From the 2014 Arnold Weightlifting Championships …
HookGrip captured a nice 480 frames per second slow motion video (played back at 75%) of Lydia Valentin’s 115kg Snatch and 140kg C&J Attempt.
In the comp she went 105, 110, 115 and 130, 135, x140 [Video of all lifts]
Update: 115kg Snatch Slow Motion Video
Also watch her 124kg Snatch and 140kg Clean & Jerk from before the Arnolds.
More SlowMos: check out the Slow Motion Category on ATG.
Update: Hookgrip made a side by side comparison of her 105kg and 115kg Snatch
Update: Thanks to Jenn for making and uploading the following video.
This is a portion of the Spanish National Team seminar that occurred over the Arnold week. In this video, Lydia and Andres Mata demonstrate some of the assistance exercises that they use for the snatch.
Check out the translation below.
Update: Thanks to reader John for adding the following:
During the initial description of the pull, she mentions that the bar stays completely in contact with the upper thigh once past the knee.
She also says as the bar comes close to the top of the inner thigh (hip crease), the shoulders “delay”. Based on positioning in the video, I take this “delay” cue to mean stay over the bar. She also does specifically state that once the bar reaches the hips, the lifter should explode upward from the feet and the heels should come off of the ground (certainly not describing the “catapult” technique or anything like that).
Otherwise, it’s pretty straight forward. Position snatches, slow pulls to quick turnover and catch, Spanish “Chinese” pulls, etc.
They do demonstrate a very slow up-and-down pull that looks to be done for at least a few reps, and she says that you would use a weight similar to what you snatch, and that it’s a good exercise for building tightness and support through the lift.
Update: Casual Lurker translated what is being said in the video.
Ok, so I translated the Seminar video trying not to change words or sentences, except in some rare occasions (for comprehension’s sake) . I don’t have the video editing software that I would need in order to “stick” the subs onto the video, but feel free to do it if you can.
Hope it helps!
(Not much info on the warm up, so I don’t think it’s worth translating it. But I can do it, though, if you want me to).
(I would also like to clarify some things:
- The Pull-Under or 3rd Pull is sometimes called here “Entrada”, which comprises the Pull-Under alone, or the Pull-Under AND catch.
- I wouldn’t say that the shoulders “delay”. “Los hombros se atrasan”, in this case “atrasar” means to place back, to pull the shoulders [scapula] back: i.e. scapular retraction).
1rst PULL: FLOOR TO ABOVE KNEE
The most important thing about the Snatch, the MOST important thing is… ok… we’ll begin here [above the knees] to pull the bar into the thighs, sticking it completely to them [to the thighs], the shoulders are pulled back, and at groin height we’ll start a complete extensión of feet and hips in an upright direction.
The arms: the shoulders are flexed [sic], the elbows are elevated, it’s elevated marking the [bar] path, the feet should be completely placed [on the ground], and at groin height the heels are raised.
(Andrés demostrates the movement)
LOCKOUT/3rd PULL
We take advantage, and we place ourselves under the bar. The faster the pull, the faster the “entrance” [pull-under or third pull]; it will cost us much less.
AUXILIARY EXERCISES
[unintelligible; maybe ”help”]… a lot, because we are aware, at all times, where is the par passing by. The change would be done rapidly…
(Talking to Andrés) Do it slowly and then move on to the change
ANDRÉS: Ok, ok…
Now, he’ll do it the Snatch as a normal movement… slowly… You know, when it is passing by, the 2nd Pull… THERE! (she points) The change is rapid.
(Side View)
Are you watching? He’s aware where the bar is passing by at all times, and then: the change. Then there is the “entrance” [pull-under], then you recover [standing up], and there it is…
TRAJECTORY EXERCISES: 3 POSITION SNATCH (PAUSE OR HALTING SNATCH)
First…stop (just over the knees). Second… stop (iliac crest heigh). And the “entrance” [pull-under]. The movement is NOT continuous, it has its own stops: First. Second. Entrance. (she repeats this frase once again: “Primera. Segunda. Entrada.”)
COORDINATION EXERCISES: SNATCH WITHOUT MOVING FEET
(…) he begins with the legs [¿feet?] a little further apart -because there is no change, no displacement- in order for us to nicely enter [descend] our hips down. More exaggerated… that’s right. And it has to be a really fast and coordinated movement, in order to make a good entrance [descend; pull-under].
Otherwise, the bar will not be able to get up to that height.
COORDINATION EXERCISES: POWER SNATCH + OHS
(unintelligible). That’s it. Coordination, perfect coordination, because you stand up… and then you go down. And you coordinate that squat.
COORDINATION EXERCISE: SNATCH PULLS (AKA SPANISH VERSION OF THE CHINESE FAST
PULL)
(…) the bar path and the like. So, it’s like making a Snatch… but without doing it. This will help us a lot to make a perfect Snatch afterwards. Also, the percentages that we’ll use to work are really important to maximize ¿power?]
too.
Girl asks: This should be done with which percentages?
(Video is cut off before we are able to hear Lidia’s answer 🙁 )
STABILITY EXERCISES: SNATCH WITH TOES OFF PLATFORM
… in a platform a little bit higher. We place the tips [the toes] out, the heel is supported [on the discs] as well as the mid-foot. The important thing, the one thing that will give us a lot of stability is our soles –our center of gravity-: Why? Because we have to sustain a support to avoid going forwards, or going to other sides and losing stability.
You make it just like a Snatch but without the displacement [without moving feet to the sides]. The feet is always sticked, we’ll always have to be… (video is cut off)
STABILITY EXERCISES: SNATCH BALANCE
Firm. Totally. Stability. In ankles as well as in legs, everything, it has to be (unintelligible: translator’s voice won’t let me hear). And at the same time coordinated: arms with legs. And so when we are doing a regular Snatch we’ll
have a perfect entrance [pull-under and catch].
POWER MOVEMENTS FOCUSING ON THE “LIFTOFF”: SNATCH HIGH PULLS: FOCUS ON KEEPING ELBOWS HIGH AND UP & BAR CLOSE
ANDRÉS: The elbows up…
LIDIA: Really really important: ELBOWS… HIGH. (unintelligible: translator’s voice won’t let me hear). This shift (or maybe “this step”; depends on context). As higher… the elbows…
ANDRÉS: Tell them that it’s not like this:
(He shows what should NOT be done: external rotating the shoulders, leaving the elbows in the same place without elevating them, and thus letting the hands get HIGHER than the elbows).
It’s like this:
(he shows what SHOULD be done: elbows keep going up, no rotation, and therefore
the hands remain UNDER the elbows).
LIDIA: Turn yourself to the side, Andrés, so we can see you better.
(Andres turns to the side)
LIDIA: Perfect. Like this.
(Andres shows again the good and the wrong way to pull, while the legend “T-REX ARMS BAD!!!” appears on the screen, and Lidia tells that “T-Rex” is wrong, and “Elbows: High” is o.k.)
And many people here [CrossFit, I guess] “swing” the bar.
(“To swing the bar”: I would like to clarify that I have mentioned before this term here (on ATG): “caderear” or “bolear” the barbell, as Lidia says (“ Mucha gente aquí ‘bolea’ “). Just like Jon North taught through his infamous drill, some people (mostly USA’s lifters and crossfitters, like Jon North’s wife and the people at California Strength) bang the bar with their hips-thighs during the classical lifts, “swinging” it as a consequence, which is a basic technical error. We call it in spanish (in Colombia too), “bolear la barra” or “caderear la barra”)
POWER MOVEMENTS FOCUSING ON THE LIFTOFF: HANG SNATCH PULL
ANDRÉS: … the bar doesn’t touch the ground.
LIDIA: The bar should be under… but not touching the ground. It would be under the knees, at all times.
ANDRÉS: But without touching the ground. You would be here with the discs; but not touching the ground.
LIDIA: And you have to brake, you have to make a “breaking force”…
POWER MOVEMENTS FOCUSING ON THE “LIFTOFF”: SLOW SNATCH PULLS (HEAVY)
… he’s doing it a little fast, but it has to be… slow-slow-slow-slow-slow-slow-slow-slow…
And with the Snatch’s weight, you know? Work muscle groups to the maximum…
POWER MOVEMENTS FOCUSING ON THE “LIFTOFF”: DEFICIT PULLS (in spanish: “Hiperhalones”
or “Halones [de/desde/sobre] Caucho”)
You are higher, you have to lift the bar from further down, and there’s another inclination which is not the normal one, and that makes it harder…
POWER/EXPLOSIVE MOVEMENTS: POWER SNATCH, FOCUS ON EXPLOSIVE 2nd PULL
That’s right; perfect. Perfect. You have to make it a rapid high change, and accelerate it suddenly, you know? In the 2nd [pull], you’re going to ACCELERATE it.
POWER/EXPLOSIVE: HANG POWER SNATCH
ANDRÉS: It’s useful, above all, to place you from here (just over the knees) up to here (almost groin height), to correctly make the 2nd Pull.
(Andrés demostrates)
LIDIA: Really close, and accelerate it, same as in the (unintelligible).
From here (Andres places the bar justo ver the knees) to the 2nd [pull] (Andres elevates the bar up to groin height), KEEPING IT CLOSE. And then: ACCELERATING.
POWER/EXPLOSIVE: HIGH HANG SNATCH
O.k., up to here, we have Point Zero. No force at all, we are not carrying the force of the Snatch. From that point we must accelerate it A LOT, in order to catch it.
There’s not any type of force. Only the force that you have to be really fast [sic] to be able to catch it.
[“THEY LIKE THE SHOULDERS JUST SLIGHTLY IN FRONT OF THE BAR AT THIS POINT”]
A little bit lower… it depends a little on the person, but it is likely just there.
POWER/EXPLOSIVE: POWER SNATCH OR SNATCH ONTO PLATES
ANDRÉS: It is done with higher [thicker] discs than this ones.
LIDIA: With two discs, give or take [referring to using two slim discs if you don’t have one thick disc]
You have to accelerate it because you’re coming out of a certain position, and you’re going to stay onto a higher position.
Could someone tell me whats the idea behind the last exercise? Snatching onto plates?
I believe it is so athletes learn to pick up their feet when transitioning them from jumping position to squatting position.
I believe that helps to explode the jump on the second pull. Most athletes just spread the feet on squat position withouth actually jump. So if you have to jump to the plates, you must have to explode more on the second pull.
Then it will help the second pull, because you will be abble to explode more to get the bar higher than before.
The young lifter noticed that the plates are low and then said that Lydia hops onto 12Kg (25#s) plates. She says that you must accelerate the bar faster than normal because your body will end up on a higher plane/level/position. So, I can conclude that it’s teaching you bar acceleration during the third pull.
This is a variation of an old Soviet/Russian exercise. The feet are narrow inside plates or a wooden box so a lifter cannot explode the second pull or thrust with the legs very much. Here is a video explaining the exercise and a brief translation is that it instructs to the lifter to move the feet out quickly to a width that allows for the lifter to sit back and down with the torso upright to receive a snatch in a proper position to stand up. Note in this video they do this with the bar overhead first then teach a power or full snatch. Go to 30:00 minutes in the video for the explanation and demonstration.
http://www.youtube.com/watch?v=2cd0b2tUbQw
Nice. That slow motion video really shows the great technique. Great stuff.
Ok, so I translated the Seminar video trying not to change words nor sentences, except in some rare ocassions (for comprehension’s sake) . I don’t have the video editing software that I would need in order to “stick” the subs onto the video, but feel free to do it if you can.
Hope it helps!
*************************************************************************
(Not much info on the warm up, so I don’t think it’s worth
translating it. But I can do it, though, if you want me to).
(I would also like to clarify some things:
*The Pull-Under or 3rd Pul is sometimes called here “Entrada”, which comprises
the Pull-Under alone, or the Pull-Under AND catch.
* I wouldn’t say that the shoulders “delay”. “Los hombros se atrasan”, in this
case “atrasar” means to place back, to pull the shoulders [scapula] back: i.e.
scapular retraction).
1rst PULL: FLOOR TO ABOVE KNEE
-The most important thing about the Snatch, the MOST important thing is… ok… we’ll
begin here [above the knees] to pull the bar into the thighs, sticking it completely
to them [to the thighs], the shoulders are pulled back, and at groin height we’ll
start a complete extensión of feet and hips in an upright direction.
The arms: the shoulders are flexed [sic], the elbows are elevated, it’s
elevated marking the [bar] path, the feet should be completely placed [on the
ground], and at groin height the heels are raised.
(Andrés demostrates the movement)
LOCKOUT/3rd PULL
-We take advantage, and we place ourselves under the bar. The faster the pull,
the faster the “entrance” [pull-under or third pull]; it will cost us much less.
AUXILIARY EXERCISES
– [unintelligible; maybe ”help”]… a lot, because we are aware, at all times,
where is the par passing by. The change would be done rapidly…
– (Talking to Andrés) Do it slowly and then move on to the change
– (ANDRÉS): Ok, ok…
– Now, he’ll do it the Snatch as a normal movement… slowly… You know, when it is
passing by, the 2nd Pull… THERE! (she points) The change is rapid.
(Side View)
– Are you watching? He’s aware where the bar is passing by at all times, and
then: the change. Then there is the “entrance” [pull-under], then you recover
[standing up], and there it is…
TRAJECTORY EXERCISES: 3 POSITION SNATCH (PAUSE OR HALTING SNATCH)
– First…stop (just over the knees). Second… stop (iliac crest heigh). And the “entrance” [pull-under]. The movement
is NOT continuous, it has its own stops: First. Second. Entrance. (she repeats this frase once again: “Primera.
Segunda. Entrada.”)
COORDINATION EXERCISES: SNATCH WITHOUT MOVING FEET
– (…) he begins with the legs [¿feet?] a little further apart -because there is
no change, no displacement- in order for us to nicely enter [descend] our hips
down. More exaggerated… that’s right. And it has to be a really fast and
coordinated movement, in order to make a good entrance [descend; pull-under].
Otherwise, the bar will not be able to get up to that height.
COORDINATION EXERCISES: POWER SNATCH + OHS
– (unintelligible). That’s it. Coordination, perfect coordination, beacause you
stand up… and then you go down. And you coordinate that squat.
COORDINATION EXERCISE: SNATCH PULLS (AKA SPANISH VERSION OF THE CHINESE FAST
PULL)
– (…) the bar path and the like. So, it’s like making a Snatch… but without
doing it. This will help us a lot to make a perfect Snatch afterwards. Also, the
percentages that we’ll use to work are really important to maximize [¿power?]
too.
– (Girl asks) This should be done with which percentages?
(Video is cut off before we are able to hear Lidia’s answer 🙁 )
STABILITY EXERCISES: SNATCH WITH TOES OFF PLATFORM
– … in a platform a little bit higher. We place the tips [the toes] out, the
heel is supported [on the discs] as well as the mid-foot. The important thing,
the one thing that will give us a lot of stability is our soles –our center of gravity-:
Why? Because we have to sustain a support to avoid going forwards, or going to
other sides and losing stability.
You make it just like a Snatch but without the displacement [without moving
feet to the sides]. The feet is always sticked,
we’ll always have to be… (video is cut off)
STABILITY EXERCISES: SNATCH BALANCE
– Firm. Totally. Stability. In ankles as well as in legs, everything, it has to
be (unintelligible: translator’s voice won’t let me hear). And at the same time
coordinated: arms with legs. And so when we are doing a regular Snatch we’ll
have a perfect entrance [pull-under and catch].
POWER MOVEMENTS FOCUSING ON THE “LIFTOFF”: SNATCH HIGH PULLS: FOCUS ON KEEPING
ELBOWS HIGH AND UP & BAR CLOSE
– (ANDRÉS): The elbows up…
– (LIDIA): Really really important: ELBOWS… HIGH. (unintelligible: translator’s
voice won’t let me hear). This shift (or maybe “this step”; depends on
context). As higher… the elbows…
– (ANDRÉS): Tell them that it’s not like this:
(He shows what should NOT be done: external rotating the shoulders, leaving the
elbows in the same place without elevating them, and thus leting the hands get
HIGHER than the elbows).
It’s like this:
(he shows what SHOULD be done: elbows keep going up, no rotation, and therefore
the hands remain UNDER the elbows).
-(LIDIA): Turn yourself to the side, Andrés, so we can see you better.
(Andres turns to the side)
– (LIDIA): Perfect. Like this.
(Andres shows again the good and the wrong way to pull, while the legend “T-REX
ARMS BAD!!!” appears on the screen, and Lidia tells that “T-Rex” is wrong, and “Elbows:
High” is o.k.)
– And many people here [CrossFit, I guess] “swing” the bar.
(“To swing the bar”: I would like to clarify that I have mentioned before this
term here (on ATG): “caderear” or “bolear” the barbell, as Lidia says (“ Mucha
gente aquí ‘bolea’ “). Just like Jon North taught trough his infamous drill,
some people (mostly USA’s lifters and crossfiters, like Jon Norht’s wife and
the people at California Strength) bang the bar with their hips-thighs during
the classical lifts, “swinging” it as a consequence, which is a basic technical
error. We call it in spanish (in Colombia too), “bolear la barra” or “caderear
la barra”)
POWER MOVEMENTS FOCUSING ON THE LIFTOFF: HANG SNATCH PULL
– (ANDRÉS): … the bar doesn’t touch the ground.
– (LIDIA): The bar should be under… but not touching the ground. It would be
under the knees, at all times.
– (ANDRÉS): But without touching the ground. You would be here with the discs; but
not touching the ground.
– (LIDIA): And you have to brake, you have to make a “breaking force”…
POWER MOVEMENTS FOCUSING ON THE “LIFTOFF”: SLOW SNATCH PULLS (HEAVY)
– … he’s doing it a little fast, but it has to be… slow-slow-slow-slow-slow-slow-slow-slow…
And with the Snatch’s weight, you know? Work muscle groups to the maximum…
POWER MOVEMENTS FOCUSING ON THE “LIFTOFF”: DEFICIT PULLS (in spanish: “Hiperhalones”
or “Halones [de/desde/sobre] Caucho”)
– You are higher, you have to lift the bar from further down, and there’s
another inclination which is not the normal one, and that makes it harder…
POWER/EXPLOSIVE MOVEMENTS: POWER SNATCH, FOCUS ON EXPLOSIVE 2nd PULL
– That’s right; perfect. Perfect. You have to make it a rapid high change, and
accelerate it suddenly, you know? In the 2nd [pull], you’re going to ACCELERATE
it.
POWER/EXPLOSIVE: HANG POWER SNATCH
– (ANDRÉS): It’s useful, above all, to place you from here (just over the
knees) up to here (almost groin height), to correctly make the 2nd Pull.
(Andrés demostrates)
-(LIDIA): Really close, and accelerate it, same as in the (unintelligible).
From here (Andres places the bar justo ver the knees) to the 2nd [pull] (Andres
elevates the bar up to groin height), KEEPING IT CLOSE. And then: ACCELERATING.
POWER/EXPLOSIVE: HIGH HANG SNATCH
– O.k., up to here, we have Point Zero. No force at all, we are not carrying the
force of the Snatch. From that point we must accelerate it A LOT, in order to
catch it.
– There’s not any type of force. Only the force that you have to be really fast
[sic] to be able to catch it.
[“THEY LIKE THE SHOULDERS JUST SLIGHTLY IN FRONT OF THE BAR AT THIS POINT”]
– A little bit lower… it depends a little on the person, but it is likely just
there.
POWER/EXPLOSIVE: POWER SNATCH OR SNATCH ONTO PLATES
– (ANDRÉS): It is done with higher [thicker] discs than this ones.
– (LIDIA): With two discs, give or take [referring to using two slim discs if
you don’t have one thick disc]
– You have to accelerate it because you’re coming out of a certain position,
and you’re going to stay onto a higher position
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