… your biggest or best ever flow experience?

Homero: Probably when… It comes up a bit more as a surprise when you’re starting to become a better rider, and all of a sudden you start figuring it out. Now with more experience it’s easier to get into that flow, but when I was starting to become a better rider, close to 2003 and 2004 when everything started, when I was racing ~the Worlds~… It would have been like on a very, very long special test during an enduro race, where it was [03:00] probably a 12- or 15-minute special test, which in our sport is a really long special test; a 15-minute special test is a really long one.

When you get out of the special test, and you say “Oh man – it went through reall fast!” or “It went through really easy!” that’s when you understand that something happened. At that time I didn’t know what had happened, but now with more experience I know that I had gone into a really good flow or a really good sense of concentration, and now I can get it really easy. But it takes time, it’s not easy, it’s not an easy process to get into that state of mind. So, probably during those stages—usually I remember that the Scandinavian races were the ones that had the longest special tests all the time.

Like, a really short one was eight minutes and the really long one was a 15-minute special test. That took us about, I don’t know, about 12-15 minutes to ride on the motorcycle. So, being on the same level of flow from the beginning to the end of the special test is really hard, and usually I used to get it from the mid-point on, but when you start getting it from the start to the end, that’s when you know that things are happening the right way, you know.

Cameron: Yeah, for sure. And what helps you get into that space? Is there anything specific that you focus on beforehand, during, after, or you kind of manage in your mind the motions, or externally?

Homero: Well, I guess being relaxed, and trying to focus on that exact moment, although what I like to do is just think on that precise special test. I don’t try to think about the whole picture, I want to focus on that moment only, and then from that special test, when it’s over…

Well, in our sport we walk the special tests before, and we’re not allowed to use any vehicle. Like a bicycle, we cannot use a bicycle to walk the special test – it has to be by foot. So, when I get to the special test now on the motorcycle, I like to focus on what I walked, what I saw, and then try to use little pieces of that special test, and then connect… Like, if it was a 10-minute special test I would probably remember the first three minutes, and then from then on I would remember the second three minutes, and so on.

Because sometimes it’s just too much information to learn right away, so when you know how to divide a whole in fractions, it’s really easy to become one with the track and one with the motorcycle, and that way at the end you start flowing more and more. You know, as I told you before, it’s hard at the beginning, at the beginning of a sports career, but then with more experience you learn how to connect each and every dot with more accuracy and more speed.

Cameron: So you break the course down into small little steps, remembering each one. Do you visualise what’s your perfect route between it, and then the next bit and then the next bit, and then add them up as you go along? Is that what you’re saying?

Homero: Yeah, exactly. And the way I do it is I try to… I try to relate little things which can make me remember the whole course. I don’t know, let’s say if I was walking the test with one of my buddies and he started all of a sudden talking about the party he had a few years before or one week before, I say “Okay, this is this straightaway where we talked about the bar or the party.” you know, and then we… I relate that session to memorise the next thing. And then we say “Oh, look at that tree – it looks like a bird!” or whatever, and then I say “Okay, okay – this is a turn right before the tree.” and then we see whatever, or we hear a sound “This is the downhill right before we heard the sound.”

You start… It’s a bit… It’s a bit hard to explain, but once you start connecting all those little things that happen, all of a sudden you’re going to remember a 12-minute special test; exactly where you need to break, where you need to ~stand~, where you need to accelerate, what kind of obstacles you need to avoid or what obstacle you can use to increase the speed on a little section, you know. I’ve done many, many races all over the world, and I know how to relate to make it easy to remember.

Cameron: What do you do just before the race starts? Are you focusing on those small little chunks and visualising your way around the course, or what are you doing? Because obviously the heart’s beating, you’re getting aroused. What allows you to plug in?

Homero: Well… Usually we talk about before a race as like 30 minutes before or so, but I like to talk about before a race the night before a race, which is one of the most important moments, because the way you sleep is going to be the way you race most of the time. So, when I go to bed before a race I try to remember all the little things that I saw during my ~walk out~, you know, and that’s the way I fall asleep. I close my eyes and I start remembering the whole track or the whole course, and if I fall asleep before I finish the track that’s good, that’s no problem.

But you have to start getting into your racing mode before the race, and that way the next day you wake up and you’re starting to get more ready and more ready and more ready. It’s like going into a room, getting ready. When you start getting closer you start feeling it; every step you feel it more and more, and you need to be more concentrated. I mean, most of the riders that I know, the professional riders, we get into a sense that… I don’t know, it’s either you get more serious, or you get louder, or you smile more… It all depends on how you approach your race.

For example, I just get… I mean, I’m a… Outside the races I like to be very smiley and a very funny guy and everything, but when the race goes, when I’m starting to get close to the race it’s racing mode, and you get really serious, and that’s when… I guess that’s sometimes when the people know you, they know you when you’re racing, and they say “Oh, this guy is really cocky, and this guy is really serious, or this guy is…” Because that’s ~our office~, you know, that’s what we do for work. I’m going to work to the races, and I’m just being serious, because I take it really, really serious. And that’s a state of mind also, because that’s… We’re used to getting serious when it’s time to work, you know.

Cameron: That kind of leading up to… so maybe from 30 minutes until before you start, do you have any kind of preparation? Do you try and listen to music, do you try and zone out, do you try and have a laugh, do you just try and relax, or you focus on doing your equipment? Would you have a…

Homero: No, I… Most of the time I have rubber bands hanging on the canopies or the tents on our team, and I start warming up, doing a lot of moving. I usually start from the bottom up – ankles then calves then knees and so on until the neck – and I’m… I don’t know, I have this idea that I need to start sweating before the race starts, and that’s how I want it, that’s how I want it to be. It helps me get in the mood a little bit easier. I’m already having my muscles a little bit ready, my heart rate is a little bit up, and then everything starts to click in, and then… You know, when I get to… We put our bikes in [~3, 13:27] or the impound, we impound our bikes 30 minutes before, so we have those 30 minutes of free time to warm up or do whatever we want.

So, from the moment we impound I start doing all my warm-up, and I prep my goggles and everything… I prep all that just to have something to do during my free time. And then once the race starts it’s just… I mean, again, go with the flow, you know, whatever happens happens. But I try to concentrate on every special test, you know, I take it easy… Like, when I go to special test one I remember special test one – that’s it; I don’t have to start remembering about special test two. Then when I get to special test two I remember only special test two. I like to divide everything by fractions. And then if we’re going to be doing at the end of the day 16 special tests, you know, it’s just that; just remember pieces, little pieces of the whole thing.

Cameron: And what do you do in the last 30 seconds before the lights go on, or you’re ready to go? What are you focusing on, what are you preparing?

Homero: Well, I have a… Like, every single time right before starting a special test I put the bike in neutral, and then I… Let me show you what I do. [laughs] I’m like this, and I’m like… I do my hands like this and I rub them, I rub my hands to create a little bit of energy that way, and that way I can… Like, you know, if you start thinking more about energy and becoming one with your own self and all that, and especially when… I was taught by my dad that when you do this you cannot be sad, you know. Like, if you go like this you always smile, and you create energy, so that’s one of the things I do. I clap my hands, I clap my hands really hard, then I rub them, and then I start. And you’ll see me do that in every single special test from 2004 to today.

Cameron: Yeah, nice! Perfect – that’s a really good cue!

Homero: Yeah. [laughs]

Cameron: Yeah.

Homero: That’s my… That’s my secret! [laughs]

Cameron: Yeah – awesome! Have you ever tried to feel that energy? So, when you rub your hands, and then you keep rubbing them, and then just between… Can you feel like almost as if you’ve got two different magnets pushing against each other?

Homero: Yeah, yeah, yeah. 

Cameron: Can you feel that?

Homero: Yeah.

Cameron: So then do that, and then try and widen it and get it kind of bigger, and you might need to push in to feel that resistance, so almost you can feel that energy. Can you feel that?

Homero: Yeah, yeah.

Cameron: Yeah? And then try and get it big so it’s like a football.

 

Thanks Homer for this interview

 

 

Flow Interview – Matt Whitfield, Naval Aviation Pilot

Flow Interview – Matt Whitfield, Naval Aviation Pilot

Aviation Flow Performance Skills Pilot Stories

We had the chance to interview Matt Whitfield about his experiences with flow while flying the skies.

Cameron:         Hello and welcome to another flow session! We’re very lucky we have the presence of Matthew Whitfield who’s a lieutenant commander. He spent 20 years as a naval aviator pilot and instructor, and spent the last eight years flying as a display pilot for vintage jets. We just wanted today to talk to you a little bit about your own experiences, how you might have experienced flow and how you felt within that flow experience, and also maybe to highlight to others who are looking to find flow more frequently in their lives, just one or two nuggets that you’ve used in your past that you might be able to communicate. Take us through a short memory that you have where you were intensely in flow, just briefly describe the situation and then how you felt during it.

Matthew:          Okay, certainly. I’ve given this some thought and I had a choice for two, one of which was flying a Harrier alongside an aircraft carrier at night, decelerating into the hover and coming across the deck and land; that was one. But what I think I’m going to talk about is the moments that are required in preparation for a display in the world’s only flying single-seat twin-engine supersonic fighter, so we’ll do that one I think, that was the Sea Vixen. I last flew that in 2013, and I picked up some incredibly good habits from the other guys in the Navy over the years. For me the flow… we would jokingly call it your happy place, the place at which you know you’re cooking on gas, you are delivering your A game, that you’re going to be safe, accurate… I suppose we used to say of display that a display can either look good, feel good, look bad but feel good, or look good and feel bad, there’s always a combination; when you’re in flow, you get both.

So, for me the flow would start, or understanding I was in flow was part of this environment we have across aviation now, certainly in the military, of getting into the bubble. A bubble is a metaphorical shape that you are in, and everything else you need to perform to the best of your ability is within that bubble for you, and I’ll give you an example of what sort of stuff that is. That is you’ve had a quality weather brief, a met brief, you’ve chatted with your engineer about how the aircraft’s been the few days before the performance, what it was when you last flew it, that you’ve had a quality brief from the display organiser, and that I’ve had time between that brief and my show time, the time I’m expected to display, I’ve had plenty of time to sit and be at peace and mentally rehearse what I’m about to do.

That involves for me certainly closing my eyes, and I got into the habit of actually doing it before I even got to the airfield. It might be on the bus there or in the hotel room, but certainly in the moments before we fly, before I climb up the ladder, get into my happy place as I’m strapping into the aircraft. The last four or five minutes I’d be in my flying kit, we’ve done the brief, I’ve out briefed – the last brief we have for everything – signed for the aircraft, spoken to PK, the engineer, given him my helmet, and then I just stand there with my eyes closed and visualise where I’m looking in the cockpit, where I’m going to look out of the window, what I should expect to see between each manoeuvre, the speed I should be at and the altitude I would anticipate needing to be at to be able to complete each manoeuvre.

Cameron:         Okay. What sort of manoeuvres are you talking about?

Matthew:          Nothing extreme. It’s an old aircraft, we’re limited to 4 g [four g-forces] so there’s no what we’d term looping manoeuvres. Most people I think can imagine what a loop is: you fly along, pull all the way around upside down, and once you’re upside down a loop you’d continue that circle and come around. There was no need to do that with these aircraft; people don’t come and marvel at who’s flying it, they want to see the aircraft and listen to the sound, so there was no need to do that. So it was just being able to link each manoeuvre seamlessly together, there was no need to try and punchy and snap and “Oh, look at me – wow, brilliant!” it just should be a very graceful linking of stuff.

I always found it was very important to have that four or five minutes before I climbed up the ladder and strapped in, the PKs strap me in, listen to the radio, put my oxygen mask on, take one of the pins out on the ejection seat, and then just sit there listening to the radio, taking a few deep breaths.

I now know that was mindfulness type stuff, but I would do it just to calm down; adrenalin was rushing, there could be tens of thousands of people there waiting, and there’s never a guarantee you’re going to get airborne, these are old aircraft that may or may not have a snag when you start up. But I can put my… [laughs] I could see myself do it, the steps up the ladder, the sound of going up the ladder, the feeling of the leather flying gloves, the knowing I’m going to be hot because it’s the summertime – I’m wearing a green flying suit, I’ve got a g-suit on, I’ve got a life jacket on, I’ve got a helmet that’s green so you’re warm – and strapping into the aircraft, sitting into a seat… And the smell of the cockpit… You know, these old aircrafts have an absolutely distinct smell, and that, again, helps me go, “Ah, I know what I’m about to do now.”

Cameron:         Yeah, so that kind of primed you almost in a ritual to get to that happy place.

Matthew:          Yeah. It was the same on board the carrier, on Ark Royal, that process of carrying your helmet across the deck, saying hello to the plane captain, having a polite chat with those going up the ladder, check your ejection seat and then walk around the aircraft, and you were then on the flow, the flow state was increasing because it was a ritual. There was things you would check before you get into the aircraft, there were things and a process you go through about starting one of these aircraft. You don’t just go, “Oh, a bit of this, a bit of that,” it’s an absolute process and there’s good reasons for that because mistakes get made. So that’s before we even got airborne, that’s how it is. [laughs] I’m still thinking about going up that ladder, a little red ladder on the side of the aircraft!

Cameron:         [laughs] Those experiences can suddenly bring up a lot of arousal and memories and emotions. When you’re actually in that experience, you’re flying and you’re being as graceful as you possibly can, trying to get your timing absolutely perfect, what are the… If you were to describe to someone how that felt when you’re in it, and I know you’ve had a brief look at the nine dimensions of flow – and maybe if you can relate to a couple of those, fantastic; if not, no problem – but just give us a description of how it felt to you being in it.

Matthew:          I think without a doubt, and other people who’ve done this, it’s the control element, that the environment you’re put into to display a historic jet at an air show is very controlled. There are gates you have to make – your paperwork, your medical, the weather, etc. – but actually me in the flow, it’s the control, knowing that on previous occasions if I’ve thought I could’ve done better about something, when I’ve reflected back on that or debriefed with the guys, I’ve spent time mentally rehearsing those moments so it’s embedded in my brain so things happen automatically. Yes, I think about it, but I know that as I roll out what I should see as I put wings level, I’ve got two seconds with wings level to make sure I’ve got full power ~to patch up~ 390 to 420 knots at 4 g, and I know what line in the ground I’m not allowed to cross, or the rules say you’ve got to be up away from the crowd, the rules are very strict.

So it’s the control for me, knowing that I’m in control of the aircraft; if I cock up, it’s my fault. There’s no excuse blaming the wind because I’ve been briefed on it, I’ve mentally thought about that before I got in, and I… I suppose a sense of pride of what I represented, the Royal Navy, the fixed wing service, the aircraft carrier, you don’t want to let people down and I think there’s a lot of self-pressure on that front. But the control elements of knowing that my right hand isn’t squeezing all the buttons out of the control column, out of the steer case… I’m very relaxed, my right arm is relaxed on my knee, my feet are on the pedals, I’m strapped into the seat but I’m still completely free to look around and out of the window for those visual cues that I know I should be seeing, and my left hand is quite relaxed on the twin throttles, on the two engines, and that’s where my hands stay until moments I need to flick a switch. But I know that’s coming, I know when I need to flick it because I’ve practiced.

Cameron:         When you say control, what is really noticeable for you in that experience? Is there a pressure to be in control, or do you actually feel you almost have like a limitless control?

Matthew:          It’s certainly not a pressure to be in control, it’s a function of flying these aircraft; I don’t have 320 passengers on board, I have nobody else on board, it’s me in this aircraft in an ejection seat if it goes wrong. It is knowing I have the capability to do it, the aircraft has the capability to do it, and when I’m in the groove, on my A game, it happens, it will be a seamless… You might go too far into wind, reversing… “Okay, ease off the rate of roll here because it will look seamless.”

Cameron:         And where’s your attention during that time? When you’re in that zone and you’re saying you’re looking for visual cues, where else is your attention?

Matthew:          Several areas. Because of course you’re using your ears, there is an element of using the ~seat of the pants~ stuff, understanding when you’re still pulling or you’re pulling harder. So visually your eyes are flicking between the cues you need out of the cockpit – landmarks, the runway or the display line you’re flying to: it might be the air traffic control tower, the lines on the ground that are marked out for those of us flying – but there are key moments when you absolutely need to be looking at my air speed and the altitude I’m at, or it should actually be the height of course you’re above the airfield.

Because I need to have control of my energy state, the aircraft’s energy state. If I’m low-level, I need to be faster to have enough energy, that when I pull up I convert the kinetic energy into potential energy, I’m converting my speed into height, so I know that when I pull up using 4 g I’m going to have 4,500-5,000 feet, which is ample height to continue the next manoeuvre. I won’t be the type of chap who pulls up at 350 knots and thinks 4g, he’s going to end up at 3,000-3,500 and he hasn’t got the altitude or the height now to finish the manoeuvre. So your question about where is your attention… Your eye… I’m very strict on where I look at particular moments. Before I pull up I want to know my speed. When I’ve pulled up and I’m upside down before I roll out, I need my height, and there is an element of speed because of course I then need to roll; it’s no good rolling when I haven’t got enough speed.

Cameron:         That situation you explained to me just then made me think there’s a hell of a lot of decision-making that happens instantly in that second or however long you’ve got; and they’re critical decisions, the wrong decisions can lead to disaster, etc. It seems from what you’re saying that a lot of that doesn’t happen necessarily consciously, and I almost had this picture in my mind as you were explaining the energy resource of that plane almost as if it was your own body.

Matthew:      Yeah.

Cameron:         That’s how it… The picture came to me that you’re almost examining the plane’s energy levels as if it’s your own and almost feeling like there’s a heartbeat in there.

Matthew:          Not necessarily a heartbeat, but there’s not one of us who flies for the military I don’t think – the Army  Apache pilots to the Royal Air Force Hercules pilots – those of us who are on your own in an aircraft, millions of pounds worth of training put into you and millions of pounds worth of aircraft… If you strap that aircraft to me, that’s how I envisage it: I go up that ladder, settle into the ejection seat, strap in the five seats and then it is part… It’s part of me, we’re now a team, me and the aircraft, we’ll do this – definitely you strap that aircraft to your back. And the colleagues of mine over the years, especially when you’re on board or back at Yeovilton in Somerset… You do, you are part of that weapon system… Through the incredibly difficult, tough training you go through, to be successful you have to understand why it’s important you’re like that.

Cameron:         Thanks for sharing that story, that’s a really great insight. What’s your challenge to get back into that state, where everything happens seamlessly and decisions are made real time? What’s you find your biggest challenge is to get back in there?

Matthew:          Distraction, and it has happened. For those eight minutes when Sea Vixen clear take-off… That’s it now. That flow is there, we’re there, we’ve got eight minutes now before I land and taxi back in, and my flow state stops when the ejection seat is safe, the canopy is opened, I’m unstrapping and carefully getting out. Distraction is what breaks the flow state. That can be air traffic, it can be another radio call you weren’t necessarily anticipating, but for me it has been air traffic, it routinely would… Through no fault… It’s quite right, they should make this radio call, but it wasn’t what I was anticipating, and it does just stop the flow and you have to dismiss it if it’s not relevant to you, and of course typically it will be relevant to you so then you have to adapt.

Cameron:         Great stuff. I know you’ve had a brief look at the 12 steps to flow, which is our framework for how people can focus on finding flow more frequently. I know we haven’t gone through them in depth at all, but are there any that just instantly spring out at you that you think, “Yeah, this is definitely something I’ve focused on over the years to help me get into this happy place.”?

Matthew:          It’s number four for me, mastery. You only need to mess up once in this business and you’ll never be invited back to do it again, there’s no ifs or buts and it is pretty black and white. So mastery, being able to understand that people want to see the aircraft, they don’t really care who’s in the aircraft. There are aeroplanes that people want to know it’s “Wow, look at the Red Bull Air Racers, aren’t they incredibly talented at what they do?” but in vintage jets it’s the aircraft they want to see. So it’s being able to relax off the pressure of me and understand I can now master what I need to do to deliver. That’s why I took it perhaps too seriously but very seriously this rehearsal, this understanding I’ve been able to get in and deliver. And I take time to understand, “If something went wrong at this point what are my options? If I hit a bird at this point, what am I going to do? If someone drives across the runway and drops something on it and blocks the runway, where am I going to go, where will I divert to? If I have a fuel flow problem, have I got the capacity… Well, I don’t want to find that out during the display, do I? I need to prepare for that on the ground so that if something happens I know what I’ll do.” So mastery certainly I feel is relevant. Yeah, I’ll stick with that.

Cameron:         Okay, great stuff – thank you! Coming to more of a wrap-up of this conversation – and thank you again, Matthew, for your time – if we could leave some parting advice to a young aviator, or maybe someone in a different sport or activity, or a musician who is looking to find flow more frequently… In terms of finding flow more frequently in that bubble, what’s one advice that you’d want to impart?

Matthew:          Find out what it is that puts you into that calm state, that you accept your adrenalin is surging, the pressure to perform, but find out… Is it just a couple of deep breaths and a smile, think of your wife or your children? For me it was just take a deep breath, close my eyes… and understand what it is I’m about to do, and aren’t I incredibly fortunate to be in a position to do this, just to… [takes a deep breath and exhales] smile at PK, shake his hand, get up the ladder.

Cameron:         Okay, fantastic – I’d imagine that would help manage the stress and get you to an arousal level that you would probably want to be at for flying.

Matthew:          Definitely.

Cameron:         Fantastic!

Matthew:          Thank you!

Cameron:         And lastly, we always ask people what is their biggest challenge or biggest fear in your life so we get some relativity to someone who has been at the top of their game in very pressured situations. What’s life outside the cockpit for Matthew and what’s your biggest challenge moving forwards?

Matthew:          Life outside the cockpit, my biggest challenge… Hell’s bells! [long pause] I think, interestingly enough, it’s being able to accept that that position of flow, that incredible feeling I’ve had as a display pilot, I’m going to find that elsewhere in life and there will be other things. That can be as being a parent, a husband, or in my new career as a professional coach, certainly. Very recently I’ve had that moment of going, “My goodness, things are happening… having thought about it and rehearsed…” It’s come back in a completely unexpected situation which I wasn’t prepared for if I’m honest! [laughs] It was good, it was a good feeling though, it was… I was going to say it was addictive, but I’m not saying it’s addictive. It’s just a very intoxicating feeling for me when you’re in flow. I know what it’s like, I know how to put myself in it and I’m going to take it across into my new career.

Cameron:         Great stuff – thank you, Matthew! Thank you for listening, we’ve had some fantastic stories there and some advice about how important focus on mastery throughout your training can be, especially when the consequences can be very high, and the feeling of control when you’re in that flow moment and how you can feel so connected and at one with the equipment around you, that that leads to that instant decision-making and perception of control within that bubble. We look forwards to bringing you some more flow sessions, thanks for tuning in and please get in touch if you can relate to any of these stories, we would love to hear your perspective about it. Bye for now!

Flow Interview – Sarah Hendrickson – World Champion Ski Jumper

Flow Interview – Sarah Hendrickson – World Champion Ski Jumper

Articles To Inspire Flow Performance Skills Quotes Stories

For those that don’t know Sarah Hendrickson, meet one of the most exciting female athletes around.
Sarah Hendrickson is an American ski jumper who won the first ever women’s World Cup season in 2012. She is a 22-time World Cup medalist and 13-time Continental Cup medalist. It goes without saying, but we were delighted to catch up with here and even more delighted to have her on board The Flow Centre.

Her career highlights include:
• 22-time World Cup Medalist (13 Gold, 6 Silver, 3 Bronze)
• 13-time Continental Cup Medalist (4 Gold, 4 Silver, 5 Bronze)
• 2014, Olympic Winter Games, 21st
• 2013, World Cup, Second Place Overall
• 2013, World Championships Gold Medalist
• 2012, World Cup Overall Champion
• 2011, U.S. Normal Hill Champion
• 2011, World Championships Normal Hill 16th place
• 2009, World Championships Normal Hill 29th place

Anyway, enough intro, let’s get on with what Sarah had to say.

Cameron:
So tell me about your flow experiences.

Sarah:
I think that time at the world championships. I remember being at the top and just so nervous. I was like “I can’t feel my feet right now! I don’t know how I’m going to do this!” and then I got to the bottom after my second jump, and obviously had won, and it was like something else took over my body, because there was so much pressure and everything. I don’t know how I performed to that level with that much pressure, my mind just took over and muscle memory and everything. It was like “Okay, you know what to do subconsciously, and just focus”. It’s kind of hard to explain.

Cameron:
Yeah, especially when you remember it. You get all those feelings and tingly sensations, and then you’re like “But, but… How did it happen?!”

Sarah:
Yeah, exactly!

Cameron:
So, describe some of the characteristics that you might have felt during it? You said everything felt amazing. Can you go into a little bit more about how that felt, or what you feel you experienced?

Sarah:
I guess effortless is almost the right word. Your body is doing all these things, but it’s subconscious, you don’t have to think about it right there. It’s hard to explain, I guess effortless and flawless, almost numb. But that’s the first experience I think of when you describe flow, the world championships in Italy in 2013.

We have two jumps and I was winning after the first jump, then we jump in reverse order, so I was going last on the second jump. The girl before me was within a small margin of me; she jumped and I could hear the crowd cheering. I was just trying to block everything out and focus on myself. I remember thinking “My feet are numb!” I was kind of freaking out, thinking “How am I going to pull this off?” then I was just like “Well, nothing to lose now. Just shake it out.” That’s when the hours of training comes in, the muscle memory, your mind just goes into reserve mode, just don’t focus on the pressure, don’t focus on the small details; everything will run its course.

Sochiskijump

Cameron:
What did you do to help you focus and get into that state?

Sarah:
I blocked out the outside world. When I’m jumping, I’ve been jumping for 13 years now, I just focus on one or two really simple things. It doesn’t mean anything to the outside world because they’re technical terms for ski jumping, but I relax my arms, balance and timing. Timing is so important in ski jumping, timing and rhythm. So, I just pick those two things that I had been focusing on and just zero in on that, everything else will just come. I didn’t need to focus on the other stuff because I was in that mind set, the muscle memory or whatever would just take over.

Cameron:
When you focus on it, do you repeat the words, like relax your arms? Or, do you almost use the words to brainwash yourself? How do you focus on it?

Sarah:
Yeah, exactly! Part of me is hearing the announcers and people calling scores or whatever of the girls in front of me. So, I try to speak to myself as loudly as I can in my head so that I don’t hear the outside. I’ll even try and shake my head so that I don’t hear. I just don’t want to hear that, you can’t think about jumping a certain distance, that’s not how it happens. You have to focus on the miniscule things, that’s going to make you jump further. Repetition and even whispering words out loud sometime, or just yelling in my head.

Cameron:
What else do you think helps you get into that zone? Is there preparation that you might do leading up to it the morning of, the evening of? Or anything else that you do as you’re walking up the steps, preparing, or when you’re sitting down, or just before you take off?

Sarah:
Yeah, repetition actually, and not just in words. I have the same warm-up routine that I do a certain time before a jump. How I put my equipment on and stuff. I’m kind of OCD, so those things are just zeroed in. I know exactly what time I need to put on my stuff, when I’m waiting at the top, 10 jumpers before my tie my boots a little tighter the step out and start putting my skis on. Repetition is really, really important for me, just doing the same thing over and over, and I do it the same for training. You need to compete like you train and train like you compete. Have that same physical repetition and the mental preparation the same every single day.

Cameron:
Do you have any other big flow experiences? Maybe one that tops the world championship?

Sarah:
It’s a bit different, because I didn’t have a good result, but I guess doing the Olympics. I had some serious surgery about five and a half months before Sochi. I managed to get through rehab, but I just wasn’t as prepared as I wanted to be, but my coaches felt like I deserved to be there.
The training days leading up, my knee was in so much pain and I knew I wasn’t mentally strong enough and prepared to be there, then on competition day I got unlucky with the wind. But, my practice jump that morning, we always get one practice jump, my coach just looked at me and was like “Oh my God – that was a million times better!” He was like “You showed up for game day! Regardless of the pain you’re in and everything you’ve been through these past six months, you just put it all aside, and your body knew exactly what to do, and you had an awesome jump!”
I was just in that kind of mindset. I just pushed the pain away, pushed every doubt and piece of junk that I’d gone through out of me and just had a normal jump. And my coaches saw it. The coaches from the other nations saw it too, it was kind of crazy. It was like even though it had been a while my body still knew what to do.

Cameron:
What helped you jump that morning?

Sarah:
I don’t know! I just thought “Don’t have any regrets. You’ve Sarah1trained so hard to be here. Maybe you’re not at your strongest but you’ve worked so hard, now let’s prove it”. I had to change my warm-up and everything, my knee was so bad I couldn’t even run. But I figured I’ve got three more jumps today, then I’m done. After today I can just rest and reassess everything. I had another surgery after that, but it didn’t matter at that point, I was just like “Show them what you’ve got!” I’m ultra-competitive obviously, which makes it easier to get into that mindset.
You have to find a balance between focused and almost not too serious, though. If you try to hard when you’re super competitive in ski jumping it just doesn’t work. We all say that technically, it’s a very simple sport, but it’s against everything that your body wants to do, so when you get too focused there’s no flow to it. It’s too choppy; it’s not smooth and out of rhythm. So when you stay relaxed and just focus on a couple of things everything is much smoother, develops the power better and it all just comes together much better than trying to force it.

Cameron:
So what do you do to help yourself stay relaxed?

Sarah:
Well, I’m friends with a lot of the girls from the other nations, so we’ll all be talking at the top of the hill, kind of joking around before getting ready to go. Like if it’s been a bad day and I’m kind of down on myself I think “I’m not going to pull of the best jump right now, but look at the view! Think how hard you worked to get here, you’re so fortunate to be here.” I just kind of step back and make the most of the situation, because competing is really stressful. This is the best job in the world, but it’s stressful.
Sometimes that’s easy to get down on, then I think “why do I put so much pressure on myself?” I try to step away from all that negativity and just appreciate where I am. You can’t have a good day every day and the people that really matter, the ones closest to me, they know that I’ve worked really hard to get here and are just like “Alright, shrug it off, you can’t be on top every single day.”

The Flow Centre would like to take this opportunity to thank Sarah Hendrickson and the Wasserman Group for their time and energy.

Flow Interview – Chris ‘Douggs’ McDougall – World Record Holder – Base Jumper – Skydiver

Flow Interview – Chris ‘Douggs’ McDougall – World Record Holder – Base Jumper – Skydiver

Articles To Inspire Flow Performance Skills Quotes Sports Stories Tips and Training

When we went in search of the ultimate base jumper and skydiver, we expected to find someone extraordinary – someone who was used to pushing the limits and had the ability to freeze time. When we finally hooked up with Douggs he was everything we had been looking for and more. Douggs’ wealth of experience is nothing short of outstanding.

Douggs has felt flow frequently, in multiple arenas, and when he is not pretending to be Superman he is a motivational speaker, TV presenter, commentator, author, film maker, and stunt man. Douggs is one of the world’s most experienced BASE jumpers, respected both inside and outside the sport. He is a World Champion, World Record holder, and completed well over 3200 BASE jumps and 7000 skydives across more than 42 countries.

His list of achievements and highlights include: 2014 World Wingsuit League, China – 2013 World Record for most base jumpers jumping indoors – 2013 First ever BASE jumps in Kuwait from Al Hamra Tower – 2013 1st place in World Extreme Base Championships, Spain – 2013 1st place in Accuracy Competitions in both Turkey & China -2012 World first night human slingshot, Dubai – 2011 World BASE Championships, 2nd place -2008 UK ProBase ‘British Open’: Overall Champion – 2003/04 BASE jumping World Champion: 1st place Aerobatics, 1st place Team, 1st place overall – Many expeditions throughout remote parts of the world including, Baffin Island, China, Norway, New Zealand & 37 other countries -1998 – 2003, 6 time Australian National Skydiving Champion in 4 way and 8 way RW – 2001 – 2003 Australian team member for World Championships – 2002 World Record: 300 way skydive – 12 Gold medals in various state events – and much more.

As you can imagine, our interview with Douggs was very insightful.

chrismcdougall-square-big

Chris:     
In skydiving and base jumping it’s (flow) called the zone, but I’ve never heard the actual technical term for it before.

Cameron:   
Yeah, yeah. It’s called different things. Jazz musicians call it ‘being in the pocket’. Different people have different names for it, but everyone knows it when you talk about it. You know, it’s that moment where we’re completely engulfed and everything’s just at one, we’re highly connected and time seems to pause, but then you come out of it and then time forwards winds, and you’re like “Oh my God, what just happened?”

Chris:  
I’ve written a number of articles it. There’s no past, no future, there’s just this present. I call it the now.

It’s an incredible feeling. And once you submit to it, that’s… Like, when you’re shaking on the edge or whatever, and then you commit and submit and take those three deep breaths then everything goes still and quiet, and then that beautiful silence that first second is just incredible…and then off we go, and then that’s when you hit it.

 

——————————–  Chris on starting out  ————————————-

 

Chris:  
Base jumping has been the best thing ever for me because it’s allowed me to take everything I’ve learnt in jumping and take it to ordinary life, which has just given me endless possibilities; there’s no negatives, only positives. There’s only… You know, the cup’s always half full now. I think that’s the right one. [laughs] Do you know what I mean? Like, I was lucky I got into base jumping super early and found it, and it just blew me away. I mean, on my first skydive I still blacked out for over five seconds, you know, so my brain wasn’t able to process that information at all.

But then I was intrigued by that, went straight back up and did another one. I’ve never been able to get that sensation again, except for—the closest I ever got was when we did a human slingshot a couple of years ago in Dubai, and long story—there’s a video online about it, but we were shooting out so fast that I think we were doing zero to 200 in about a second, about 6-7 Gs, I was able to process the information, but I was almost on my limit of processing it, it was interesting. It’s the only time I got that sensation (complete shut off) back since my first skydive.

I think it’s called sensory overload. It’s where your brain is just receiving too much information and it shuts down. But yeah, you never get it back really, so it’s interesting. I’ve always been intrigued from day one about it all.

 

——————————–  Chris on his flow experiences ————————————-

 

Chris:  
Just when you see I’m in a really good state of flow I generally smile [laughs] because it’s just…I’m actually really relaxed. So, that jump (where I was smiling)… It took us five jumps that day to get to that point.

(When in flow) You can just see more, so I see things off in the distance, the cameraman sitting there, and I saw 15 seconds flying past at about 200 Ks/hour, and I smiled at him as I went past super casually. So, that’s… everything’s sort of… Almost happy. [laughs] Like, in this calm trance-like state, but like The Matrix, you know, like “Sh**, it’s actually moving fast” but you’ve just made it all stand still. That’s when I really enjoy it, because everyone’s like “Oh wow, you must get this big adrenaline rush when you do this!” and I’m like “I don’t actually.” [laughs] I get really, really calm and really tranquil.

I was just doing some stuff out of my comfort zone this last week, and sh**’s moving fast still, but when we get comfortable then everything just slows down and it’s just poetic almost; it’s beautiful.

You almost ~not~ feel invincible, that’s a good word for it. You’re just… you’re on another level to everyone and everything around you. I mean, that’s animal instinct, that’s what animals get. They’re always in flow [laughs].

Another way to explain it is, when we jump off a waterfall ~and~ jump in snow, you ~hit~ that microsecond of a point where everything stops, and if you’re in flow, which I generally am, you’d stop for a lot longer than a microsecond. You’re falling at the same speed as the water droplets, or the same speed as the snow, and whilst it’s only a microsecond you can make it last for seconds, and then it speeds up really quick! It’s exactly like the movies basically.

I mean, that’s what The Matrix did, The Matrix put flow into cinema, in my opinion. I always use The Matrix as my way to try and explain it best to the layman, because it shows it clearly on cinema how it all works.

 

——————————–  Chris on his flow limits ————————————-

Chris:    
In traffic (driving)…I can ~miss~, I can can ~swirve~ and miss and do whatever, I just process that information really, really f**king quickly. And then — one that really stands out, my cousin’s a very good motorbike rider, and we did this trail riding – super fast, super thin – and I couldn’t (find flow) —it was the first time when I was like “Mother f**ker! I can’t keep up with my cousin!”

When he’s riding a bike he’s in flow for sure, but I couldn’t get there – I’m not good enough on a bike. That was the first time I really understood that I wasn’t… not invincible, and I can’t always find flow. Do you know what I mean? Because you walk around just feeling… not better than everyone else, just… like, you f**king own it all the time, you know, and that’s what makes a champion as well; you’ve got to be able to own it. Confidence and arrogance is a fine line, but you’ve got to walk that line all the time, you know.

More arrogant when you’re younger, more confident when you’re older. [laughs]

 

——————————–  Chris on his preparation for flow ————————————-

Cameron:   
What prep helps you get into flow?

Chris:       
For me, training and visualisation for sure.

I mean, I jump all the time, and I’m doing extreme sports all the time. When I’m speed flying, I’m absolutely in flow when I’m speed flying as well, but not while I’m on skis, because I’m a sh** skier; as soon as I take off I can do anything. But training for sure. And I think over time being in mountainous environment and an ocean environment so much… you adapt.… Do you know a guy called Dean Potter?

Cameron: 
Yeah.

Chris:     
Very ~advanced~ climber. He’s a good friend of mine now, and watching him in the mountains is just… He is a mountain man, you know, because he can adapt, he’s done so much time in the mountains that it’s second nature for him. He doesn’t use ropes pretty much ever. He can just climb mountains because he’s put himself in that situation. Same as the watermen, your Laird Hamiltons and stuff like that. If I put myself in a situation long enough then the more… And also, I do seminars on aerobatics in base, and what I learnt from doing hardcore aerobatics… You know, like from 450 feet doing four or five flips or whatever… Starting from single flips, learning and then pushing, pushing, pushing, pushing, getting to a point where… Like, for us it’s that we have to, I have to accept my own limitations way earlier than I would like – because I don’t want to die, you know – so I don’t run at 100% ever really.

But, what I’ve learnt was that coming back from say doing four-five flips on a jump to doing one flip on a jump opens the world up way more. So, you sort of need to push yourself that harder and see with blinkers on, to then pull back and be able to see the world with open eyes. That’s really interesting, and it’s very hard to tell a 20-year old kid to do that because they just want to go crazy. But after coming full circle I don’t generally do all the big flips anymore, I just do the slow rotating ones. I’d be upside down, waving at people in a restaurant off a building or something, because I’m in the flow. But being able to do heaps of flips first has helped me reach that perspective. So, now my brain expects me to do all that stuff, and then when I ~lay it back~ a bit then the brain’s like “Oh yeah, this is much cooler!” [laughs] So, I teach people to not fly with blinkers on with everything they doing, to work themselves up to it and not rush into it. Work themselves up to it, and then when you pull back you’re good. But on the other spectrum of that, the guys—I mean, we’ve just lost a friend last year. They were pushing, pushing, pushing; their 100% performance became a normal percent. My normal performance is 30-50 percent now, just because I’ve lost so many friends and I’m having such a great life. But these guys are pushing so hard, their normal becomes 100%. And you almost need 100% sometimes, because we’re not perfect humans, so when these guys need an extra spike they didn’t have it and died from it.

So, I try and teach that a lot as well, because… Yeah, running at 100% all the time… that’s not good for our sport. It’s not surfing where you can sort of get away with it, or skating where you’ll break your ankle or something – we generally die. So, our sport… Whilst our sport is actually one of the safest extreme sports out there, when it goes wrong we die – it’s very simple. It’s not a broken ankle or things like that, so it’s a real tricky one for helping others with that.

 

Cameron:  
Yeah, yeah. I mean, it’s ~powerful~ what makes the skydiving such an amazing sport for flow, in terms of flow, when you think about it. You know, the consequences are so high when you’re pushing it that you’re almost forced into a state of flow. Your senses engage, the mind has to shut off because it just… it can’t compute everything that’s going on and make those decisions that you need to make, and you’re forced into it. What do you do just before you jump off? You mentioned earlier, you said you take a couple of deep breaths and you kind of sit there.

 

Chris:     
Yeah. Like, off a cliff—planes are different because it’s so noisy and you’ve got to go at the same time, but from a cliff I’ll gear up. These days I’ll just—well, obviously I’ve got a lot of jumps, so it definitely has evolved, but I’m always scared, that’s one key; I’m always making sure I stay scared. That’s one of the key aspects to getting into flow I reckon as well, don’t be overconfident with everything. And then… Yeah, so I’ll gear up and I’ll prep myself on everything. So, the weather, my skill level, my gut feeling that day, the object that I’m jumping off. You know, because sometimes I’ll walk away as well, and sometimes I won’t jump stuff that my students jump. You know, I have my own little… my own path.

But then once I’m geared up I’ll double-check, triple-check everything, make sure I’m cool, and then that way when I go to the edge the only thing I’m scared of is being scared. That’s a key for me as well, because then your mind doesn’t have to think about anything else, it can channel in and focus. And then when it’s time to go… Yeah, generally I’ll be freaking out, but that’s… You’ve got to turn that negative fear into a positive fear. That’s when I’ll take three (deep breaths)—because you’re going to do it anyway [laughs], so you might as well do it correctly. You know, if it gets too much I’d walk away and stuff, but I understand my body and my consciousness.

So yeah, when it is time to go I’ll take… basically calm down, take three deep breaths, and on the third breath or fourth breath or whatever I’ll generally just head off. And that way just before you go you’re completely calm, very tranquil, and about to throw yourself into the unknown. But, I mean, if it’s the unknown unknown then that’s another ball game… Like, I do know the outcome could be bad, but it’s a calculated risk, so it’s a very small chance as such, but it could definitely still happen any jump – I’m no more special than anyone else. But once you put yourself in that position and you go then it’s on, and then you’re just hyperaware of everything.

I’ll always put myself in uncomfortable positions. Like, just recently I was doing this seminar in front of 120 legends of the sport, and then putting myself up to do a song actually at the ~talent night~ in front of the same people.

[laughs]

And I was—they saw me physically shaking with the lyrics, you know, and I still put myself there even though it was f**king terrifying.

But, you know, I like doing that. The song was a good one because I was so nervous and my voice was so sh**ful, and then by the end I’ve got the whole crowd clapping and singing with me because I’d entered flow basically in a different environment and just went into rockstar mode sort of thing, without the talent by the way.

And by the end I was good, and then afterwards I’m like f**king ~freaking~ out again, but I’d hit that for about a minute of that song, I hit the flow basically. And same with the talks as well, you start out nervous. Dean Potter actually helped me, trying to—I try to do as much motivational speaking as I can now to overcome one of my biggest fears, and he said “Just learn the first two sentences.” [laughs] “Just memorise the first two sentences. You’ve got to start ~say~, and the rest will just pick up in your state of flow basically.”

 

 

 

——————————–  Chris on his preparation for flow ————————————-

 

We would like to thank Douggs for his time and insight. We look forwards to following and helping Douggs in his future expeditions.

For more information on Chris Douggs McDougall see our Flow Pros.

 

 

 

 

 

 

Flow Interview – Nick Troutman – World Champion Kayaker

Flow Interview – Nick Troutman – World Champion Kayaker

Articles To Inspire Flow Performance Skills Quotes Sports Stories Tips and Training

Dropping down 70ft waterfalls whilst pinned into a kayak is not for the fainthearted. However, for Nick Troutman, this is what he lives for. Most people would hit the panic alarm, but Nick is so used to getting into flow, he even does emergency adjustments as he is dropping vertically.

Nick Troutman is a world champion and five-time national champion kayaker, filmmaker, and philanthropist. He is highly respected in the river-sport community, and in addition to his competitive achievements has established several first descents while on expeditions in Mexico, Newfoundland, Ottawa, Zambia, Quebec, and the Niagara Gorge.  His commitment to the river and exceptional kayaking skills are what drove us to track him down and ask him to join The Flow Centre.

To share some of his key insights we have created this blog so you can get to understand this unbelievable athlete.

 

Nick:  
We are driving around, checking out a whole bunch of different rivers and stuff.

Cameron:  
Nice! How long are you there for?

Nick:  
We’re on the road probably for the next 8 to 10 months, I guess probably 8 months – until like October, November. So, driving around in different states and countries and stuff like that.

Cameron:  
Yeah – tough life! (laughs)

Nick:   
Then back to Tennessee. Yeah, it’s not too bad. (chuckle)

 

——————————–  Cut to more juicy parts ————————————-

 

When asked about whether he has experienced flow Nick’s response was:
Nick Troutman Kayaker

Nick:   
Yeah, definitely – you’ve studied it a lot and are very knowledgeable on the whole thing, but what you’re describing… I definitely have experienced that, and it’s like “Oh yeah.”

Then there’s the times where…it seems like… like an out-of-body experience, or that like you’re no longer in control; where you’re like “Whoa, how did that happen?!”

I guess the cool part would be to figure out how to get into it more often, being that whenever I’m in the flow state I feel like I’m just way better.

 

 

 

——————————–  Nick explaining his top flow moments ————————————-

Nick:
I guess one of them… It happened several times, but one of them that’s has been very memorable for me was… Actually, it’s in the video I think, the highlight reel, where I’m running a waterfall, I’m in the green kayak and I slow it down in the video. Running that waterfall, we were there with a photographer and we kind of had to wait at the ~lip~ for like a couple of hours for him to get set up. And so the whole time of trying to just sit there calmly and be like “Okay, I’m not even going to think about the waterfall. I scouted it, I know the line and I’m going to nail the line.” type of thing, but then I had to really focus on, like zoning out and thinking about something totally different for the next couple of hours… Because the longer I scout the waterfall and look at the waterfall, the more I… what I call getting demons in my head, but the more I think of different possible outcomes, and then maybe after thinking of all the different possible outcomes a bad outcome comes into my mind, and I’m like “Well, if I’m already imagining bad outcomes then I don’t want to run the waterfall anymore.” so I try to only think of the good outcomes.

But anyway, it was kind of this weird experience to zone out at the ~lip of this~ waterfall and just think of other stuff. And then when I did run the waterfall, it’s almost like… hard for me to recall, because it’s like I paddled in, and then I knew the line that I wanted to do – like, get close to the left – but then my boat spun a little bit and I had to do this correction stroke and pull it back while I was dropping down vertical – like, a lot of different boat control happening all at once. And I don’t necessarily remember doing any of it, I just did it. There was never like an “Oh, sh**! I’m not where I want to be, I need to correct this.” or “Oh, it would be better if I did this.“ It was just like… I wasn’t thinking, I just did it all and it was perfect.

Then afterwards I remember being like “Oh, what just happened? How did I do that?” Like, I did a lot of things in a very short period of time and I don’t remember trying to do any of them, I just did it all. It was just one of those experiences that I guess I felt like I wasn’t thinking, I was just reacting, but reacting so quickly.

That was one of the ones that was super memorable for me, but that happens quite often to a certain extent, where you just kind of react I guess and you’re not necessarily… not thinking necessarily like “Oh, I’m going to put here and pull myself that way, or I’m going to do this and that.” – you just kind of do it. I don’t know if that has to do with ~just several~ years of paddling, or if it’s some other thing in the brain, it’s kind of like just… I don’t know. There’s a lot of things that happen that always made me wonder, like “Oh, I wonder how you do that?” or “I wonder ~what’s actually happening?” Because sometimes it feels like my brain just shuts off and I’m better when it does.

It was a very unique experience where just everything felt all connected and I could do whatever I wanted, it was almost like if I imagined it would work. Everything was happening quicker and better and easier, and… I don’t know….a unique experience for sure. That’s probably the strongest time that I can really remember, but it happens quite often doing anything that’s—like, what I consider technical whitewater, where I’m nervous about a drop or a rapid or something like that, I frequently find that I kind of… I don’t know, I just… I guess you can call it like you’re in the zone, or you’re just more in-tuned maybe because of… Whether it’s fear or any of that that kicks in, or adrenaline, but sometimes the harder the whitewater the more I zone out and just react a little bit.

I keep saying reacting, and I don’t know if that’s the right term or not, but I guess it’s just the word that I use because I’m not necessarily thinking like “Oh, I want to drive my boat farther this way or that way, or boof the hole or whatever.” I kind of just do it all, almost as if I’m on autopilot and a much better paddler is paddling my boat.

 

Cameron:
So what about your freestyle experiences?

Nick:
Yeah, I was going to say that in freestyle it’s a bit different… I don’t know if it’s a different experience or what, or maybe just a different level of the same kind of experience, but there’s definitely times where… a couple in particular that I can think of where I just had the best rides I could possibly have. I don’t know if it’s—like obviously I was training hard for those events and practicing a lot and was in good physical shape and all that stuff, but at the same time it’s a little different because you drop into the wave – and you’ve got 60 seconds or 45 seconds, depending on the competition – and it was just like bam-bam-bam, like I would just do one move right after another, right after another.

I wasn’t wasting time, I wasn’t doing anything, but I was very aware of where I was on the wave exactly, just super in-tune with my boat, my edge control, the current, the flows of the wave itself, and it just felt like I was almost invincible, the same kind of thing where whatever I wanted to do I could do and I did it. Being that you’re under a time limit for the competition, the more tricks you do and the harder the tricks the more points you get, so… Yeah, I was able to do essentially everything that I wanted to do.

 

Cameron:
So what routines or preparation did you have prior to the comp that helped you get into flow?

Going into the competition I had a set routine that I wanted to do, but I hadn’t necessarily ever completed it in the time frame before or even in practice. But it was just like I could just drop in and do whatever I wanted, and if I was in the wrong spot of the wave or something like that then I could just re-manoeuvre myself and I could get back into the right spot and continue going way quicker than normal. I guess a lot of it is just you’re not wasting time thinking, you’re just doing, which is pretty cool.

Both of them I was doing a lot of mental practice, just essentially doing the routine in my head. But a lot of it as well was just really trying to stay positive. In both situations there was a lot of pressure and a lot of people… You’re sitting in agony with all the rest of the people that are in finals, and there’s just this severe amount of stress in the air, you can just feel that everybody is stressed. For me, at the time it was like… I had this bubble around me, and I would just be so happy and try to calm everybody else down. I’d be like “Hey guys, no need to stress! This is so much fun!” and just really being super positive about the whole experience, and I think that same positivity then, when I would drop into the ~feature~, there was no stress about flushing or missing a trick or anything like that, and just… I don’t know, I just had this feeling like I know I’m going to do it (Win World Championships).

Maybe that’s why I was also so positive at the time, or maybe that feeling came because of the positive outlook beforehand. But yeah, that’s… It’s a very unique experience for sure. It’s a little bit like feeling invincible.

 

 

——————————–  Nick explaining the disparity between flow and winning ————————————-

Nick:
The first World Championships I ever did, I had a lot of really good rounds where I was winning the whole time, and then in the finals the wave changed for the very last ride, and I had… At the time I was undefeated through the whole round, and I had this routine in my head that I was trying to do and I had never completed it, and then in my final ride of the event I completed it and I was just thinking like “Oh, I’m untouchable – nobody could touch that!” But, because the wave changed and it was a little foamier, some of the judges didn’t like some of the tricks, and so I ended up in third. I guess it’s a different thing (flow) to your results… Like, sometimes your results don’t show, but the flow state still is there, if that makes any sense. Like, I could still tap into that same mindset, even though the results weren’t the exact same.

 

——————————–  Nick explaining why he endures such high risks and continues to love the sport  ————————————-

Nick:
It almost forces you to go into these fight, flight, freeze, or flow situations where… Like, I was explaining before, once you peel out of an eddy and you’re essentially approaching a rapid… There is no turning back, you’re in the lion den, you have to come out victorious, or something horrible is going to go wrong. I’ve always explained when people ask why I love kayaking, I would explain that it’s either the love of nature, which is definitely a part of it, but a big part of it is the forced decision-making. You’re forced into these situations to make extremely quick decisions. Like, river’s very different than a half-pipe, a half-pipe you’ve got something solid where you’re going to go down and you’re going to come back up.

You can run the same rapid 100 times, and because water, the way it flows through a river and stuff like that, it’s never constant – the only constant is that it’s constantly changing. So, even though you can pick a line and you’re like “Okay, this is the line I’m going to take.” the current might push you a different way, or something might just happen, and definitely… A huge part of why I love kayaking is because of that forced quick decision-making, and it’s almost like the way you were explaining just the four… What I’m going to call the four Fs, the fight, flight, freeze, or flow situations. It’s like you’re forcing yourself into these situations to be put into, to choose one of the four I guess.

 

——————————–  End of interview  ————————————-

We would like to thank Nick for his time and insight. We look forwards to following and helping Nick win Gold in the next championships.

For more information on Nick Troutman see our Flow Pros.

 

 

 

Flow Interview – Tom Carroll – Legend & World Champion Surfer

Flow Interview – Tom Carroll – Legend & World Champion Surfer

Articles To Inspire Flow Performance Skills Quotes Sports Stories Tips and Training Videos

This year’s World Surf League Margaret River Drug Aware Pro 2015 was a truly special event. Not only did I get to spend some time in the Competitors VIP Tent talking with the current best surfers in the world, but I also got to see some insane surfing in some of the best conditions this leg of the tour has seen in years. Some highlights of the event can be seen here.

I met up with Tom Carroll at the event to chat about flow and understand how it has been instrumental to his life and surfing. For those that don’t know Tom Carroll he has been voted as one of the top 10 greatest surfers of all time and been crowned World Champion twice. Even today, at the age of 53, he continues to push limits, searching the globe to ride the world’s biggest swells for his TV series ‘Storm Surfers’. In fact, when I met up with him, he had just taken a huge beating, injuring his hip, at the intimidating Boat Ramps surf break – a break not for the feint hearted, especially on a day like today with massive swell.

After speaking to Nat Young and Josh Kerr about flow, whose responses echoed the sentiment ‘flow – I’m always in flow, it’s what a I live for’, the legend himself talked about how he sees flow and how he plugs-in.

 

tom carroll surfing

Cameron:  
Where’s the mic on this… down here. Maybe you hold it.

Tom:
“Okay, yeah.”

Cameron:
How did you feel when you’re in it (Flow) and what was your top experiences like?

Tom: 
“Well, I had my first really clear flow movement experience when I was 13 years of age. Obviously I’ve done a lot of surfing, to that point, I’ve been already surfing since seven years of age. I was on a board that I absolutely loved, that really fitted into my body at that time. I was surfing a right-hand point-break which I hadn’t experienced before, but it was a very comfortable place to surf, or something that—I loved surfing a long wave where I got to do a lot of maneuvres on the wave. It was probably for the first time I’d actually ridden a wave where I could do that many maneuvres on, so I was pretty excited. You know, just excited to be out there, loved the board, so I was in a very nice environment. And then, towards the end of the session… I never forget, taking a wave a little bit longer and further down the beach and getting drifted down the beach to a whole new wave.”

“There was no one surfing on it, I was by myself so I got into the flow moment, which I recognised as a moment in time where nothing could go wrong. All my timing was absolutely perfectly in harmony with the wave, perfectly in harmony with my body movements and my timing and my understanding of what was happening at that time. I couldn’t get, I could not fall off the board even if I tried. That was a really clear moment, and I can feel it now, I can sense it in my body at this point – I’m 53 now so it’s a long time ago! So yeah, you’re looking at 40 years ago I can sort of get that real clear emotional response in my body to that.”

“It was a really lovely feeling, and I just wanted to stay out there and keep in that space, but obviously you’ve got to come in – you know, it’s getting dark.”

“It could’ve lasted—I can’t remember exactly the length of that time, but because of the nature of surfing… You know, I’m paddling out, looking for waves, feeling what’s the best wave to take, feeling the drop, feeling the move on the wave, and feeling totally in sync with how the wave was moving, and the board and how I was moving on the wave. It probably lasted up to… You know, I probably came in and out of the experience through that hour or two, but it was long, elongated, suspended… a suspended feeling of flow.”

Cameron:
Yeah. Describe when you were actually in it and on the wave, ~sort of~ the highest points.

Tom:    
“Yeah, yeah. The highest points was on the wave…

“I’d noticed clearly that I couldn’t fall off, that I was totally in sync. I could move wherever I wanted to, I knew with a sixth sense that I was able to push it, I was able to push my board to its limit and I could push myself to my limit at that time. There was no separation between me, the board and the wave, it was all connected and it was all kind of one thing, not separated at all; I was linked up

“The future, drawing way off into the future for my second really clear… and in competition feeling the flow moment was at the Pipe Masters in 1991, I had two day of getting into the flow moment during competition. I’d had a big year of competitive experience that year, I was ~fine-tuned~ emotionally, physically, and you’d have to say spiritually at the same time. My wife was having our first child and she was full of little Jenna. She’s 23 now by the way and also a ballerina, so she’s felt the flow.”

[laughs]

“In that time at the Pipe Masters I had several moments where I was just doing and not being, or I guess I was being and not doing; I don’t know how to separate that. I was in the flow in the moments where my body, the wave, the board… nothing was in the way. Everything was in sync, everything was in clear focus and I wasn’t thinking things through, I was just doing it and being it. There was a move that was recorded – you know, they call it the snap ~heard~ around the world, there was that move that was done in the preliminary round, in the first day of competition, and then I ended up going on to win that event the next day. In the final I scored a 10-point ride, I got a very, very late drop where I couldn’t think about it – I was just doing it – and I was able to sort myself, sort my body movement, sort everything out without having to think about it.”

 

tom carroll surfing

“It was all second nature, it was all sixth sense, and most definitely for me… That day I was probably at the top of my game. So, yeah.  That was two really clear examples of where I’ve been, but there’s probably been… hundreds of moments where I’ve been felt the flow, and even to the point where I felt it the other day [laughs] here at Margaret River just practicing surfing, just for fun. Yeah.”

Cameron:     
Obviously the critical elements of surfing, the big wave and the consequences of it hurting when it goes wrong help us to kind of push into that pocket and out of our brain and into that moment where we find flow. Is there anything else that you feel is a big help to kind of plugging into that? Is there anything that you do, maybe not consciously, or maybe preparation that leads up to it the morning of, or just before you’re about to paddle, or when you’re looking at the waves before you head out?

Tom:   
“I think connecting with the breath is probably the biggest thing for me. Connecting with my breath at the deepest level, like right down into the hip, into the hips and push my breath. Being aware of my breath and doing a number of breaths very, very consciously brings me further into my body, and that’s where I need to be. Quite often my scattered and very short attention span takes me out of my body, so coming back into my body… One particular exercise I used to do whilst competing was a chant, that’s where I used to say the four Ps which was power, precision, performance, perfect. Power, precision, performance, perfect – it’s like a chant.”

Cameron: 
A mantra.

Tom:
“A mantra yeah – whilst I was paddling, so each paddle I’d say “power”—as I was paddling out “power, precision, performance, perfect” so my mind would remain focused on what was coming up next for me on the wave. On the wave everything sorted out because I’ve got to respond, I can’t think, the wave’s always sort of drawing me to the present, I can’t… I don’t have time because mother nature aint’ going to wait for me. [laughs] She’s not going to wait, so what I’ve got to do is respond to her so that everything’s sorted out for me once I’m stood up on the wave, as long as I’m out of the way. So, getting myself out of the way by creating—and I’d learnt that working with a mantra helped a lot in bringing myself to the moment and keeping myself focused and not attending—you know, drifting off on to what the other competitor’s doing, what the scores were… I mean, I need to know what the scores were, but that’s secondary to my performance really.”

“I’m the only one on the wave, I’m the only one on my board, and I need to be connected to that. I don’t sort of seek constantly and consciously to always be in the flow, I wouldn’t say that’s my main aim, I wouldn’t say that’s… I do look for it for competitive excellence, but not… it’s not something that I always, always go for. I do allow myself space to be… you know, just to be… allowing my brain to move and be elastic so to speak. Because I think that’s absolutely crucial for flow.”

Cameron:    
How do you think flow can help other people?

Tom:  
“I think it helps anyone just to be present in what they’re doing, and this is what… this is pretty much another kind of meditative state that we get to where our body and mind and attention is really placed upon the most important thing, and that is right now. So, we get to attend to be a lot more present in our basic everyday task, whether it’d be doing the washing-up [laughs], whether it’d be opening the car door, whether it’d be… Yeah, just being more present in our relationships, being more present in our life in general. I think ~it’ll~ help us become more able to make clearer decisions and actually help ourselves and others at the same time. It has such a multiple sort of faceted kind of plus to our lives when we get more present. This has been my experience and it’s helped me a lot.

 

We would like to take this opportunity to thank Tom Carroll for his time and words on flow and look forward to hearing his experiences and wisdom on flow in the future.

 

 

Aucamthor: Cameron Norsworthy – Performance Director

 

Whiplash – How To Reach Perfection

Whiplash – How To Reach Perfection

Music Performance Skills Stories Tips and Training

After watching a fantastic film called ‘Whiplash’ I feel almost obliged to inflame a topic that is wide open for debate in many modern day performance arenas. How do we push people beyond their limits?

The film brilliantly depicts the relationship between an ambitious student jazz musician and an abusive, yet highly respected instructor. The student, Teller, is seeking to be more than just a great drummer, but ‘one of the greats’. His teacher, Simmons, equally is only looking to shape and mould the next musical genius. Simmons methods of coaching are outrageous and would send most psychologists into red alert, as his abusive conduct produces heart-broken and dysfunctional teenagers.

His position as Head of Music for the most prestigious school in the country is undoubtedly the reason these students remain in his class despite being physically, mentally and emotional abused in the hope that one day they will graduate as a name to remember. Teller’s remarkable talent is questionably furthered by Simmons who pushes him to his limits and in the process opens up much food for thought and topics for debate surrounding performance.

 

perfect

 

His methods of gutting their confidence, and putting their heads under the guillotine every time they play installs a fear induced motivation that ironically leaves the musicians driven to train harder and faster than they have before. Simmons uses his power to great effect and yields nothing but exceptional results, yet causes the musicians a life of discontent, isolation, and madness. Simmons power-plays back Teller into a corner where he is either forced to perform or crack. Teller like most of us does both over time but at the end his anguish and determination ignites a mind-blowing peak performance just when he needs it most.

The story is fitting with much of the training that we associate happening decades ago and is still publicly rife in places like China, as they arguably abuse young athletes until they reach a level of perfection. The obvious commentary is that these methods are not only inhumane but also unsustainable – the performers are the ones who have to live inside their twisted minds and bodies long after the lights go out.

This approach leaves behind many broken minds and bodies that given alternative training may have blossomed into something quite unique and amazing. However, Simmons argues the point in the film, that anything else will simply not produce the next genius that will be remembered for generations. This strategy of work harder, faster, until you drop, at a lesser extent is undoubtedly a typical go to response for most coaches, even today. I see it on tennis courts, in fitness instructors, and corporations reminiscing a hangover from World War II that never went away. Although coaches have adopted the social norms and limits that counteract these extreme teachings the underpinning philosophy still bubbles underneath the surface – I see fear installed in many students and workers all around me.

As performers or coaches it forces us to answer the question: How do we go about pushing our limits and of those around us? Do we use fear as a motivator, which always seems to get short-term results but continuously fails to generate lasting desire. Telling ourselves to pull our socks up and do better for the fear of looking like a fool or being somehow belittled is no doubt one of our go-to strategies. One that many of us have been brought up with and use on a day-to-day basis. If we are to not use this strategy, and change a lifetime of conditioning, then what do we use?

With flow as our central ethos there is another method, one that produces self-generated motivation, fulfilled performers and doesn’t reduce the bar of excellence that is needed to be ‘one of the greats’. When our focus is 100% committed on being the best version of ourselves, do we expect anything less than hard work, determination and resilience? Absolutely not. If we do then I would question whether we are seeking flow or an excuse to go easy on ourselves.

Being in an intense state of flow requires our mind and body to be completely congruent. That means every fabric of our body being aligned to achieve the same goal. In this space there is no room for conflict, fear or separation, instead we are completely immersed and at one with the task at hand. To attain this state repeatedly, it would seem logical we need to have our minds and body congruently primed in our training and life as a whole. If otherwise, these conflicts no matter how small will act like splinters, which will undoubtedly lead to cracks in the system and when the pressure mounts most likely cause us to crumble.

We can reach flow through fear or hatred by erupting to a point where we snap and either find our true magnificence or a road to destruction. This snapping point tips us into a place where we transcend out of our body and into the zone that is ironically free from fear and anger. The fear can increase our arousal to a point where we are forced to plug into the moment and let go or be crippled by it and fight, fly or freeze. Although this strategy is possible, dare I say, still commonplace, an alternative more sustainable, fun, and contagious option is readily available – flow.

 

 

Aucamthor: Cameron Norsworthy – Performance Director

 

When Did You Stop Being in Flow?

When Did You Stop Being in Flow?

Flow Performance Skills Stories

An artist was once asked in an interview, “when did you start drawing?” He responded: “That’s not really the right question, the real question is, when did you stop drawing?” We all drew pictures as children and expressed ourselves creatively in one way or another. At some point however, many of us stopped. But why?

This sketch is a great analogy to our ability to access flow. Believe it or not, kids are in a small state of flow when they are drawing. They are in the moment, immersed in the task at hand, completely uninhibited and fully expressive of who they are at that particular moment. So when asked, “when did you start accessing flow?”, the real question is, “when did you stop?”

As we grow up and are influenced and shaped by our differing life stories, there is often a common thread. Many people loose the ability to let go and just be in the moment – in flow. What causes this? Underlying most of the obvious answers are a series of mental constructs that end up acting as barriers to flow.

The same reasons that caused you to stop drawing are quite possibly the same barriers stopping you from accessing flow. Perhaps at some point you thought you weren’t good at it. Something or someone projected that being good at something is important. Perhaps it became evident that you could not make a living off drawing. The reasons for your enjoyment might have become tied up in a multitude of factors other than the enjoyment itself. It is different for everyone, but at some stage we create a mental construct (belief/value/mindset) that prevents us from playing for the sake of playing – we tell ourselves to get on with the ‘real world’. play

When we were drawing as kids we were not seeking outcomes, results, or comparing ourselves to others, We were not seeking validation, trying to impress, trying to be good, labelling the action, or assigning value to our work. We drew or played for the sake of playing because we enjoyed the process. This enjoyment of the process and outcome independence is vital in flow.

Being in flow doesn’t magically make you an expert in your arena. Yes we can learn faster in flow, but it’s the rehearsal and work that goes into your practice that ultimately determines our skill level. Being in flow does however, provide the platform for the ultimate expression of your skill or task. The state of mind of the child drawing, where nothing but the experience of the moment matters, is the same for an athlete about to break a world record. The difference is their life experience up until that point, and the practice and training that has gone into their work. Should this child keep exploring drawing in this free, uninhibited way, there is no reason why they couldn’t produce amazing works of art in the future. But what usually happens? External factors get in the way. The child is often forced to question what they do and frame it in the context of what society values: socially defined outcomes, validation, skill, and monetisation.

So what does this mean for your own flow? Try to identify your own mental barriers. Do you still draw? Why not? Answering these questions could give you an indication of some of the barriers that exist for you. Think of the reasons that you are doing something. If you surf, it’s likely you do it for the love of the sport and not much else. It’s just so enjoyable that you just do it for the sake of doing it. It’s this attitude that can help you get into flow. You can do this when giving a presentation at work, or studying for an exam. You just have to remove all the other reasons you might be doing it, which are acting as mental barriers, and focus on the one. Find a reason to enjoy it. There’s always at least one.

 

joos-small  Aucamthor: Dr Joos Meyer – Flow Seeker
Editor: Cameron Norsworthy – Performance Director

Superman, Accidents and Flow

Superman, Accidents and Flow

Flow Stories

 

I had watched superman as a kid and always wondered what it would be like to fly. I wondered what it would be like to watch the world pass by as I soured through the air high above the ground. Only a few years ago I had undertaken a skydiving course and after several nervy flights I was flying solo across the skies racing trucks on the highways below. After 30 jumps or so I thought i knew what flying felt like, and what it was like to be superman, however, i was wrong.

I was flying through the air, and realised time had suddenly stopped. i was almost frozen in mid air, and i felt like time did not exist. It felt so invigorating that i decided, in mid wire 6ft off the ground, that i had been wrong about skydiving, there was so much more to being superman.
So much was going through my mind; I was examining the car below trying to decide whether it was fresh out of the showroom or maybe a year old, I wondered whether the car suited the driver or whether something more conservative would match his neatly trimmed moustache and perfectly knotted tie, I wondered why he was leaving the car park so quickly? Did he have a bad meeting and couldn’t wait to leave or was he late for his next meeting? Blue was surely not his colour it must be a company car.
I looked ahead and saw my landing, I knew I was going to miss the bonnet beneath me with the speed I was going, my current height, and the angle in which I was falling. I wondered whether I should land with a roll, stick out my hand to break the fall or just see what happens. I could hear my head debating the options whilst simultaneously analysing the man in the car. I was a passenger in my own body and I was aware of everything. I could feel my body tense up, and even hear the messages my brain was sending to my body to brace itself for a big fall. I observed hundreds of thoughts going on in my head as they processed at an incredible speed. I was very much detached from the processing, I was a passenger, and a curious one at that.

Previously I had been riding my bike at speed. I was zooming along the pavement passing a car park exit, when out of nowhere an exiting car collided with my front wheel. Up until then I was riding with only one thought in my conscious mind, and now there seemed to be hundreds of thought processes going on simultaneously. Time did not seem to exist, I detached from my conscious thoughts, simply experiencing what was happening in my subconscious, and I was in awe of how much was happening, everywhere.
I could even see the bricked building in the background and the trimmed grass adjacent to the car park. What would normally take me hours of processing was all happening in only a few seconds, surely I was closer to feeling what is would be like to be superman.

As soon as this thought came into my head, I felt myself identify with it, listen to it, and consciously connect with it. Like the starship enterprise entering warp speed i shot into normal time awareness, and before i knew what hit me i was sprawled out across the pavement. The magical bliss of time stoping had finished, my superman powers were gone. I was back in my head, fully connected with my conscious processing at a fraction of the speed i had just experienced. I was left feeling the pain of my broken wrist, wondering what had just happened, and who was this man in a suit looking down at me, asking me if I was ok.

 

For more info please get in touch or purchase our book on flow.

 

Trance Helping Returns

Trance Helping Returns

Flow Stories

 

During one training session I was experimenting with different techniques to get me in the same state as when I looked at this tennis ball for hours on end. I often would try different things to help me with get a small advantage. This time My eyes started focusing on the small granules of the surface below before I hit my returns. In tennis you generally lift your head to let the server know you are ready, so they can go ahead and serve, and I would keep my head low until I had cleared my thoughts and was ready to return.

So as my head was low, I would look at the court below psyching myself up before every serve. The more I looked at the court, the more I saw the incredible detail In every square inch. Each inch was different, it had different colours in it, it seemed to be made up of lost of different materials and layers. Before this time I had always seen a tennis court as a tennis court, some where cemented some were grass, some were made of clay. Now I was looking at each surface with new eyes. Soon the square inch became a square centimetre, and the square centimetre became a square millimetrer. I started focusing on the smallest of detail I could find on the surface below, whether that was a blade of grass, a sparkle on the cement, or a grip of clay or sand.

Focusing on this detail seemed to put me in a trance like state, where I had no thoughts, no distractions, I was simply observing. It was a quiet place, where I could recently myself, regather my thoughts and clean the slate of my brain before the next point. I started moving this square millimetre further and further away, always trying to remain focused on one small piece of detail. Over time, the tiny detail was at the foot of the net. I would stand there bent knees, head down, preparing for the serve. Meanwhile I was staring at the surface of the net looking for a tiny detail in the surface. Once I had it I would look up and the oncoming ball seemed far bigger than it ever used. I was used to focusing on something tiny on a millimetre wide, let alone looking at a ball the size of an apple.

Not only did the ball seem big, I felt completely connected with what I had to do one every return. The noise had left my head and I simply looked of at the ball and responded.

 

For more info please get in touch or purchase our book on flow.

 

 

A Deeper Connection

A Deeper Connection

Flow Sports Stories

 

Great singers connect deeply with their song, great actors connect deeply with their characters, and great surfers truly connect with the wave. Our connection to what we are doing or performing are often defined as the difference between good and great performances. This connection may seem strange as what we are trying to connect to may not exist. For example, a male musician connected with the music of the song he wrote, is connected to the emotions of the song, the sounds of the song, and the meaning of the song. He lives and breathes the song as if his mind and body are the song. He is in a deep trance, connected to abstract concepts such as notes and rhythm, that don’t exist physically, yet he can feel and experience them as if they are physically right in front of him or alive inside him. This musician is connected to the energy of the song, and is free for the song to flow through his mind and body and into his instrument and voice. As an observer we can feel and connect to this same energy of the performance, maybe not in the same intensity, but during that song we share a common experience and connection that may feel very alive.

Great performances may only occur once or twice in our lifetime for some, some may experience them more frequently, and some may have have never felt it. People who experience talk about them as if someone else was performing it, they felt truly connected to the moment as if time did not exist. During all these great performances, regardless of whether we are singing, dancing, or playing tennis, the performer enjoys a magical connection through a whole hearteded commitment to the performance. The performer becomes one with the performance, we don’t hide or hold back, we are completely engulfed in the moment. We are in flow, without conscious interference simply reacting, creating and performing perfectly in flow. What we are connecting to is a complex and much debated topic. Some say that god flows through us during these times, some say we are connected to a flurry of energy that surrounds the performance.

When we look at what the human mind and body essentially is, which is millions of vibrating atoms, brought together through various levels of energy, it is no wonder why connecting with other energies, or our own energy at this level feels so complete. Regardless of what we are connecting to, or what is happening at an energetic level, what is obvious is that we are without ego, without separation and connected as one to the performance. We reach a state that feels so natural and so true. We often feel part of something much bigger yet completely connected to ourselves if never before. We feel fully connected with our subconscious, flowing effortlessly with ease as the performance flows through us. We see the world with new eyes, we experience the moment like never before, our conscious mind simply observes with awe as if it is watching a movie. When the magical performance stops or we become distracted for a small period, we suddenly become a little disconnected. We feel separate and disconnected from ourself, from others and from the energy, that we were at one with. The consious mind has its chance to retake its grip and change from being an observer to the leader. The more this happens, the more we loose our connection.

 

For more info please get in touch or purchase our book on flow.