Académique Documents
Professionnel Documents
Culture Documents
Hatha Yoga
A Guide
for Teachers
and Students
Second Edition
Diane M. Ambrosini
Human
Kinetics
E6251
Contents
Posesvi
Prefacexv
Acknowledgmentsxxi
Understanding Yoga
Types of Yoga 4 Types of Hatha Yoga 5 Yoga Lexicon 14 Standards for Yoga
Teachers 14 Liability Insurance and Employment Classification 18
Chapter 2
19
Chapter 3
37
Chapter 4
47
Chapter 5
55
Sun Salutations
75
Chapter 7
Standing Postures
Tadasana or Samasthiti (Mountain Pose) 83 Vrkshasana (Tree Pose) 86 Utkata
Konasana (Fire Angle Pose) 90 Utthita Trikonasana (Extended Triangle) 93 Parivrtta
Trikonasana (Revolving Triangle Pose) 98 Uttanasana (Intense Forward Bend) 102
Prasarita Padottanasana (Extended-Leg Forward Bend) 105 Garudasana (Eagle
Pose) 108 Utthita Parshvakonasana (Extended Side-Angle Stretch) 112 Ardha
Chandrasana (Half-Moon Pose) 116 Parivrtta Parshvakonasana (Revolving Extended
Side-Angle Stretch) 120 Parivrtta Ardha Chandrasana (Revolving Half-Moon Pose) 124
Utkatasana (Fierce, or Chair Pose) 128 Virabhadrasana I (Warrior I) 131
Virabhadrasana II (Warrior II) 135 Virabhadrasana III (Warrior III) 139
Parshvottanasana (Intense Side Stretch) 143 Utthita Hasta Padangusthasana
(Extended Hand-to-Toe Pose) 147 Natarajasana (King Dancer) 151
iv
81
Contents
Chapter 8
Seated Postures
155
Malasana (Basic Squat, or Bead Pose) 157 Dandasana (Staff Pose) 160 Janu
Shirshasana (Head-to-Knee Pose) 163 Ardha Matsyendrasana (Half Lord of the
Fishes Pose) 167 Marichyasana A (Marichis Pose, Variation A) 171 Marichyasana B
(Marichis Pose, Variation B) 174 Marichyasana C (Marichis Pose, Variation C) 177
Marichyasana D (Marichis Pose, Variation D) 180 Paschimottanasana (Seated Forward
Bend, or Intense West-Side Stretch) 183 Gomukhasana(Cows Face Pose) 187
Paripurna Navasana (Full Boat Pose) 190 Baddha Konasana (Bound Angle Pose) 193
Upavishtha Konasana (Wide-Angle Seated Forward Bend) 196 Parighasana (Kneeling
Triangle, or Gate Pose) 199 Virasana (Hero Pose) 202 Bharadvajasana (Bharadvajas
Pose) 205 Padmasana (Lotus Pose) 208 Tolasana (Scale Pose) 212 Hanumanasana
(Forward-Split Pose) 215 Bakasana (Crane Pose) 218
Chapter 9
221
Durga-Go (Cat and Cow Pose) 223 Utthita Chaturanga Dandasana (Plank Pose) 226
Chaturanga Dandasana (Four-Limbs Staff Pose) 229 Zen Asana (Transitional Pose)
232 Vasishthasana (Side Plank Pose) 235 Purvottanasana (Reverse Plank, or Intense
East-Side Stretch) 238 Bhujangasana (Cobra Pose) 241 Urdhva Mukha Shvanasana
(Upward-Facing Dog) 244 Shalabhasana (Locust Pose) 247 Dhanurasana (Bow
Pose) 250 Setu Bandhasana (Bridge Pose) 253 Urdhva Dhanurasana (Upward Bow
Pose) 256 Eka Pada Rajakapotasana (One-Legged Royal Pigeon Pose) 260 Ushtrasana
(Camel Pose) 264 Supta Virasana (Reclining Hero Pose) 268 Matsyasana (Fish Pose)
271 Supta Padangusthasana (Reclining Hand-to-Toe Pose) 274
Chapter 10
Inverted Postures
277
Chapter 11
Restorative Postures
299
Balasana (Childs Pose) 301 Pavanamuktasana (Purifying, or Wind Relieving Pose) 304
Supta Urdhva Dhanurasana (Restorative Backbend) 307 Jathara Parivartanasana
(Belly Twist) 310 Viparita Karani (Restorative Legs-Up-the-Wall Pose) 313 Shavasana
(Corpse Pose) 315
Class Framework
321
Class Outline 323 Lesson Plans and Class Descriptions 325 Summary 328
Chapter 13
Sample Classes
329
Sample 30-Minute Class 330 Sample 60-Minute Class 332 Sample 90-Minute Class
335 Sample Prenatal Yoga Class 338 Sample Childrens Yoga Class 340 Sample
Six-Week Course 342 Putting It All Together 344
Appendix A Sample Relaxation Scripts 349 Appendix B Yoga Resources 352 Appendix C Self-Inquiry
Questionnaire 355 Appendix D Yoga Class Evaluation Form 357 Appendix E Sample Classical-Eclectic
Hatha Course Syllabus 358 Appendix F Chapter Review Answers 360 Appendix G Anatomical
Illustrations 364 Glossary 367 About the Author 370
Poses
vi
279
289
116
167
193
218
Poses
301
205
241
Chaturanga Dandasana [chuh-tour-RUHN-guh duhn-DAAH-suh-nuh] (FourLimbs Staff Pose)This pose is similar to the downward phase of a push-up. The
elbows are bent, and the body hovers a few inches (centimeters) above the ground.
229
Dandasana [duhn-DAAH-suh-nuh] (Staff Pose)In this seated pose, the spine and
lower body are straight and strong and the hips are flexed to 90 degrees.
160
250
Durga-Go [DUR-guh-go] (Cat and Cow Pose)This pose is practiced on the hands
and knees to move the spine through a gentle range of flexion and hyperextension
in the sagittal plane. The rounded, flexed spine of the cat portion of the posture
resembles a cat with its back arched. The hyperextension in the spine is reminiscent
of the sway in a cows back.
223
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viii
Poses
260
108
187
Halasana [huhl-AAH-suh-nuh] (Plow Pose)In this pose, the neck and the tops
of the shoulders rest on the ground with the spine as vertical as possible. The hips
are flexed with the legs outstretched as the feet rest on the ground behind the head.
296
215
163
310
Poses
157
171
174
177
180
271
151
208
ix
Poses
199
190
124
120
Parivrtta Trikonasana [par-ee-VRT-tuh tree-kohn-AAH-suh-nuh] (Revolving Triangle Pose)In this standing pose, the legs are positioned in an orientation similar
to that of Utthita Trikonasana (Extended Triangle), but this pose rotates the torso
so the chest faces the opposite direction. The twist through the mid-thoracic spine
makes this posture more challenging than Utthita Trikonasana for most students
because it requires greater strength, flexibility, and balance.
98
143
183
304
Poses
286
105
238
283
Salamba Shirshasana [saah-LUM-buh sheer-SHAAH-suh-nuh] (Supported Headstand)This inverted, supportive version of a headstand puts less stress on the
neck because the forearms and shoulders support the majority of the body weight.
The crown of the head is cradled between the hands, and the back of the head rests
against the fingers while the spine and legs are vertical.
292
Setu Bandhasana [sey-TOO buhn-DHAAH-suh-nuh] (Bridge Pose)In this relatively easy supine backbending posture, the back of the head, lower neck, and top
edges of the shoulders remain on the ground while the hips are lifted. The knees
are flexed, and the feet are flat on the ground for support.
253
247
315
xi
xii
Poses
274
307
268
Tadasana [taahd-AAH-suh-nuh] or Samasthiti [suhm-uhst-HEE-tuh-hee] (Mountain Pose)This posture serves as the foundation for all standing postures. It is
generally performed at the beginning of a practice to direct the students focus
inward and to begin warming the muscles for further practice.
83
212
196
256
244
Poses
264
90
128
Uttanasana [oot-taahn-AAH-suh-nuh] (Intense Forward Bend)This basic standing forward bend should be done by folding at the hips like a hinge while maintaining length in the low back. It can be practiced with the legs at any distance
apart that feels comfortable yet challenging. Uttanasana is usually performed as
a resting, rejuvenating posture between other standing postures or as part of the
Sun Salutations. It intensely stretches and lengthens the spine and hamstrings.
102
Utthita Chaturanga Dandasana [oot-T-HEE-tuh chuh-tour-RUHN-guh duhnDAAH-suh-nuh] (Plank Pose)This prone pose uses the extended arm positioning of a push-up and is a transitional movement in the Surya Namaskaras (Sun
Salutations).
226
Utthita Hasta Padangusthasana [oot-T-HEE-tuh HAAS-tuh paah-daahng-oostAHH-suh-nuh] (Extended Hand-to-Toe Pose)In this one-legged standing pose, the
non-weight-bearing leg is extended parallel to the ground with one hand holding
onto the big toe of the lifted foot.
147
112
Utthita Trikonasana [oot-T-HEE-tuh tree-kohn-AAH-suh-nuh] (Extended Triangle)Beginning from Tadasana, the legs are abducted as far as is comfortable, then
one leg externally rotates 90 degrees. The arms are abducted and extended out to
the sides. Then the torso bends out over the straight leg, with the arms kept in the
frontal plane but now perpendicular to the ground.
93
xiii
xiv
Poses
235
313
Virabhadrasana I [veer-uhb-huh-DRAAH-suh-nuh kuh] (Warrior I)In this standing forward lunge, the arms are extended overhead and the hips face forward with
the legs in the sagittal plane. One leg is placed forward and the other leg back.
Virabhadrasana I works deep into the hip muscles.
131
135
139
202
86
Zen Asana [zehn AAH-suh-nuh] (Transitional Pose)In this prone pose, the toes,
knees, hands, chest, and chin touch the ground. The hips are flexed and raised,
stretching away from the waist. The hands are placed under the fronts of the
shoulders, the elbows are bent, and the shoulders are relaxed.
232
Preface
xv
xvi
Preface
A stand up paddle board (SUP) yoga class in San Diego Bay illustrates the diversity of hatha yoga styles available today.
Preface
adjusting and modifying a pose to meet a variety
of students needs throughout the practice. These
skills and instructions were blended with the
time-honored wisdom of long-established yoga
traditions.
Our intention while writing the first edition
was to include information with timeless appeal
to the wide variety of people who are drawn to
yoga and want to learn how to successfully and
safely teach it to a wide range of students. We
hoped to design a guide and reference that was
easily understandable and intriguing for anyone
interested in building the qualities and knowledge base to become a confident, well-qualified
yoga teacher. As it turns out, we were successful!
Instructing Hatha Yoga has had consistent sales
from the moment it became available, both
nationally and internationally.
Since our original publication date, a number
of other texts have addressed many aspects of
contemporary yoga teaching, and a few have
included comprehensive anatomical information.
Some authors have also attempted to cover a wide
spectrum of hatha yoga and its teachings, and
they have addressed many deeper esoteric aspects
of the subject. This is no small undertaking; yoga
is a vast field of study, and no single book can
hope to encompass every facet of the discipline.
As a result, such texts may be challenging or even
overwhelming for a novice. In contrast, this books
comprehensive yet straightforward approach
allows anyone interested in the field to teach a
safe, compelling, and profound hatha practice
to a wide range of students with varying abilities
and interests. The manner in which the book is
written also appeals to yoga students interested
in independently furthering their understanding
of the discipline.
xvii
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Preface
The impact of yoga today and its potential
evolution and further growth
Valued and effective qualities that students
expect in a teacher
The importance of the basic forms of pranayama [praah-naah-YAAH-muh] (breath
work)
Updated definitions of the most popular
styles of yoga and how they evolved
68 asanas (postures) with variations
Verbal and visual cueing examples, with
the addition of energetic focus and physical
points of stability
Adjustments and modifications for each
posture
Physical and energetic anatomy applied in
asanas and related chakra (energy) centers
Examples of how to work with many people
with different capacities in one class
Class overview, outlines, lesson plans, and
sample syllabi
Sample relaxation scripts for guiding
students into a relaxed, meditative state
(appendix A)
Information about a variety of yoga
resources
The unique features of this book include
simple yet comprehensive verbal instructions to
help you guide each student into her or his most
comfortable and appropriate physical alignment,
as well as detailed directions for making safe,
effective, hands-on physical adjustments and
modifications. For each asana, basic kinematics and muscle recruitment are presented in
table form. In addition, appendix C provides a
self-inquiry questionnaire that complements the
discussion in chapter 2 of provocative concerns
regarding personal integrity and ethics in teaching yoga. The self-inquiry can help you integrate
the information you gain from reading this book
with your own experience; it can also help you
assess your readiness, willingness, and ability to
teach hatha yoga.
Part I of Instructing Hatha Yoga consists
ofchapters 1 through 5, each of which includes a
review in the form of study questions (for which
the answers are provided in appendix F). These
self-tests give you an opportunity to answer many
of the questions that a yoga instructor is expected
to address. The questions highlight important
Sanskrit Pronunciation
To some, it may seem unnecessary to learn the
Sanskrit names and pronunciations of the poses.
In practice, however, it is important to establish a
standard way of referring to the asanas in order
to enable continuity between classes and teachers. This task is made more challenging by the
fact that a particular pose may be given different English names in different translations and
Preface
schools of thought; fortunately, however, most
poses have a common Sanskrit term. In addition,
the ancient yogis, and many contemporary yoga
practitioners, believe that the Sanskrit sounds
themselves have a specific divine vibration, or bija
(BEE-jhuh), and that when spoken they stimulate
energy balance in the human body and spirit.
With these considerations in mind, this book
presents Sanskrit words and their pronunciations
in a user-friendly format. For certain words, the
letter h has been added after an s when the pronunciation of the Sanskrit calls for such (many
publications leave out the h in transliterations,
even though the sound is pronounced sh).
Often, publishers lack the capacity to include
diacritical markings, and many people do not
know how to properly read them in any case.
For a more complete introduction to Sanskrit
pronunciation and the alphabet, please see the
resource list in appendix B.
Asana Text
The asanas presented in part II of this book are
addressed in an easy-to-follow format that provides key information about each pose, including
its physical and energetic benefits, a script to
help each student move into and out of it in a
manner appropriate to individual ability, and
the muscular recruitment patterns used in each
phase of the pose.
The asana discussions include the following
elements:
Descriptionquick-reference summary of
the pose
Energetic focusmain energy center
(chakra) affected by the pose
Foundational focuspoints of physical
stability that students should focus on to
increase steadiness in the pose
Benefitskey positive effects of the pose for
both mind and body
Cautionsany aspects of the pose requiring
extra care for certain students
Verbal cuesbasic, point-by-point examples
of how to guide your class through the pose
(updated to enable the soundest mechanical
alignment)
Adjustmentswhat to watch for while students move into and maintain their poses,
Summary
You are encouraged to study and absorb the
information presented in this book and to use it
as both a foundation and a reference as you find
your authentic and self-assured voice as a yoga
instructor. With experience, you will add your
own perspective and creativity to both polish
xix
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Preface
and expand your skills and your overall teaching
repertoire. The practical, easy-to-understand
instruction provided in these pages highlights the
knowledge, expertise, and credibility needed by
anyone who is seriously interested in practicing
and teaching yoga at any level.
As a yoga teacher, you enable your students to
experience a euphoric release simply by guiding
the body to move in a compassionate, mindful,
and self-controlled manner. With this end in
mind, use the information presented here to provide safe, engaging classes. Teach each student
according to her or his individual learning style
while adapting each pose to each students body
and overall ability. At the same time, develop a
solid sense of yogas controversies and ethical
considerations so that you are able to rise above
such unnecessary distractions.
As a yoga teacher, you must be fully prepared
to acknowledge and experience your students
on a physical, mental, and emotional level in
the short span of time in which you are called
to teach a session. Some students will see you as
the end-all authority on Life, the Universe, and
Everything,whereas others may recognize you
simply as the person who unlocks the studio door.
In any scenario, you can use the foundational
Sometimes translated as follows: The divine light within me acknowledges and sees the divine light within you, and together
we are that one divine light. Be the Eternal Peace.
Acknowledgments
xxi
xxii
Acknowledgments
Garcia, Elka Haeckel Almeida, Patty Justo
Ober, Joe Lewis, Nori Nolan, Jennifer Oh,
Adrian Oritz, Jan Penhall, Cheryl Reiff,
Carol Ryan, Sean Ryan, Sheila Shaw, Scott
Truel, and Lanita Varshell; mothers-to-be
Kacey Holsman Valla and Merrin Muxlow;
and superkids Ade Akerele, Ikela Akerele,
Jackson McCartney, and Lily McCartney. As
Part I
Hongqi Zhang/Dreamstime
The Practice
of Yoga
1
Understanding
Yoga
Thomas_EyeDesign/istock.com
Types of Yoga
There are as many ways to practice yoga as
there are to unite with bliss and enlightenment.
Essentially, however, current practice involves
four primary types of yoga: karma, bhakti, jnana,
and raja.
Karma [KAR-muh] yoga is the path of
service through selfless action for the good of
othersfor example, Mother Teresas works to
serve poor people as a way to connect the compassion of God with humanity. Unconditional service
is a tradition in Hindu monasteries or ashrams
[AAHSH-ruhms], and many yoga teacher training
programs require candidates to practice karma
yoga by cooking and cleaning or providing other
voluntary service for others.
Bhakti [b-HUHK-tee] yoga cultivates the
expression and love of the Divine through devotional rituals. Forms of this path include regular
prayer, chanting, singing, dancing, ceremony, and
celebration. For example, bhakti yoga is practiced
and shared in the uplifting music of renowned
Understanding Yoga
kirtan (devotional chant) vocalist and spiritual
leader Krishna Das.
Jnana[YAAH-nuh]yoga isthe path of intellect and wisdom, and its components include
study of sacred texts, intellectual debates, philosophical discussion, and introspection. Socrates
was a jnana yogi, as are modern-day yoga scholars
such as David Frawley and Ravi Ravindra.
Raja [RAAH-juh] yoga, also known as the
royal path, refers to the journey toward personal
enlightenment. This path consists of balancing
the three main yoga types just describedkarma,
bhakti, and jnanawhile integrating the eight
limbs, or stages, of yoga (for further discussion,
see the sidebar titled The Eight Limbs of the Royal
Path). Hatha [HUH-tuh] yoga is represented as a
combination of the third and fourth limbs of the
royal paththat is, asana [AAH-suh-nuh] and
pranayama [praah-naah-YAAH-muh] (see figure
1.1 and the sidebar about the eight limbs).
Hatha yoga is the type generally practiced in
modern (and especially Western) society. The
word hatha is usually translated from Sanskrit as
sun and moon, with ha signifying sun energy
and tha signifying moon energy. Balancing the
active ha energy and the more calming tha energy
is the ultimate aim of hatha yoga practice.Hatha
is also translated as forceful (see figure 1.2),
and this translation is included in the Hatha
Yoga Pradipika [praah-DEE-PEE-kuh]a classic
text used by those who study hatha yoga. Some
practitioners have expounded that this translation is appropriate because hatha yoga requires
great physical effort. On a symbolic as well as a
physical level, then, hatha refers to a balancing
of energies or forces.
Iyengar Yoga
In the early twentieth century, world-renowned
yoga master B.K.S. Iyengar created a style of
hatha yoga focused primarily on achieving precise
physical alignment during the execution of poses.
At times, especially in the 1970s and 1980s, Mr.
Iyengar was likened to a drill sergeant because his
teaching style was somewhat strict in its extreme
attention to physical positioning. To assist in this
positioning, Iyengar yoga students use many
types of props, which enable people at all levels of
proficiency to go deeper or stay longer in postures
with more accurate physical alignment.
Props are becoming more common in classical-
eclecticclasses as well, but Mr. Iyengar was an
innovator in hatha practice because of his insistence on precision with props and his demand
that his yoga students be consciously focused in
the mind and obediently energetic in the body. As
a result, Iyengar teacher trainings can take three
or more years to complete, depending upon which
level of certification a candidate is interested in
Limb 1
Yamas [YAAH-muhs]guidelines for ethical standards and moral conduct
Ahimsa [uh-HEEM-saah]nonviolence
Satya [SUHT-yuh]truthfulness
Asteya [uh-STAY-uh]nonstealing
Brahmacharya [bruh-muh-CAHR-yuh]moderation
Aparigraha [uh-PUH-reeg-ruh-huh]nonattachment
Limb 2
Niyamas[nee-YUH-muhs]observances and disciplines
Saucha [SHOWH-chuh]cleanliness
Santosha [suhn-TOH-shuh]contentment
Tapas [TUH-puhs]austerities (translated as heat or purifying practices)
Svadhyaya [svaahd-HYAAH-yuh]study of spiritual scriptures
Ishvarapranidhana [EEHSH-vuh-ruh pruh-need-HAAH-nuh]practice of awareness and surrender
to the presence and divine will of God
Limb 3
Asana [AAH-suh-nuh]practice of physical postures
Pranayama [praah-naah-YAAH-muh]special breathing
techniques used to control the life force, or energy, in
the body
Limb 5
Pratyahara [pruht-yaah-HAAH-ruh]withdrawal of the senses as part of the transcendence of constant nervous stimuli; practice
of sensory detachment through deep relaxation
techniques
Limb 6
Dharana [dhaahr-UHN-aah]concentration and focus
Limb 7
Dhyana [dhahy-AAH-nuh]meditation
Limb 8
Samadhi [suh-MAAHD-hee]state of
ecstasy, bliss, and enlightenment that
transcends the Self and merges with the
Divine
6
E6251/Ambrosini/fig01.01/518456/pulled/r1-alw
Understanding Yoga
Raja
Ashtanga
Yamas
Niyamas
Iyengar
Asanas
Pattabhi Jois
Ashtanga
Hatha
Jnana
Pranayama
Hatha
Krishnamacharyra
Desikachar
Vinyasas
Pratyahara
Yoga
Bhakti
Dharana
Dhyana
Karma
Samadhi
Figure 1.3 Hatha yoga lineage. The blank lines represent other lineages.
E6251/Ambrosini/fig01.03/518458/pulled/r1-alw
E6251/Ambrosini/fig01.02/518457/pulled/r1-alw
Vinyasa Yoga
Another style of hatha yoga involves the practice
of linking Surya Namaskaras (Sun Salutations)
or similar postures between poses. Practitioners
repeat each pose in the sequence before going
on to the next one; after adding each new pose,
they do a vinyasa [vin-YAAH-suh]a flowing
movement linked with the breath. Most vinyasa
Table 1.1 Physical and Mental Comparison of Iyengar and Ashtanga Styles of Hatha
Yoga
Iyengar
Ashtanga
Pace
Routine
Mental focus
Pranayama
(breathing style)
Physical focus
Name of
opening posture
Props
Sun Salutations
Partner work
The mind is focused on the physical form. The The mind and body are focused on surrendering to
surrender comes from staying in the posture
the flow of the movement. Less attention is paid to
with great effort and attention to alignment.
details of alignment.
Quiet, natural
Mats, rugs
No
No
Understanding Yoga
teachers use variations of poses and sequencing
to create a smooth flow from pose to pose rather
than simply stopping one posture and starting
again. The word vinyasa refers to the flowing
or linking of poses in synchronization with the
breath.
Variations of Sun Salutations are the vinyasas
that link other poses together in Ashtanga yoga.
However, vinyasas do not have to be vigorous; in
fact, they can be slow and gentle as one pose flows
easily and softly into another, similar pose. The
key is to connect poses with the breath.
Viniyoga
Not to be confused with vinyasa yoga, viniyoga
is another method of hatha yoga linked to Sri
Tirumalai Krishnamacharya. His son, T.K.V.
Desikachar, used a style of classical-eclectic hatha
that directly applies the physical practices of yoga
as a purely therapeutic modality based on an
individuals specific needs. The style is referred to
as viniyoga,meaning applied yoga, by Western
students of Desikachar, including Mark Whitwell
and American Viniyoga Institute founder Gary
Kraftsow.
Viniyoga emphasizes using the breath as a
means to achieve specific outcomes, either with
or without accompanying movement. When
asanas are practiced as part of therapy, they are
often repeated and are linked directly to functionality. This style uses the ancient practices
of yoga for physical, emotional, and spiritual
healing. Classes are often taught one on one or
in small groups so that the teacher can address
each students individual needs.
Christopher Futcher/istock.com
10
Students should choose the type of hatha yoga that will be most beneficial to their emotional and physical needs. Consider both the types of class available and the environment in which each class is taught.
Kundalini Hatha
In 1968, Yogi Bhajan introduced a form of Sikhism to the West, and with it came a form of hatha
that, to many, resembles calisthenics. He founded
the Healthy, Happy, Holy Organization (3HO), a
teaching institution that offers guidance through
yogic practices to awaken the dormant Kundalini
Shaktidivine spiritual energydescribed metaphorically as a coiled snake residing at the base of
the spine and believed to be housed in each of us.
The purpose of Kundalini yoga is to prepare the
bodymind and awaken the dormant Universal
energy within the practitioner.
Those who follow Yogi Bhajans teachings
in their entirety wear white cotton outfits with
turbans or head scarves. The white clothing is
thought to enhance the radiance of a persons
aura, and covering the head is said to aid in
meditation. Doing so is not required, however,
in order to partake of this form of hatha, which
is known simply as Kundalini [KOOHN-duh-leenee]. People practicing Kundalini hatha often
chant syllables and perform segments of rapid
deep breathing, or breath of fire, while holding
poses. It is common to practice the poses at a
fast pace for as many as 108 repetitions per class
and to hold certain hand gestures (mudras) for
Classical-Eclectic Hatha
Together, the words classical and eclectic are used
to describethe mixed form of hatha yoga that is
generally taught today. The term hatha indicates
that this type of yoga involves asana practice,
classical indicates that the poses practiced are
time honored, typical poses taught in more
than one hatha style, and eclectic indicates that
the style is blendedin other words, that it does
not follow one strict method or consistent routine
of postures. This category includes the integral
yoga series taught by Swami Sivananda and the
Himalayan tradition brought to the United States
by Swami Rama, as well as the practices of many
yoga teachers who combine elements from various traditions and styles.
Most yoga teachers choose to teach a classical-
eclectic, or mixed, style of hatha without naming
it as such. This method combines elements from
many styles and generally appeals to the broadest population. For example, an instructor may
Understanding Yoga
use a combination of deep breathing and background music, along with attention to alignment
and physical adjustments. In contrast, another
schoolfor example, Iyengar hatha yogamay
focus on alignment yet oppose allowing music
in class because it might be distracting. Furthermore, the expression of a style is often colored
by a teachers personality; therefore, two classes
taught by different teachers might share a lineage
yet feel very different.
Given these variables, the label classical-eclectic
hathacan create confusion since it encompasses a
number of styles that range from gentle to vigorous. As a result, the term can make it difficult to
know what to expect if one is not familiar with the
instructor. In addition, yoga offerings often lack
a true class description; instead, many advertising brochures include a list of goals and benefits
but avoid describing the style and method of the
class. For example, a class pamphlet might read
something like this: Experience the bliss of your
muscles and your mind at once or Connect with
your heart and soul for better well-being.
These promises sound great, and they may
offer a true invitation to a class; however, they
offer no hint as to how the promised results are
achieved. Indeed, they could just as easily refer
to a class in which students lie on their backs
and rest under blankets in a nearly meditative
state as to a class that poses great physical challenge in a room heated to more than 100 degrees
Fahrenheit (38 degrees Celsius)! Both of these
styles existand both offer great boons to their
practitionersbut without understanding a style
from its name and reputation, or from a precise
description, you would not know what to expect.
Classical-eclectic hatha can be found at various levels of intensity, and it usually involves
elements of the methods described earlier in
this chapter. For example, a Sivananda [Sheevuhn-AAHN-duh] or integral hatha yoga class as
taught by Swami Sivananda has a nice sense of
flow similar to that of Ashtanga classes. However,
integral yoga classes hold postures longer and
use more rest between poses (as Iyengar classes
might do); they also approach the emphasis on
alignment in a different manner, focusing more
on joint flexibility and overall stability.
Anusara
In 1997, U.S.-born yoga teacher John Friend created a hatha style that he labeled Anusara, which
is generally translated as flowing with grace,
Restorative and
Meditation in Movement
Style Yoga (MIMSY)
In 1995, Judith Hanson Lasater, a renowned yoga
teacher and longtime Iyengar student, introduced
the world to restorative yoga in her comprehensive book Relax and Renew: Restful Yoga for Stressful Times. Lasater pointed out that it is essential
to slow the nervous system and quiet the mind in
order to heal from the negative effects of stress.
Toward this end, her work addresses specific
asanas and other yogic techniques as therapeutic
tools. Restorative yoga is generally described as
a relaxing, modified, traditional hatha style. It
tends to be relatively slow moving and generally
involves seated, supine, and prone poses. It also
uses numerous props that allow students to hold
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12
Yin Yoga
Prenatal Hatha
Prenatal hatha is a practice of modified asanas
for women during or after pregnancy. Prenatal
classes, which have grown in popularity, offer
multifaceted approaches that address both the
womans changing body and the safe and healthy
development of her child. As you might imagine, modifying hatha yoga poses for pregnancy
involves certain inherent risk factors. For this
reason, anyone interested in teaching this special
population should enroll in additional training
courses. An outline of a prenatal class can be
found in chapter 13.
Childrens Hatha
Understanding Yoga
usually shorter in order to cater to childrens typically shorter attention span. In 2008, Galantino et
al. published a literature review in Pediatric Physical Therapy addressing the therapeutic effects
of yoga on children.These studies showed that,
as with adults, yoga benefits kids by increasing
overall fitness; expanding attention and memory;
and decreasing anxiety, stress, and aggression. An
outline of a childrens yoga class can be found in
chapter 13.
Chair Hatha
Chair hatha can be designed either as a corporate
yoga program or as a set of asanas adapted for
physically challenged people who are unable to
move into standing or ground postures. Chair
sequences are incorporated into many classes
for seniors or for people with special needs.
Workshops on teaching chair hatha can be found
throughout the country.
Senior Hatha
Senior hatha classes are designed specifically to
address the psychological and physiological needs
of people as they age. Senior-oriented classes also
serve an important role as a community connection for many individuals who are underserved or
otherwise socially separated. One source of such
classes is the Silver Age Yoga organization, which
has its own teacher training program. The groups
founders, Frank and Serpil Iszak, have certified
more than 300 teachers on five continents since
the program began in 2003. This type of class
seems likely to grow as the life span of the overall
population increases.
Partner Hatha
Partner hatha yoga is usually done for light enjoyment, although many teachers use this practice
as a means to bring people closer together in a
trusting fashion. Partners can hold poses together,
or one person can assist the other. Partner yoga
can also be used to practice many moves of Thai
massage. In fact, one relatively new form of partner yoga is acroyoga, which blends asanas with
Thai massage techniques and acrobatics for a fun
and balanced practice. This particular style also
offers certification programs.
Water Hatha
Water hatha yoga is like other forms of water exercise in that movements performed in the water
take away much of the gravitational forces in the
joints and alleviate any discomfort some students
may feel when exercising on land. Because of the
buoyant nature of water or aqua yoga classes, students generally achieve more profound increases
in joint range of motion with less strain than in
traditional land-based yoga classes. Many water
yoga classes are held in warmer water, which
increases the therapeutic nature of the sessions.
Each type of hatha can be broken down further, and overlap can be identified among various
styles. For example, a prenatal yoga class might
consist of an Iyengar-like practice with a number
of props; alternatively, it might be done in the
water. Similarly, a chair class might use partner
work or begin as a restorative class and move up
to a chair. The possibilities are as vast as ones
imagination.
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14
Yoga Lexicon
Like any widely practiced discipline, yoga uses
its own particular jargon to describe its philosophy and physical actions. In addition, each
instructor, based on personality, devises her or
his own phrases to express feelings and motions
to students. Appropriately worded direction
sets the stage for a students ego to relax more
completely while his or her body is engaged in
an asana. Therefore, your words should create a
warm, nurturing environment for your students.
Allow each student to feel comforted and safe in
both a physical and psychological way, and select
your words with care.
Your words set the tone of a class and affect
its progress. With that in mind, avoid words that
imply judgment or classificationfor example,
advanced students and correct or perfect
postureas well as all negative-sounding words.
Appropriate descriptive terms include ideal
posture, more aware, deeper, and explore.
In addition, the following phrases are ways to
descriptively guide students through a class.
Open space in your lower back. The idea
here is to encourage students to lengthen and
expand the low-back area without overly tightening the buttocks or moving the pelvis out of
neutral; as a result, the top of the pelvis remains
relatively level. Open space indicates a gentle
expansion of the lower back region and a slight
lengthening of the lumbar spine. In contrast, the
phrase tuck your pelvis is interpreted by many
students as curling the tailbone forward or under
to create as much length as possible in the lower
spine. Unfortunately, this action moves the lower
back in the opposite direction of its natural curve
and takes the pelvis out of a neutral orientation.
The phrase edge of balance refers to the
delicate balance point that one reaches just before
falling. Being at the edge of balance tests the
range of motion and stability of both the body
and the mind.
Bend at the hips like a hinge. This phrase
means simply to fold forward not from the waist
or low-back area but from the hip joints. Bending
at the hips keeps the spine long and extended and
keeps stress off of the spine.
Breathe into your __________ (any place
other than your lungs). The mechanisms of
breathing are introduced in chapter 4, and this
phrasing is mentioned here because the impor-
Understanding Yoga
1. Teaching techniques and practice (asana,
pranayama, and other traditional practices)
2. Teaching methodologies (class management, overall teaching principles)
3. Anatomy and physiology (both gross and
energetic or esoteric)
4. Philosophy, lifestyle, and ethics
5. Teaching practice and study
Though some disagree with the move to standardize a discipline that has been taught and
studied for thousands of years, Yoga Alliance
enhances both the public perception and the
genuine professionalism of yoga teacher-training
programsand, by extension, of yoga teachers
themselves. In 2004, the alliance counted approximately 300 approved yoga schools and 8,000
registered instructors. Just 10 years later, these
numbers had skyrocketed to 3,000 schools and
Definition
Includes but is not limited to asanas, pranayamas, kriyas (specialized practices intended for
specific outcomes), chanting, mantras, meditation, and other traditional yoga techniques.
These hours must include a mix of (1) analytical training in how to teach and practice the
techniques and (2) guided practice of the techniques themselves; both areas must receive
substantial emphasis.
Teaching methodology
Includes but is not limited to communication skills, group dynamics, assessment of individual and special population needs, principles of demonstration, observation, assisting and
correcting, teaching styles, teacher qualities, the student learning process, and business
aspects of teaching yoga (the business component can account for a maximum of 5 hours).
Includes but is not limited to human physical anatomy and physiology (e.g., organs and
systems) and may also include energy anatomy and physiology (e.g., chakras, nadis,
koshas). Involves both study of the subject and application of its principles to yoga practice
(e.g., benefits, contraindications, healthy movement patterns).
Includes but is not limited to study of yoga philosophies and traditional yogic texts, yoga
lifestyle, ethics for yoga teachers (e.g., those involving the teacherstudent relationship),
and the value of teaching yoga as a service to others. At least 2 hours must be spent on
ethics for yoga teachers.
Practicum
Includes practice in teaching as a lead instructor (not including hours spent assisting,
observing, or giving feedback), receiving and giving feedback, observing others teaching,
and assisting students while someone else is teaching. Each trainee must spend at least ten
contact hours in practice teaching as the lead instructor. A maximum of 2 practicum hours
can consist of noncontact activity, which includes evaluating or observing yoga classes
outside of the teacher training program.
Remaining contact and elective hours are distributed among all five categories according
to the registered yoga schools discretion based on its chosen emphasis.
Yoga Alliance
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Table 1.3 Yoga Alliance Minimum Requirements for 200-Hour and 500-Hour
Programs
200-hour1 program
Category
Total
hours
Total
hours
Contact hours
150
Teaching methodology
30
25
20
10
35
30
20
60
Practicum
10
40
Electives
15
Total hours
185
55
Contact hours
with lead teacher
500-hour2 program
200
245
500
Effective for all established and new registrants as of January 1, 2008. A 500-hour program consists of the total cumulative hours from a
200-hour program and 300 hours of additional (nonrepetitive) advanced training.
Yoga Alliance
In addition to the originally established 200and 500-hour registry levels (see table 1.3), YA
now also offers standards for 300-hour, prenatal,
and childrens yoga categories (see tables 1.4, 1.5,
and 1.6). The 300-hour category was added in
2013 to eliminate confusion about how to achieve
the registered yoga teacher (RYT)500-hour desig-
Total hours
50
Contact hours
25; 25 with lead trainer(s)
Teaching methodology
15
30
Practicum
30
170
Total hours
390
The 300-hour standards refer to advanced training that deepens the participants understanding of fundamental material taught in the
200-hour training.
*
Yoga Alliance
Total hours
5
Contact hours
5
25
Teaching methodology
10
10
10
Practicum
20
Electives
10
10
Total hours
85
*
After earning a certification with a registered prenatal yoga school (RPYS), an instructor must teach 30 hours of prenatal yoga before they
are eligible to register with Yoga Alliance as a registered prenatal yoga instructor.
Yoga Alliance
Total
12
12
20
Teaching methodology
15
10
10
12
12
Practicum
18
Electives
Total hours
95
After earning a certification with a registered childrens yoga school (RCYS), an instructor must teach 30 hours of childrens yoga before
they are eligible to register with Yoga Alliance as a registered childrens yoga instructor.
*
Yoga Alliance
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Review Questions
1. Approximately how old is yoga?
2. Define yoga in a few sentences.
3. What four types of yoga are typically practiced, and of which type is hatha yoga?
4. What is Ashtangayoga?
5. How did Patanjali codify yoga practice?
6. What well-known type of hatha yoga
focuses on alignment, form, and the use
of props?
2
Basics of
Teaching Yoga
I
t can be a challenge
to teach any subject.
Beyond this basic reality, yoga instructors must
be particularly mindful of
the bodies, minds, and emotions of their studentsnot
only as an overall group
but also as individuals who
come to class with various
abilities and needs. On
some days, it may seem
easier to teach yoga to
a dog than to a group of
highly diverse people! A
dog doesnt care whether
you have charisma, what
you wear, whether you are
in good physical condition,
or whether you practice
what you teach. People,
however, generally expect
all of this and more.
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Connection
Think back on the most joyous learning you
have experienced with the help of a mentor.
Most likely, your joy derived in part from the
strong connection you felt with your instructor
Compassion
It is essential when teaching to express the compassion you have for yourself and for your students. Compassion resides in your heart center
the Anahata chakra [uh-nuh-HUT-uh CHUK-ruh].
It is an expression of your passion to nurture and
provide care to others. In a book that he wrote
about his father, renowned master yoga teacher
Krishnamacharya, T.K.V. Desikachar (2005)
emphasized the importance of caring:
The qualities we seek in a teacher are
a life devoted to practice; evidence
that he or she, too, is ever a student of
yoga; a nature that is always truthful;
a commitment to the students own
awareness and possibilities, each in
his own terms. And caringabove all,
caring. When people arrive . . . and ask
us, Can you help me? the only answer
we can give is I can care.
Show your students that you care about them
by choosing your words and actions thoughtfully.
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laflor/istock.com
22
To show students that you care about their efforts to reach their individual potential, avoid emphasizing that their alignment is wrong when applying physical adjustments.
Confidence
It is normal to feel nervous when you are teaching, especially in a new setting or style. However,
if you do not exude some semblance of confidence, your students will have difficulty trusting
or believing in you or, perhaps, in the benefits
of practicing yoga. Even new teachers can seem
extraordinary if they stick to what they know and
have confidence in the ability to do so. Tap into
the well of knowledge that you have created for
yourself, and your passion will shine through.
One example of how confidence can lead you
through new situations is illustrated by Judith
Hanson Lasater, an accomplished yoga leader
in the United States and abroad. When she first
taught yoga, she did so because the teacher she
had been studying with needed a substitute.
Although she was not sure what to do, she did not
want to let the class down, so she led the students
through some poses and kept saying, If it hurts,
dont do it. Theoretically, you can lead a nice,
relaxing yoga class simply by saying, Breathe.
If it hurts, dont do it. Relax. Breathe. Thus it is
possible for a humble beginning to unfold into
a calling and a new career. No matter what, it is
crucial to maintain your humility and teach what
you truly know.
Real confidence is not arrogance, nor is it
rooted in ignorance. Confidence is part of your
personal power or ego strength and might be felt
in your third chakrathe Manipura [muhn-EEpoor-uh] chakra, or solar plexus center. Being
confident also does not mean having a closed
mind. In fact, the more confident you are in your
teaching, the less you are threatened by others
who may criticize, teach differently, or appear to
be more commercially successful. Moreover, you
need to be confident in order to speak clearly and
compellingly in front of a group. Assert yourself
without being overly aggressive. Believing in
yourself and your abilities gives you the confidence you need.
Commitment
Always take time to reflect on the scope of your
knowledge and ability as an instructor. Doing so
strengthens your integrity not only as an instructor but also as a caring, compassionate human
being. Regardless of your innate teaching ability,
you must know well the information that you are
teaching. For some people, acquiring the information is the easy part, whereas learning how to
impart it is more challenging. You can enhance
your ability to share information effectively by
exploring your own body and its physical and
mental boundaries; this experience helps you
better understand the bodies and psyches of your
students. All of this is possible if you are sincere
and honest, regardless of where you begin on
your teaching path.
If you commit yourself to being the best
teacher you can be, you will consistently look for
and find ways to improve yourself. Remain open
to learning new ways of teaching and finding
new ideas. Be the proverbial student so that you
can share your newfound knowledge with your
students. As you travel the path of a yoga instructor, keep your mind open to learning, even as
you pass knowledge along to your students. The
late Georg Feuerstein, renowned yoga scholar,
stated, Even when, after due preparation, we
are called to teach others, we would be wise
to remain learnersor, in traditional terms, to
cultivate beginners mind. . . . [W]e stop growing
when we think there is nothing more to learn
(2002, p. 37).
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Education
No matter how long you have studied and practiced yoga, you can always gain deeper knowledge and insight. Retain a beginners mind-set
and stay open to new experiences. Take classes
and workshops to open yourself up to new ways
of thinking and to keep yourself energized. It is
rejuvenating to interact with other instructors as
a peer and as a student. Use the comprehensive
yoga class evaluation form presented in appendix
D to evaluate your class or that of another teacher.
Depending on your schedule, it may seem
impossible for you to find the time to attend
other yoga classes. However, especially as a new
teacher, the more you attend classes taught by
others, the better off both you and your students
will be. Find a good teacher who motivates you
and whose classes enable you to feel comfortably challenged on all levels. Try to attend these
classes for an average of 8 hours a month; this
time investment benefits you and sets a solid
example for your students of practicing what
you preach. In addition, students enjoy seeing
their own instructors in other classes that they
attend. If you have been teaching yoga for some
time, then you might try taking a 1-hour class for
every 10 to 20 hours that you teach.
If you are a novice instructor and cannot find
the time to physically attend other classes, the
next best thing is to access outside instruction via
video, whether online or in the form of a DVD.
This approach can give you a taste of classes
conducted by well-known instructors. Although it
cannot give you the tailored feedback and teaching provided by a live instructor, a good recorded
class can be replayed and studied or simply
enjoyed as a mini retreat from your daily grind.
DuxX/istock.com
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Ethics
As with any occupation in which one deals
directly with the public, yoga instructors must
follow certain moral guidelines to protect the
rights, safety, and well-being of both the students and the instructor. Indeed, the Yoga Sutras
list ahimsa (no harm) as the first yama [YUHmuh](social restraint) in the foundational limb
of all of yoga. As a yoga instructor, then, your
primary duty is to do no harm to any student
through action, thought, or word.
As of yet, no laws have been passed in the
U.S.regarding behavioral interactions between
yoga teachers and their students. However, many
schools of hatha yoga have established specific
standards that generally follow the basic code of
professional ethics created by the California Yoga
Teachers Association in 1995, which states, All
forms of sexual behavior or harassment with students are unethical, even when a student invites
or consents to such behavior and involvement
(http://www.anandainfo.com/ethics_code.html).
In addition, in 2013, Yoga Alliance updated its
Code of Conduct, which emphasizes the importance of following the traditional tenets of yoga,
adhering to local governmental laws, practicing
within the scope of ones knowledge, and protecting the well-being and respecting the diversity
of students (www.yogaalliance.org/AboutYA/
OurPolicies/CodeofConduct).
Having tea with a student after class can be
harmless, even healthy, but dating a student
borders on being unethical. It can be tough to
know where to draw the line in extending yourself socially or even professionally with your
students outside of class. In no case should you
jeopardize the studentteacher relationship, and
it is very risky to blindly agree to spend time with
a student alone in a non-yoga-related activity.
Dislikes
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28
passes gas during class, you would not call attention to it. Recognize that tears, sighing, and even
seemingly excessive yawning are other kinds of
gentle physical releases that can be induced by
yoga practice.
The only caveat about dealing with an emotional student is to be careful not to take on the
role of counselor. Your time with your students
should not extend more than 10 minutes beyond
the end of class, if that. Boundaries are important.
If students want to ask you a quick question, then,
if you are so inclined, spend a few minutes before
or after class to answer it. But if the same student
keeps asking you numerous questions about how
he should be practicing at home, which poses are
best for him and his condition, or other concerns,
tell the student what your hourly rate is for private
sessions or refer him to someone else. And if a
student asks for advice about personal concerns,
direct her elsewhere unless you are a professional
counselor.
As a yoga teacher, you are like a parent to your
students, standing up for them and supporting
their efforts. You are a sponsor, an advocate, and
a coachmaybe part friend and part drill sergeantand someone who can guide others to the
next level of their personal awareness. Because
you took the journey yourself, you understand
how to guide your students along their path.
Visual Learners
Students who are visual learners prefer that the
instructor demonstrate poses. They also respond
well to verbal cues that create imagery in their
minds. For example, an appropriate cue for a
visual learner might be Imagine that there is a
wall behind you as you are standing in Triangle
Pose and that you are becoming more flush with
that wall as you press your shoulder blades back.
Visual learners also appreciate photographs and
illustrations of poses. One disadvantage for visual
learners is that they tend not to feel their own
bodies in the asana. Instead, they have an organic
need to see how to be in the pose; therefore, these
learners sometimes experience a gap in feedback
if you do not provide them with a visual reference.
For example, when instructing them to lower
their shoulders from their ears, it is a good idea
to have them peek in a mirror, if available, to
see their raised shoulders first. Similarly, invite
them to look down at their thighs as they rotate
externally to open the hips more deeply. Otherwise, they may have trouble grasping what you
mean. Visual learners may be able to imagine and
respond to such an instruction, but they must
usually overcome a steep learning curve if they
cannot see their own bodies. If you find yourself
teaching without the aid of mirrors, you can use
a work-around by duplicating the students body
position and then moving your body into the
more appropriate position. Partner work can
also help these students grasp the mechanics of
many poses.
Auditory Learners
Auditory learners pick up information by listening. For example, whereas visual learners read
musical notes in order to play a song, people who
can play a tune after simply hearing it are good
auditory learners. These students are receptive
to skillfully offered verbal cues. They learn from
your words and may be able to practice at home
by hearing your words in their heads, especially
if you have a soothing teaching voice.
Kinesthetic Learners
As compared with visual and auditory learners,
kinesthetic learners can more easily feel places in
their bodies that cannot be seen from the outside.
They may be unsure, however, of what or where
they are supposed to feel in an asana. To reach these
learners, indicate which places in their bodies
they should attend to and invite them to notice
specifically what they feel there. For example,
in Adho Mukha Shvanasana (Downward-Facing
Dog), direct students to note the weight of the
head helping to stretch the necks and elongate the
spine while opening space between the vertebrae.
Kinesthetic learners benefit less from demonstration and verbal cues and more from experiencing a posture in their own bodiesthat is,
from feeling the sensations of their bodies as
they move through space. Because they readily
feel changes in their bodies, they can directly
understand how to adjust an asana. Such learners
also typically enjoy hands-on adjustment because
they can more properly align themselves based
on their sensations. For example, kinesthetic
learners may initially have trouble with the verbal
instruction Breathe into your lower back. But if
you lightly place your hand on a students lower
back and say, Breathe into my hands, he will
usually connect to the cue. As a result, you will
feel the students lower back relax and gently
expand with the inhalation.
Ayurvedic Humors
Another factor in how a person learns has to do
with basic disposition, or humor, as it is called
in the ancient practice of Ayurveda [AAH-yoorveh-duh]. This sister science to yoga is a holistic medical system that has been practiced in
India for many centuries. It posits three basic
humors, called doshas [DOH-shuhs], each of
which emphasizes a particular way of learning
and processing information. The three doshas
arevata [VAAH-tuh], pitta [PIT-tuh], and kapha
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30
Class Management
When you teach yoga, you are a channel of
ancient knowledge, imparting what you know
to each of your students on a level to which they
can relate. In this process, you are an authority,
and it is important to maintain control over your
class. It is also crucial, however, to temper that
authority with humility and a realization that
Learning tendencies
Visual
Auditory
Give many and varied verbal cues; use nondistracting background music.
Kinesthetic
Need to become familiar with the movement Provide hands-on adjustments and remind
and flow of a posture in order to feel the
them to breathe.
effects
Vata
Pitta
Kapha
Relating Information
Your students learning depends on how you
deliver and relate information to them. If you
are not a good conduit of yoga information,
students will have difficulty learning from you.
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32
Cause no harm to your students or yourself. Take requests, get permission to touch, and inquire
about your students conditions and goals.
Be direct and confident with your instructions but let students know that they should modify
poses or rest at any time as needed. Constantly direct your students attention back to the breath.
Advocate good physical and mental alignment to prevent injury and promote balance. Become
an ally who helps students overcome distractions and disharmony. Be sincere and professional.
Give specific positive reinforcement. Provide a safe and soothing space that allows students to
be comfortably challenged throughout their practice.
Constantly monitor the energy of the practice session. Be aware of the overall group, as well
as each students learning style and needs, and progress accordingly.
Suggest
Encourage students to take your instructions as
suggestions. Invite students to explore how your
suggestions affect them as they also listen to their
bodies to see if they need a rest or modification.
Deliver each instruction with humble authority,
compassion, and confidence. At the same time,
when you are teaching a diverse group of people
with varying physical conditions and levels of
training, you must give relative instructions.
Align
Alignment applies both to the physical adjustments that you provide for your students and to
your own connection with your various teaching
qualities. One way to examine how much you are
aligned with your path as a yoga practitioner and
teacher is to practice self-inquiry. Keep coming
back to your ideals as you progress in your
personal practice and in your teaching. Doing
so helps you connect authentically with your
students and impart information in the manner
that is best suited for them.
Nurture
Nurture the evolution of your students practice.
If you find gaps in your compassion for your students, start with the principle of ahimsa. Notice
any empathy you have for your students and
whenever possible cultivate a true understanding
Assess
As an instructor, you must continually assess and
reassess your effectiveness in transmitting the
essence of yoga to your students. Be constantly
aware of each students progress throughout
class. By carefully watching your students, you
become aware of changes in the receptivity of
their bodies and minds. In addition, when you
quiet your own mind, you can more easily tap
into the energy of your surroundings and channel
it to your students.
Imagery
As mentioned earlier, some students cannot
learn simply by watching a visual demonstration. Among these students, some may be able
to attain proper alignment if you provide clear
verbal instructions. However, do not be surprised
if a number of your students still do not understand your directions unless you verbally express
a concept in a variety of ways. Even when giving
verbal directions for adjustment, it is necessary
to engage the various learning styles discussed
earlier in the chapter.
For example, if your students lack even a
vague understanding of anatomical terminology,
they simply will not know what to do if you say,
Extend your cranium toward the ceiling. Its
fine to give anatomical cues as long as you also
provide a variety of other prompts for students. In
this case, you might say the following: Feel the
top of your head lift away from your shoulders. If
you need more detail, you might use the following
imagery: Imagine that the top of your head is a
magnet, and the beam above your head is metal.
Notice the spaces you open in your neck as the
magnet draws up toward the beam.
These are just a few simple examples of how
you can use different cueing methods to achieve
the same adjustment by addressing the individual
learning capabilities of your students. The most
important aspect of auditory cueing for adjustment is that you observe your students and use
compassion and creativity to reach every one of
them.
Adjustment Guidelines
Physical Adjustments
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Instructors must decide whether and when to approach students for manual adjustments. Always
ask permission.
Summary
As you consider the information presented in this
chapter, what important qualities of an ideal yoga
instructor do you find are already strong in you?
What qualities might you wish to cultivate further? How effective and dynamic are your voice,
your creativity, your repertoire, and your ability
to build rapport?
Beyond considering these questions, you might
compare your work habits and ethics with the
qualities that students report liking and disliking
in a yoga instructor (see table 2.1). Doing so can
provide you with a reality check in terms of how
people might perceive you professionally. You
can use self-inquiry as a regular part of your own
yoga practice to deepen your understanding and
connections to your path as both a yoga practitioner and a teacher. If you recognize obstacles
and struggles in yourself, you can better recognize
them in your students and respond to them with
empathy. When you understand your students
motivations and know how they learn best, you
can effectively direct your compassion and your
instructions.
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36
Review Questions
1. What are the four Cs of teaching yoga?
2. What are the three basic learning styles?
3. Which dosha is associated with the fluidity
of air?
4. Which type of student often has trouble
staying motivated?
5. List two things that students typically like
in a yoga instructor and two things that
they typically dislike.
3
Creating a
Class Environment
RyanJLane/istock.com
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Equipment Selection
If you walk into a sporting goods store or the
retail area of a fitness clubor peruse the cover
of many yoga periodicalsyou might get the
impression that yoga requires a specific uniform,
as well as certain equipment, if one is to practice
it successfully. In reality, Western fashion sense
and marketing notwithstanding, nothing could
be further from the truth. Unlike many physical
activities and exercise programs, yoga practice
requires minimal equipment. Indeed, East Indian
citizens practiced yoga for millennia with nothing
more than thin reed pads, a simple loincloth or
sari, and bare feet.
However, though yoga instruction and practice
require little in the way of equipment, certain
elements can make your teachingand your
students class experiencesboth safer and more
comfortable. The specifics depend on the style of
hatha yoga you teach, the nature of your student
population, and the location of your class.
Yoga Attire
Apart from personal fashion preference, select
from lightweight fabrics to allow for maximum
movement and comfort. In general, comfortable
shorts or leggings and a snug-fitting shirt work
well for practicing yoga. Loose-fitting T-shirts,
though comfortable and easy to move in, often
end up over the head in inversion postures, thus
creating an annoying distraction. These clothing
selections apply to students and instructors alike.
Another factor to consider when suggesting
clothing options for students is the type of yoga
being practiced. Students in a fast-paced class
may be most comfortable in a single layer of
lightweight, sweat-wicking clothing that can
accommodate the heat and moisture generated by
the body. In contrast, students in a less vigorous
style of class may be most comfortable beginning
Yoga Mats
In addition to bare feet and comfortable clothing,
another indispensable piece of yoga equipment
for most people is a sticky yoga mat. Yoga mats
provide a stable, nonslip surface and, depending
on the thickness, a bit of cushion on which to
practice. Mats can be found in a variety of colors,
lengths, thicknesses, and materialsall of which
are matters of personal preference.
In some settings, yoga mats are provided on
site. If you teach at a site where mats are not
providedand if students are reluctant or unable
to purchase their ownyou might suggest that
they each bring a large towel or blanket. Whatever is used, it should be large enough that both
the hands and the feet can be in contact with it
during postures such as Adho Mukha Shvanasana
(Downward-Facing Dog). Be mindful, however,
that towels and blankets are generally slippery
and should be used with caution, especially
during standing poses. In fact, in many instances,
one might be best served by practicing directly
on the ground.
Occasionally, you will encounter a student
who recognizes that a mat is beneficial to ones
practice but is under the false impression that
any exercise mat will do. It is true that the mats
used in Pilates floor classes can be used for yoga
practice; however, they tend to be thicker and
made of more flexible material and provide less
traction than do yoga mats. Many fitness clubs
Props
Many hatha yoga styles use props to aid students
as they move through and deepen their postures.
Props can be especially helpful for a student who
is new to yoga because they provide additional
support as the student works to increase strength,
flexibility, and balance in any given posture. The
many ways in which props can be used to modify
and adjust students are illustrated in the chapters
covering specific asanas. For now, here is a brief
description of some typical yoga props:
Blankets or other soft bolsters can be placed
beneath students who have marked tightness in
the hamstrings, hips, or back to mechanically lift
and support the body in seated postures. These
props are essential in providing support and
comfort in very gentle and restorative classes. If
blankets and bolsters are not readily available,
you can use folded towels or mats. People with
sensitive knees can use gardening kneepads to
settle comfortably into kneeling postures. Many
studios also provide blankets to keep students
warm as they relax in Shavasana (Corpse Pose)
during the resting portion of a practice session.
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40
Props can help a student modify poses to match individual ability; they are also tools to help the instructor more easily
align a students posture.
In fact, if yoga is approached without mindfulness and attention to detail, it involves significant
inherent risk, a fact that was highlighted in 2012
by journalist William Broad in his New York Times
article titled How Yoga Can Wreck Your Body
and his book The Science of Yoga: The Risks and
the Rewards. Although the scope of this text does
not allow us to describe every possible injury, this
section of the chapter addresses some of the most
commonly identified safety and comfort concerns
that you and your students may face.
Student Safety
In addition to guiding your students through a
blissful class practice, your primary concern as
an instructor is your students personal safety
while they are in your care. At the beginning of
each class, and as new students join your ongoing
classes, make certain to ascertain whether any
student has an injury or illness that could affect
physical ability. If so, pay particular attention
to these students and help them modify asanas
Bare Feet
Regardless of which style of yoga you teach,
encourage students to practice in bare feet. Doing
so allows each student to feel the connection to
the ground more completely in standing postures.
In addition, without the rigid constraint of shoes,
the feet are strengthened and are able to move in
a more natural manner, which helps with balance.
The bottoms of the feet also generally provide the
correct amount of traction against the ground
to guard against slipping in standing postures,
thus increasing the students safety. And in seated
postures, bare feet resolve the concern of the sole
of a shoe pressing uncomfortably into the flesh
or getting caught along the surface of the mat.
There are times, however, when the solemat
connection is just not firm enough. For example,
if a student sweats profusely through the bottom
of the feet, you may find that she or he is unable
to remain stationary. In this case, you might suggest that the student bring an extra towel to place
on the mat to help absorb sweat and provide a
firmergrip on the surface.
Because of the popularity of hot or vigorous
yoga, many companies now sell specialized,
highly absorbent towels with nonskid bottoms
designed specifically for eliminating slippage
and mopping up excess sweat. These towels also
help keep the hands from sliding in poses such
as Adho Mukha Shvanasana (Downward-Facing
Dog.) In addition, nonslip socks are now available
that are engineered like gloves with a sheath for
every toe. As with the nonslip towels, these socks
are made with materials that wick away sweat,
and can be very helpful for anyone who tends to
sweat profusely from the soles of the feet. These
socks also are a nice alternative for travel, as they
are easier to transport than a yoga mat.
Although it is rare, you may occasionally
encounter a student who is opposed to practicing barefoot. If the room is chilly, or if a student
has foot concerns, it may be difficult to convince
him or her to take off warm, and concealing,
socks during class. You can get most students to
comply, however, by gently reiterating the safety
concerns involved in wearing socks and reminding them that they are free to put their socks back
Adjustments
When physically adjusting your students, the
most important safety measure is to respect each
students body with compassion as if it were your
own. Recognize that some students are physically
unable to move the body into what is generally
perceived as the picture-perfect posture. Each student must contend with his or her own physical
and mental limitations, and it is not your decision
as the instructor to dictate where each students
precise position should be.
In addition to being compassionate and
respectful, ask yourself the following questions
before physically adjusting a student: Why am I
adjusting this person? Is a physical adjustment
really necessary? If the student asked you for
help to move a bit deeper into the pose, then the
answer to the second question is yes. Alternatively, if the person appears to be straining in a
poseand verbal cues are ineffectiveyou might
ask to realign his or her positioning for comfort
and safety.
No matter what, always ask permission before
physically touching a student, and always maintain awareness of just how far a person is willing
and able to deepen into the posture. Move slowly,
with compassion and awareness of each students
needs.
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Instructor Safety
Amidst all the concerns about keeping your students safe and comfortable, it is just as import-
Environmental Safety
No matter where you teacha cozy yoga studio,
a wide-open auditorium, or a grassy fieldtake
time before each class to ensure that the practice
area is clean and as free of hazards as possible,
both for your students and for yourself. For
starters, the area should be clear of debris on the
floor or ground. In addition, if your yoga session
follows any type of high-energy class in which
people may have been sweating, give the floor
a good swabbing to reduce the risk of slipping,
either on or off the mat.
Also, if possible, ask your students to store
their personal possessions away from the practice
area. Doing so reduces the risk of accidentally
tripping and falling, thus making it much safer
for you to walk among the students as you check
alignment and make any requested adjustments.
This precaution is especially important in classes
where space between students is at a premium.
In addition, if you teach strenuous inversions and
arm balances, be sure that any unused props have
been moved out of the practice area to decrease
the possibility of students falling out of a pose
onto the props and causing injury.
It is also important to make proper use of hand
washing. One of this books main objectives is to
teach instructors how to make effective hands-on
adjustments. When doing so, of course, you will
touch students who are perspiring. Though it is
Equipment Safety
Class Atmosphere
In the days before yogas popularity soared, if
you had asked a non-yoga-practicing person
what came to mind when thinking about yoga,
he or she might have described a candlelit room
filled with patchouli incense and low droning
chants. If asked today, the person might conjure
an image of 20 to 50 people on yoga mats packed
tightly into a large room while moving in unison
to contemporary music. In reality, hatha yoga
practice today is approached in many diverse
ways. Some instructors use live music; some use
none at all. Some sessions are conducted one on
one; others can, and do fill a football field. In
addition, classes take place in a wide variety of
settings and may happen anywhere that space is
availablefor example, commercial yoga studios
(large or small), gymnasiums, group exercise
rooms in fitness facilities, community recreation
If you use props in your class, check them regularly to ensure that they are in good condition.
Straps should be unfrayed, blankets should be
clean, and blocks should be well balanced and
stable. If you provide mats for your students,
make sure the small tread on the surface is intact
and that the surface still provides traction. If any
props have defects, remove them from use and
replace them.
Often, students bring their own props with
them to class. While it is their responsibility to
maintain their own equipment, if you notice
extensive wear, be sure to mention your concerns
to the student. If you feel the student's props present an immediate hazard, supply a safe replace-
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Many students feel that practicing outdoors gives their yoga a more natural ambiance and a deeper connection to nature.
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Ideal Setting
Yoga classes can be, and often are, taught almost
anywhere. However, some locations are more
favorable for helping students achieve the release,
relaxation, and overall awareness that they crave.
Generally speaking, the most desirable space to
teach and practice yoga is one that was designed
with yoga in mind. Such a setting is spacious,
comfortable, free from outside distractions, well
ventilated, and warmly lit.
For many, yoga is also associated with calming music and the aromatherapy of incense, and
indeed these elements can be used to help create
a soothing atmosphere. However, incense burning is not always a welcome addition to class; in
fact, in many facilities, it is strictly forbidden. If
you teach in a facility that does allow incense,
it is a courtesy to first ask the students if they
mind. Many individuals are severely allergic to
smoke or perfume and may be adversely affected
by any scent wafting through the room. For this
reason, it is also advisable to maintain a policy
stating that no one should wear perfume or overly
scented lotions to class.
Floor Surfaces
Yoga can be practiced almost anywhere: a sandy
beach, the sidelines of a football game, your
living room, a mountain campground, or even
the water. However, while the surface may vary,
it should always be as level as possible to avoid
compromising a persons balance and to protect
the joints when holding postures. In addition, as
in any physical activity, some surfaces are better
suited than others for practicing yoga. Because
yoga is generally practiced indoors, this discussion addresses indoor floor surfaces.
Wood flooring can be found in a variety of settings, including many yoga studios; most dance
studios, high school gyms, and group exercise
rooms in newer fitness facilities; and some older
recreational facilities. Wood provides a smooth,
flat surface with a small amount of flexibility
that is relatively forgiving to the body. It also
provides greater warmth than concrete and other
harder surfaces. Yoga studios that feature wood
flooring often disallow outside footwear on the
Temperature Control
In general, the room temperature for a nonheated
yoga class should be between 70 and 76 degrees
Fahrenheit (about 21 and 24 degrees Celsius).
Temperatures in this range tend to create a comfortable environment for most studentnot too
hot, not too cold. However, these general guidelines notwithstanding, room temperature should
be tailored appropriately for both the style of yoga
being practiced and the student population.
For instance, peri- and postmenopausal
women tend to insist on cooler room temperatures and gently moving air. In contrast, some
styles of yoga use a room heated to a temperature
between 96 and 106 degrees Fahrenheit (between
36 and 41 degrees Celsius) with the intention of
helping warm the muscles for practice. In addition, in Bikram and other hot yoga classes, the
room is kept at a much higher temperature that
most other yoga styles, in order to help students
release more sweat.
Despite the importance of temperature, some
spaces do not provide easy access to the thermostat, which can cause consternation for both the
instructor and the students. For instance, one
instructor taught in a fitness club where an aerobics class was scheduled to follow her morning
Distractions
Music
Music Selection
For a time, most music played in yoga classes was
in the New Age genre, which is characterized by
soothing, eclectic rhythms and natural sounds.
However, many instructors and students are
uncomfortable with this style of music due to
its tendency toward nonmelodic content. Today,
many yoga practitioners consider a variety of
music styles to be acceptable as a background element, including contemporary kirtan (devotional
chants), crystal bowl playing, classical, jazz, and
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Summary
Although yoga practice may not require much
in the way of equipment or attire, it is unique in
its atmospheric needs. It is your responsibility as
the instructor to use all of the available resources
to create a safe and comforting environment in
which students feel protected and secure enough
to allow themselves to truly open their hearts and
minds to your instruction.
Review Questions
1. Why would yoga practitioners choose to
wear white cotton or other natural fibers?
2. Name three indispensable items used when
practicing yoga.
3. How can blocks be used?
4. What is the most important concern when
physically adjusting your students?
4
Breathing
and Beyond
PeopleImages/istock.com
he most important
thing is your breath.
These are words that
a good yoga teacher should
say many times during
class. Reminding students
to breathe is always an
important cue. Poor breathing is an epidemic bad habit
in todays society, and it
contributes to the stress
and high anxiety suffered
by many people. Breathing
deeply and slowly allows
for greater circulation with
less work; it reduces stress
on the heart and enhances
the entire cardiovascular
system.
During asana practice,
ones breath can make a
difference in ability, comfort, and awareness. Alignment in asanas and proper
breathing are two aspects
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Pranayama
Yogis refer to the force behind life itselfwhich
is inherent in the breathas prana [PRAAHnaah].In turn, the term pranayama [praah-naahYAAH-muh]refers to breath work, which connects
the mind and body in a shared consciousness.
Focusing on the breath helps a student bypass
the chatter in the mind and ego. When a student
begins attending to and controlling the breath,
his or her circulation improves, thus delivering
more oxygenated blood, which better fuels the
muscles and enhances concentration.
The fact that people usually breathe automaticallythat is, without conscious effort or
thoughtdoes not mean that the breath cannot
be controlled. In fact, for thousands of years,
yogis have developed ways to bring what were
once considered strictly involuntary systems
of the body under conscious control. The most
essential function of the body that can be regulated is the breath.
Ones breath provides a relatively easy and
convenient mechanism for tuning in to ones
inward self because it can be heard, felt, and
counted without special equipment. It is much
more difficult to notice various other aspects of
body functioningsuch as blood pressure, brain
waves, immune cells, electrolytes, and digestion
let alone consciously alter them. Happily, the
functioning of these systems generally improves
when breathing is more efficient.
Breath is also a metaphor for life. Not only can
breathing patterns affect a persons physiological
well-being; they can also affectand be affected
byones thought processes. Emotions can be
triggered either negatively through shallow,
labored breathing or positively through smooth,
flowing breaths, which stabilize our thoughts and
allow relaxation to set in.
Process of Breathing
Most people tend to breathe too shallowly, in
the uppermost region of the chest. This habit is
inefficient because it leads one to take in more
breaths in order to feel comfortable. This type of
overbreathing is a mild form of hyperventilation,
and it is exacerbated by stress. In fact, in some
people, this chronic breathing habit can induce
the stress response.
When a persons breaths are shallow and
frequent, his or her heart must work harder to
deliver oxygenated blood throughout the body. If
the circulation is chronically compromised, many
other body systems may function below the level
that nature intended. For example, poor circulation puts the immune system at risk by hindering
the elimination of toxins, thus diminishing the
bodys overall functional capacity (Jerath 2006).
Pranayama plays a major role in keeping the
processes of the physical and energetic body
healthy and in preventing the physical decay that
occurs when cells receive inadequate oxygen over
a prolonged period. Choppy, shallow breathing
occurs when the sympathetic nervous system
activates the bodys fight-flight-freeze response
to a situation perceived as threatening. When
this system remains activated over a long time,
it causes hormonal changes, which in turn produce physiological responses that endocrinologist Hans Selye labeled as general adaptation
syndrome. The resulting increase in cortisol and
adrenaline stresses the body and often leads to
one of many causes of premature death, such as
heart disease or stroke.
Anatomy of Breathing
A proper full, deep breath begins from the base
of the diaphragm near the pelvic girdle. This
action alone helps relax the rest of the respiratory muscles, as well as some neck muscles. The
calming effect of deep breathing is brought about
by the parasympathetic nervous system, which,
when activated, allows the body to rest and conserve energy. At the same time, this effect deactivates the sympathetic nervous system, which
regulates bodily functions involving the energy
expenditure generally associated with the bodys
self-protection during the activation of the fightflight-freeze response. As a result, according to
an article published in the International Journal
Nose
Mouth
Trachea
Lung
Diaphragm
Types of Pranayama
If you watch a young child sleep, you will notice
the smooth, rhythmic rise and fall of the belly
and the gentle expansion of the upper torso
and chest. This is how all human beings begin
breathingfree from worries about constantly
needing to suck in our gut and simply allowing the fullness of prana to flow easily into and
through our body. Over time, however, we tend
to pick up stresses and carry them through our
lifes journey; therefore, we need to retrain our
breathing process. The idea is to get the breath
to expand below the rib cage toward the navel by
engaging the diaphragm more completely.
Simply observing the breath is a type of pranayama that is often practiced during Shavasana
(Corpse Pose). When we breathe more efficiently,
we can take in sufficient oxygen with fewer
breaths. Animals that take fewer breaths generally live longer. For example, a tortoise breathes
four times per minute and lives up to 300 years.
The average human, in contrast, takes 16 to 20
breaths per minute and usually does not reach
his or her 100th birthday!
It is possible for the mind to be alert while the
body is quiet and calm. It is also possible to be
very active while breathing steadily and smoothly
through the nose. Not only can we practice yoga
more efficiently and easily, but also we can walk,
run, and even swim at a good pace while breathing deeply and relatively slowlyand without
taking oxygen in through the mouth, which tends
to dehydrate the body.
There are many styles and techniques of
pranayama practice. The three most commonly
practiced methods are outlined in the following
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a
Figure 4.2 Deep abdominal breathing: (a) in and (b) out.
Ujjayi Breathing
Ujjayi breathing is a more sophisticated pranayama technique that is used most often in
Ashtanga yoga classes. Basic ujjayi breath tends
to expand the lungs and chest more fully than
most other pranayama practices, and with
morecontrol, and also can help warm the body.
The breath produces a noise that resembles
something like a whispering roar as it vibrates in
the back of the throat and sinus areas, making a
sibilant ssss on inhalation and a hhhh sound
during exhalation. When students synchronize
their breathing in this manner, it sounds like a
pod of dolphins breathing together.
One easy way to introduce ujjayi breathing is
to ask students to begin breathing through an
open mouth while slightly tightening the back
of the throat. This action helps make the breath
more audible. Instruct students to whisper as
they inhale and exhale. For the more difficult
inhalation sound, you might have them practice
making an ash sound while slowly breathing
in. The exhalation is easier, because they can
usually get a good sound by trying to whisper a
prolonged ha.
Although breathing through an open mouth
makes it easier to feel the breath and hear the
sound, mouth breathing can be very dehydrating.
As students become more comfortable with the
breathing rhythm, instruct them to continue to
breathe through the nose. As they breathe slowly
and deeply through the nose, they should strive to
keep and emphasize the sound vibrations.
This breathing method is very efficient, and it
helps students focus not only on breathing but
also on the flow of asana movements. Because
ujjayi makes such a distinct sound, it automatically brings students back to awareness of the
breath. When a whole class uses this pranayama
technique, the students become a community,
helping each other focus through the sound they
are emanating. For example, in one class, on a
day when a certain accomplished ujjayi breather
was absent, the other students commented on
how much they missed her audible breathing to
help them stay focused on their own breathing
during asana practice.
To view a video clip which demonstrates
ujjayi breathing, visit the web resource at www
.HumanKinetics.com/InstructingHathaYoga.
Alternate-Nostril Breathing
Known as nadi shodhana, alternate-nostril
breathing increases and balances the prana flow
in both nostrils and throughout the whole body.
The term nadishodhana means to clean the nadis,
or nasal passages, which are channels through
which the energy, or prana, circulates. Chapter
5 provides more information about the energy
system; meanwhile, this section acquaints you
with the basic technique and the main benefits
of alternate-nostril breathing so that you can
practice and teach it.
According to Dr. Jeannette Vos, an expert in
education and brain research and best-selling
author of The Learning Revolution,people learn
five times more information when both hemispheres of the brain are active. Alternate-nostril
breathing engages both hemispheres of the brain
as it opens up both nostrils for a better breath.
The clearing and balancing effects of nadi
shodhana on both the left and right nostrils makes
it easier for students to breathe through the nose
overall. Unlike ujjayi, nadi shodhana is a quiet
breathing practice. It comes in many variations
and styles of hand positioning and fingering; the
most traditional way is to use the thumb and the
ring and little fingers of the right hand to alternately close and release the nostrils. The index
and middle fingers are folded inward toward the
palm (see figure 4.3).
To begin, invite students to the ground to find
a comfortable position. Usually, students are
seated, but one nice way to teach this technique is
to have them lie supine with the legs in a comfortable cross-legged position either on the ground
or up against a wall. Instruct students as follows:
Begin by exhaling through your left
nostril while your right thumb closes
your right nostril. Now inhale through
your left nostril. Use the ring and little
fingers of your right hand to close your
left nostril and release your right nostril. Exhale through your right nostril.
Inhale through your right nostril. Close
your right nostril with your thumb.
Open your left nostril by releasing
your ring and little fingers and exhale
through your left side.
This process completes one breath cycle. To start,
ask the students to try seven to ten cycles through
both nostrils.
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These are simple, directed breathing techniques that can be introduced to students at
all levels of yoga experience. There are many
variations, both in hand positioning and in the
duration of the breathing cycles. The key is to help
your students understand that it is important to
be aware of their breathing, not only during asana
practice but also throughout the day.
To view a video clip which demonstrates
alternate-nostril breathing, visit the web resource at
www.HumanKinetics.com/InstructingHathaYoga.
Serg Myshkovsky/istock.com
Asanas and pranayama work together to establish good posture and to open the torso for better breathing.
Linking Pranayama
With Asanas
Many people find it difficult to sit and focus
solely on the breath. The mind constantly begs for
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Summary
The lessons and benefits of pranayama practice
take time. Give students a chance to feel, see, and
in some instances (such as ujjayi) even hear their
breath. Remember, students cannot be reminded
enough to focus on their breath; constant feedback is necessary. Start students off with good,
deep, slow abdominal breathing; then, as the class
progresses, begin teaching durga breathing with
the asanas. If you teach a physically strenuous
yoga class, such as an Ashtanga practice or rapid
vinyasa, the ujjayi breath techniques generally
take more time to teach when working with less
experienced students.
Also, because it is best to teach from experience, remember to practice these techniques
yourself. If you are just starting out as a yoga
teacher, breathing deeply and slowly will also help
you feel less nervous. If you have been teaching
for a while, then you already know the benefits of
these pranayamas and may be ready to incorporate these beneficial techniques into your classes.
Pranayama practice offers so many physical and
mental benefits, not the least of which is to clear
the mind. Prana signifies the breath and vital life
energy, and cleansing the energy channels is an
integral component of breath work because it aids
mental focus. Pranayama breathing enhances the
rejuvenating effects of the parasympathetic nervous system. Deep, slow breathing provides greater
oxygenation with less effort, thus reducing stress on
the entire cardiovascular system. Focused breathing also makes a positive difference in ones ability,
comfort, and awareness during asana practice.
Review Questions
1. Identify an epidemic habit in modern society that contributes to the stress and high
anxiety suffered by many people.
2. How can a student bypass the chatter in
his or her mind and ego?
3. ___________ can be triggered either negatively through shallow, labored breathing
or positively through smooth, flowing
breaths that stabilize thoughts and allow
relaxation to set in.
4. Choppy, shallow breathing is associated
with which nervous system?
Energy
and Anatomy
RyanJLane/istock.com
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Skeletal System
Bones make up the frame of the body. Bone-
tissue growth, or osteogenesis,is stimulated by
weight-bearing activity; therefore, weight-bearing
yoga practice helps keep the skeleton strong and
aligned and reduces ones general risk of injury.
More specifically, the standing poses, especially
those that require balancing, create and maintain joint stability in the hips, knees, and ankles.
Asanas that work the arms build strength and
stability in the shoulder joints; examples include
Adho Mukha Shvanasana (Downward-Facing
Dog) and plank pose variations. Twists and inversions, on the other hand, utilize the abdominal
and spinal muscles and keep the spine strong and
aligned. Overall, hatha yoga helps maintain the
integrity of structural balance and therefore helps
prevent and alleviate osteoporosis, arthritis, and
mechanical misalignments.
When strong, balanced muscles and tendons
hold the bones in place during movement,
mechanical alignment is maintained within a
joint. Chiropractors manipulate the joints of the
spine to realign them, but if the muscle tissues
that connect to the spine are not balanced and
strengthened, then the adjustment is temporary.
Similarly, many treatments can relieve the pain
of a ruptured disc or pinched nerve, but in the
long run the safest and least expensive approach
is usually to treat the root cause of misalignments.
Just as car tires need to be balanced and held
in place, the joints of the human body are kept
in alignment by strong, balanced muscles. When
your car tires are misaligned, unnecessary strain
is placed on the structure of your vehicle. Not only
do your tires wear out much faster, but also your
steering is impeded in proportion to the degree of
imbalance. Even after you get your tires balanced,
if the mechanic neglects to secure them properly,
thenlike your joints after a chiropractic adjustmentthe alignment may not hold.
Muscular System
When muscles are not used, they lose mass and
functionality; normal muscle function can also be
hindered by chronic tension or scar tissue from
healing after an injury. Yoga, on the other hand,
is one of the few physical practices that increase
functional strength, flexibility, and mobility in a
balanced way. Research performed at the Uni-
These women are minimizing their risk of osteoporosis and arthritis by practicing a fun, weight-bearing pose.
Digestive System
The gastrointestinal tract is also toned and
stretched through asana practice; sluggish digestion is stimulated by the rhythmic movements
of the body. More specifically, forward bends
can stimulate digestion and hunger; in contrast,
hunger is often reduced by backbends because
they stretch the vagus nerve, which is involved
in the control of digestion. Backbends also
Reproductive System
For women in their childbearing years, the hormonal fluctuations of the monthly cycle often
cause unpleasant effects, such as painful menstrual cramps, backache, and irritability. Happily, the stress-reducing properties of restorative
asanas can help calm ones mood. Asanas that
open the hips can be applied to both menstrual
disorders and pregnancy. For example, Malasana
(Basic Squat, or Bead Pose) is a good preparation and labor technique because it flushes the
reproductive and urinary organs with greater circulation and stretches and strengthens the pelvic
supporting structures. Practitioners can also
prevent or reverse prolapse in these areas through
the practice of mulabandha (root lock; see later
section on bandhas). And for women who have
difficulty with pregnancy, the hormone-regulating
effects of hatha yoga often help create the conditions for successful conception and gestation.
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Respiratory System
The skin is the largest organ of the human body;
it is also part of the respiratory system. Therefore,
as pranayama improves the entire respiratory
system, it benefits the skin as well. In addition,
both pranayama and asana practice optimize lung
capacity by increasing the elasticity of the intercostal (inter-rib) muscles. As a result, although
the rib junctions and spine typically stiffen with
agethus diminishing the thoracic cage and,
in turn, ones capacity for oxygen intakeyoga
practice provides the opposite effect.
Asana practice also expands the intercostal
muscles, thus enabling the walls of the lungs to
remain elastic. In addition, the alveoli (sacs that
contain air in the lungs) are opened more fully,
thus improving oxygen perfusion in the lungs. In
forward-bending asanas, the posterior lungs get
stretched and are well ventilatedwhich is not
the case in most other forms of exercise.
Poses such as Adho Mukha Shvanasana
(Downward-Facing Dog) can improve vital
capacity, producing the effect of having run for
a prolonged period without the accompanying
strain.
This effect can be assessed by means of a
.
VO2max test, which measures a persons maximal
oxygen uptake and can be used to calculate how
efficiently the person uses oxygen. In onestudy,
.
regular yoga practitioners had VO2max measurements equivalent to athletes in moderately intense
sports (Bauman 2002). Ultimately, then, yoga
improves the cardiovascular system.
Circulatory System
Like the skeletal muscles, the heart and blood
vessels are strengthened and kept supple by yoga.
For example, backbending movements strengthen
the cardiac sphincter. In addition, the anterior
and lateral walls (front and sides) of the heart
are completely stretched and strengthened as
the anterior body elongates from the arch, thus
aiding healthy blood flow around the periphery
of the organ. Also, all asanas enhance blood flow
into the thoracic bed and improve the elasticity
of the aorta.
You may have heard of angina, which is referred
chest pain occurring when the heart receives insufficient oxygen. Angina tolerance can be improved
by yoga and many other types of exercise. However,
the other types lack the arterial-massage effect
created by yoga movements.
Because standing poses are more static than
dynamic, they cause only minimal lactic acid
to form in the skeletal muscles, thus avoiding
fatigue in both the muscles and the circulatory
system. Yoga practice also aids the health of the
entire vascular system as blood vessels get relief
from gravity in inversions and restorative poses,
in which the legs are raised or the head is placed
below the heart. The constant massaging effect
of the asanas reduces the formation of varicose
veins. Yoga also increases circulation to the brain,
which can reduce the chance of stroke. And the
rhythmic nature of asanas and breath awareness
allow increased efficiency in the circulatory
system without undue strain on any body system.
Endocrine System
The endocrine system monitors and produces
hormonal secretions needed to regulate body
functions. When operating well, this system
creates a healthy balance (homeostasis) in the
body, thus strengthening the immune system
and increasing ones resistance to illness. The
pineal gland, an endocrine gland associated with
the sixth chakra [CHUK-ruh] or energy center, is
located in the midbrain and regulates the function
Nervous Systems
The brain and spinal cord form the central nervous system (CNS), which is the bodys command
center. The CNS receives and interprets information sent from the bodys many systems and, after
processing the signals, sends out impulses for
these systems to act on. The CNS is connected to
the muscles and glands by the peripheral nervous
system (PNS), which relays information between
the CNS and the bodys periphery. The PNS is
further divided into the somatic and autonomic
nervous systems. Somatic neurons (nerve cells)
send impulses from the CNS to the skeletal muscles to produce movement, whereas autonomic
neurons connect to the two types of involuntary
muscle tissues: smooth (located in the stomach,
intestines, and blood vessels) and cardiac (located
in the heart).
The autonomic nervous system is further
divided into the sympathetic nervous system
(SNS) and the parasympathetic nervous system
(PSNS). These two branches play key roles in the
stress response. When the SNS is stimulated, it
calls the bodys systems into action. The typical
response of a person under stress includes an
increase in heart rate and respiration, a redirection of blood flow away from vital organs and into
skeletal muscles, and dilation of the pupils. These
actions are a result of a surge of adrenalin, norepinephrine, cortisol, and other stress hormones
racing through the body.
The roles of the PSNS, in contrast, are to
bring the bodys systems back to normal after a
stressful event and to conserve the bodys energy.
As the PSNS shuts down the stress responses of
the sympathetic system, it also nourishes and
rebuilds the body to bring systems back into
balance and relative calm. If the PSNS is unable
to bring relief to the bodywhich is often the
case in modern societyeventually all systems
of the body become overtaxed. In many cases,
when the PSNS is unable to do its work, organs
and systems begin to fail and illness and disease
set in. The result is often early death.
As mentioned in chapter 4, pranayama
strengthens the PSNS by bringing relaxation
through rhythmic breathing. With this effect in
mind, students practice Shavasana (Corpse Pose)
at the end of each asana session as a method of
deep relaxation and restoration.
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Energetic Anatomy
All forms of life have an essential energy flowing
throughout their physical structure. To many,
this energy is the essence of life itself, and many
world cultures understand the relative health of
their citizens on the basis of the health of the
energy systems in each individual. The term
energetic anatomy (alternately, metaphysical anatomy) refers to systems in the body that are not
necessarily observable. Energetic anatomy may
or may not be consciously felt, and only recently
has it been measured by modern science, yet
teachings about this subtle system have existed
since ancient times.
The bodys energy channels, or meridians, are
mapped out in traditional Chinese medicine.
These maps are used to guide practitioners in
treating patients through acupuncture. The
channels are also mapped out in Ayurveda, the
ancient medicine of India, and the Ayurvedic
term for such a channel is nadi [NAAH-dee]. The
nadis make up a vast network throughout the
body and connect from the chakras, or power
centers, which are located vertically alongside
the spinal column.
In 2000, Dr. Hiroshi Motoyama (2001),
renowned author, physiological psychologist, and
founder of the California Institute for Human
Science, demonstrated that the areas in the body
believed to be chakras have a distinct electrical
presence when compared with other locations of
the body. Thus he essentially verified the physical existence of the chakras. More information
on Dr. Motoyamas research can be found at the
institutes website (www.cihs.edu).
The nadis provide a network for energy to flow
from the chakras. Each chakra has a corresponding psychological and physical center. As the
Chakras
The chakras are considered to be the major
energy centers of the physical and energetic body.
Energy moves through the seven main chakras,
which are spaced along the spine from its base
to the crown of the head. It is believed that each
chakra represents a level of developmental progression of consciousness in a persons life as he
or she follows the path toward enlightenment.
The chakras shown in figure 5.1 are eachassociated with a physical location in the body, as well
as an emotional or psychological manifestation.
Table 5.1 presents the chakras, their Ayurvedic
elements, and their physical and psychological
functions and associations. Chakra energies can
be affected profoundly by the movement and flow
of asana practice. Each poses physical orientation
Sahasrara
Ajna
Vishuddha
Anahata
Manipura
Svadhishthana
Muladhara
Location
7thSahasrara
Crown of head
6thAjna
Ayurvedic
element
Physical
function(s) and
association(s)
Kosha
Medulla oblongata,
pineal gland
Psychological
function(s) and
association(s)
Wisdom, intuition,
meditation
Ether
Thyroid
4thAnahata
Heart area
Air
Love, compassion,
immunity
3rdManipura
Fire
Digestive system
2nd
Svadhisthana
Reproductive
system
Sexual energy,
self-esteem, identity
1stMuladhara
Elimination
Survival, stability
Earth
Bandhas
In traditional yoga, the bandhas are practices
used to control the bodys internal prana. The
three main bandhas described in this section were
customarily practiced in unison while in a seated
position. This advanced practice is called Maha
Bandha (the great lock). The purpose of this
practice is to allow the Kundalini energy to rise
from the base chakras and be purified through
the fire of the Manipura chakra. As the energy
continues to rise, blocks to free-flowing prana
are said to be eliminated.
In an asana practice, one or all of the bandhas
may be activated. Just as specific muscles are
activated to provide core strength or stability, the
bandhas act as metaphysical or core-energy stabilizers. A bandha essentially holds energy within
the body by contracting certain muscles; therefore, a bandha is often applied during an asana
because it enables greater energy and stamina
to remain within a person on both a physical
and an energetic level. However, one should not
Anandamaya
Vijnanamaya
Manomaya
Pranamaya
Annamaya
5thVishuddha Throat
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Koshas
In traditional yoga anatomy, a persons physical
and energetic body are made up of five layers or
sheaths, called koshas. The layers can be thought
of as a progressive series of levels that make up
Energy Words
Bandhas[BUHN-dhuhs]Physical techniques that lock in, move, and hold energy in the body.
Drishti[dr-EESH-tee]Area on which your physical eyes focus while practicing asanas.
Gunas[GOOH-naahs]Three subtle qualities of mental and spiritual nature that govern spiritual growth.
Koshas[KOH-shuhs]Energetic layers, or sheaths, that move inward from our outermost physical boundary
to our deepest spiritual core. Koshas provide the framework for how we conceptualize our deepest Self.
Mudras[muhd-RAAHS]Energy-locking techniques that generally consist of hand gestures, such as prayer
position, or Anjali Mudra [UHN-juh-lee muhd-RAAH].
Prana[PRAAH-naah]Life force inherent in the breath.
Human Movement
Systems
Movement of the human body occurs at many
levelsfrom the molecular level, where oxygen
passes into the bloodstream, to the coordinated
effort of the musculoskeletal system in intricate
and complex single-limbed balance postures.
The gross, or large, anatomy of the human body
includes the physical structures that can be seen
with the naked eye. Although the practice of yoga
postures affects the body at all levels, this section
focuses on the interconnectedness of the musculoskeletal structures and how they are meant to
move efficiently and with minimal risk of injury.
Understanding the mechanical principles
of human movement can help you determine
how to structure your classes. Appropriately
sequenced classes afford students the maximum
physical and mental benefits possible. Applying
principles of human movement also enables you
to recognize when students place themselves at
risk of physical injuryand when, how, and why
to properly apply physical adjustments.
Musculoskeletal System
The human movement system is composed of
bones, skeletal muscles, tendons, ligaments, and
fasciae. The skeleton is the framework of bones
that defines ones shape and general physical
movement abilitiesas a human being. Muscles
are attached to bones by tendons and other connective tissue and provide the means to move
the bones through specific movement patterns. A
joint is formed where the ends of two bones come
together; within a joint, bones are bound together
mainly by ligaments. For movement to occur, a
muscle must be attached to two separate bones
Skeletal Muscle
In hatha yoga, a person moves from posture to
posture by means of the skeletal muscle contractions that create movement throughout the
body. An overview of muscle tissue illustrates how
movement in one part of the body affects other,
seemingly remote areas of the body.
Each skeletal muscle consists of layers of
muscle tissue bundled together, surrounded, and
intertwined by a matrix of dense collagenous
tissue called the deep fascia. At the end of each
muscle, the fascia converges as tendons and
connects the muscle to bone (see figure 5.2).
Within the muscle belly, the deep fascia separate
muscle tissue into smaller and smaller bundles
of contractile tissuesthe smallest of which are
myofibrils. A myofibril is a cylinder comprised of
proteins called actin and myosin. It is within the
myofibrils that muscular contraction occurs on a
microscopic level. (More information regarding
muscular contraction can be found in the section
How Muscles Create Movement.)
Fascia
The fascia is a web of connective tissue distributed throughout the body. Fascia is organic
material that not only holds the body together
but also is responsible for our basic human
shapeboth inside and out (Myers 2014). The
fibers of this matrix are infused throughout the
bodys cells and surround them from the epidermis inward. A subcutaneous layer of tissue, called
the superficial fascia, is located throughout the
body directly beneath the dermal layer of skin.
This fascia forms the "outer shell" of the entire
Muscle belly
Epimysium (deep fascia)
Tendon
Fasciculus
Endomysium
(between fibers)
Sarcoplasm Sarcolemma
Myofibril
Myofilaments
actin (thin)
Perimysium
myosin (thick)
Single muscle fiber
Nucleus
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How Muscles
Create Movement
A body segment moves when a muscle applies
force through its tendon onto its bony attachment. When muscle fibers generate sufficient
tension, the muscle contracts, thus moving or
stabilizing the affected area of the body. Muscles
work in concert to move the body in a coordinated fashion. Due to the interconnectedness of
skeletal-system tissuesand the fact that many
muscles cross more than one jointtrying to
isolate a single muscle in a yoga posture (or any
other movement) is like trying to isolate a single
note in a musical chord.
However, even though multiple muscles influence the movement of a particular body part
or segment, a given movement is often driven
primarily by one muscle. This muscle is referred
to as the prime mover, whereas the other contributing muscles are referred to as synergisticor
collaborative muscles. In addition to aiding the
prime mover, synergistic muscles stabilize and
refine certain types of movement.
Three-Dimensional Movement
To facilitate proper execution of an asana with
regard to the bodys spatial orientation, we use
standardized terms. The most widely accepted
way to describe movement patterns is to begin
with the body in what is called the anatomical
position. Picture a person standing erect with the
arms at the sides of the body and the head, chest,
palms, knees, and toes facing forward (see figure
5.3). Movement can then be described in terms
of how the body deviates from the anatomical
position.
For example, an action that moves a body
section away from the midline and to the side
of the body is referred to as abduction. When a
body section is moved from the side toward the
midline, that action is referred to as adduction.
When two bones, such as upper and lower arm
bones, move closer to each other, decreasing the
angle, the joint is said to be in flexion. When the
segments move away from each other, thereby
increasing the angle, the joint is said to be
Transverse
Frontal
Sagittal
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Mechanics of Asanas
Spinal Positioning
The ideal in human postural alignment is a
flexible, strong spine with healthy curves; unlike
a pencil, the spine is not meant to be perfectly
straight. A normal, healthy spine contains 24
moving vertebrae and has a natural S shape when
viewed from the right (see figure 5.7). The cervical
(neck) area has a slight concave curvature. The
shape of the spine becomes convex in the thoracic
(upper middle) area of the back, then moves into
a concave curvature in the lumbar, or low back,
area. An additional convex curve is found in the
sacrum (mid-pelvis), which is the location of
an additional five fused vertebrae. The coccyx,
or tailbone, is an extension of the spine that
can move independently of the sacrum. Neutral
positioning of the spine occurs when the natural
curves are intact but not exaggerated.
The shape of the spinal curves, in addition
to the cushioning of the disks, provides shock
absorption and allows for greater range of motion
in the spine. At the same time, stability in the
range of motion, along with the spaces between
the vertebrae, allows the nerves to be free of
obstruction. One should strive to create as much
space as possible between the vertebrae when
standing in a semi-relaxed upright position, such
as Tadasana (Mountain Pose). Opening this space
helps lengthen the torso and allows for easier
movement about the spineboth in yoga and in
everyday movement patterns.
Unfortunately, not everyone has the luxury
of healthy spinal curves. Problematic curvature
Cervical (7)
Thoracic (12)
Lumbar (5)
Sacral (5)
Coccyx (4)
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Holding Asanas
To decide how long students should remain in
postures, consider the physical and mental abilities of the entire class. In some ways, this aspect
of asana practice can be likened to weight training
or endurance training. In weight training, the
number of repetitions and sets can be modified
slowly to increase muscular strength over a period
of time. In endurance training, the percentage of
maximum heart rate and the duration of exercise
are increased to bring about changes in both
muscular and cardiovascular endurance. In yoga,
no matter where a student is, physically, within
a postureassuming that the student is not in a
position that risks injuryone of the instructors
duties is to create an appropriate sequence from
that posture to the next.
At the beginning of a class, let students know
that it is perfectly appropriate for them to exit a
pose if they feel pain or feel that the pose is just
too much. With this caveat established, you can
determine the amount of time for students to
remain in a given asana. To do so, use a 10-point
scale, in which 1 means that very little mental or
physical energy is exerted and 10 means that an
extreme amount of energy is put forth throughout
the asana. On this scale, in active classes, the body
and mind should be in the intensity range of 5 to
8, or slightly higher, and for less intensely active,
or restorative classes, a range from between 2 and
4, for the following variables:
Physical exertion. Students should try to
keep the energy level consistent in the muscles
while maintaining the appropriate physical alignment. However, different body parts may need
to be considered independently. For example, in
Utthita Trikonasana (Extended Triangle), a students legs may be strong even as the neck needs
to rest. If so, the student can adjust the neck and
continueif the rest of the body remains at an
intensity level between 5 and 8. As the overall
energy in the pose diminishes, the student should
come out of the posture.
Mental focus. Students should continually
ask themselves whether the mind is aware of the
body or is wandering elsewhere. For example,
instead of noticing how the hamstrings relax
with each exhalation, one might be wondering,
How can the person next to me do this posture
so much better than I can? When such thoughts
occur, the mental focus plummets to the lowest
level on the scale, and it is time to either refocus
or come out of the asana.
Avoiding Injury
Students often attend yoga classes in part because
they have heard that yoga makes people flexible.
In fact, one of yogas big draws is the consistent
focus on relaxing and lengthening the muscles in
asanas. Unfortunately, many students either come
to yoga from competitive sport or still partake of
the old-time no pain, no gain mentality; as a
result, they have no idea just how much they can
or should push themselves in yoga class.
Muscles can stretch up to 150 percent of their
resting length before tearing. In contrast, most
Hypermobile Joints
Most students who come to yoga know that
stretching and lengthening require effort, but
some students arrive with seemingly exceptional
flexibility. These students may amaze other students (and uninformed teachers), who may strive
to emulate them. However, although these loosejointed or bendy students can move the body
to the extreme, they often do not feel any kind
of stretch or physical signal, even at the extreme
edge of an asana. They also tend to have difficulty
with proprioceptionthat is, knowing where
their body parts are at any given time, or even
noticing that they have moved beyond a joints
normal range of motion.
Joint hypermobility generally occurs when the
connective tissuespecifically, the cartilage
within and surrounding a joint is weak and fails
to provide adequate structure and stability. This
condition occurs more often in women than in
men, and in some people it is a genetic trait.
Laxity or looseness in the joints can be a mechanism for injury because the bony structures of
the joint are able to move without restriction
across the joint surface, thus possibly leading to
joint dislocations as well as labrum tears in the
hips and shoulders.
Hypermobile students should be encouraged
to practice alignment-based and strengthening
styles of yoga (for example, viniyoga and Iyengar).
They should be discouraged from practicing
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Spinal Stability
To properly execute either a standing or seated
forward bend, the body should hinge at the hip
joint while the spine remains in a lengthened
position (figure 5.8a). However, due to limited
flexibility in the hamstrings and weakness in the
spinal muscles, many students allow the back to
relax and round while they attempt to bring the
head toward the knees (figure 5.8b). This action
puts undue stress on the weakened spinal musculature, causes compression in the vertebrae,
and can exacerbate even the slightest injury or
discomfort in the area. Remind students to elongate the trunk as they inhale in order to retain
postural integrity of the spine in any position.
In standing forward bends, the legs help suspend the weight of the body, and because the
pelvis is not resting on the ground it can be moved
more freely in space. Whether gravity helps or
hinders a person in a forward bend depends on
his or her degree of flexibility in the hip muscles
and hamstrings. In general, even a person (without injury) with extremely inflexible hamstrings
and lower back muscles can bring the torso close
to 90 degrees of forward flexion without much
spinal flexion. If a person can flex the torso more
than 90 degrees, then the pull of gravity encourages the spine to lengthen.
UNSTABLE
IDEAL
Figure 5.8 Forward bend: (a) ideal alignment of the spine and (b) unstable and possibly harmful alignment of the spine.
External Rotation
The modern lifestyle is torturous to the shoulders and the overall spinal posture. Long hours
spent sitting and slouching in front of computers,
cellphones, and televisions lead to a tendency to
allow the shoulders to roll forward and sink into
the chest. Yoga practice is a wonderful way to
open the chest and shoulder joints, thus helping
to erase the effects of poor posture. In almost all
asanas, external rotation of the shoulder joint is
applied to open and expand the chest.
When a student stands in the anatomical position, which is akin to Tadasana (Mountain Pose),
the head of the humerus (upper arm bone) rests
securely in the joint socket (see figure 5.10a).
As the humerus is turned inward toward the
chest (internal rotation), the head of the bone
rolls slightly away from its secure position in
the socket. In non-weight-bearing postures, this
action generally does not pose much injury risk.
When a student is upright, with the arms by the
sides (or even with the arms extended to the sides,
parallel to the ground), it is easy to visualize
the direction in which to externally rotate the
shoulders and open the chest. When a student
is upside down, however, with the arms over the
head, the situation can be somewhat disorienting
for an instructor.
One serious mistake made by inexperienced
instructors is to internally rotate, by accident, the
shoulders of students practicing asanas in which
the arms support a significant portion of the body
weight (see figure 5.10b). Examples include Adho
IDEAL
UNSTABLE
Figure 5.9 Knee joint alignment: (a) ideal positioning of the knee and (b) unstable knee alignment (locked, hyperextended knee).
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IDEAL
UNSTABLE
Figure 5.10 (a) Ideal rotation of the shoulder and (b) unstable rotation of the shoulder.
Summary
A yoga instructor carries great responsibility. Students place their trust in an instructors ability to
relate physical, emotional, and spiritual concepts;
they also trust that these concepts and ideals are
founded on a large body of knowledge. In order
to guide your students through a practice that is
both mechanically sound and personally satisfying, you must develop a basic understanding of
how the bodys major systems function, on both
the physical and metaphysical levels, and how
these systems benefit from yoga practice.
Review Questions
1. Define safe yoga instruction.
2. What is a nadi?
3. What is mula bandha, and with which
chakra is it associated?
4. Is it advisable for a woman to practice yoga
while menstruating? Why or why not?
5. Which anatomical plane does Utthita
Trikonasana (Extended Triangle) move
through?
6. What are the six directions in which the
spine should move in a balanced session?
7. Identify a few asanas that stimulate osteogenesis and contribute to joint stability.
Part II
Asanas and
Adjustments
6
Sun Salutations
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76
Sun Salutations
1 Begin in Tadasana
(Mountain Pose), then
inhale and reach your
hands over your head,
wide apart.
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Surya Namaskara A
This is the first salutation series done in Ashtanga-style hatha yoga.
1 Start in Samasthiti,
with your arms at
your sides.
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Sun Salutations
Surya Namaskara B
This series is also traditionally practiced in Ashtanga hatha yoga.
2Simultaneously
bend your knees and
bring your body into
Utkatasana (Chair
Pose). Breathe two or
three breaths. Inhale
and press through your
legs, straightening your
body.
13 Move down to
Chaturanga Dandasana.
1 Begin in Samasthiti,
then inhale and lift your
arms over your head.
(continued)
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18 Move down to
Chaturanga Dandasana.
21 Inhale, then
exhale and step or
jump your feet forward between your
hands.
25 Inhale and
straighten your legs,
stretching as tall and
long as possible.
Exhale and lower
your arms to your
sides back into
Samasthiti.
7
Standing Postures
AfricaImages/istock.com
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Standing Postures
Tadasana or Samasthiti
Mountain Pose
[taahd-AAH-suh-nuh] or [suhm-uhst-HEE-tuh-hee]
In Sanskrit, tada means mountain; sama means upright, straight, or unmoved; and sthiti
means steadiness. The name Tadasana is used in Iyengar and most eclectic hatha classes,
whereas Samasthiti is used mostly by Ashtanga (power) yogis. A few yoga schools call this
pose Talasana, a word for tree, but it should not be confused with Vrkshasana (Tree
Pose), which is the more common one-legged balance pose.
Description
Tadasana provides the foundation for all standing poses. It is generally performed at
the beginning of a practice in order to direct the students focus internally and to begin
warming the muscles for further practice. We begin with the feetthe base of the
bodyto highlight the importance of a strong, balanced foundation.
Energetic Focus
First chakra (Muladhara) grounding energy
Foundational Focus
Root equally through the metatarsal heads and the center of the heel in both feet.
Benefits
Verbal Cues
As with all poses, begin by bringing your focus to your breath. Slow down and deepen your breath as you
center your mind within yourself; let your thoughts settle out of the forefront of your consciousness as you
continue to breathe deeply.
Begin with your feet parallel, as close together as is comfortable, and your toes pointing straight ahead. Spread
your toes and feel the length of each toe against the ground; doing so prevents your toes from curling under
and cramping your feet. Imagine your toes rooting outward and down, enhancing your stability.
Anchor through your big toes, your little toes, and the middle of your heels. Balance your body weight equally
between thefeet. Imagine that you are breathing in through your arches to help them lift slightly.
Firm your thigh muscles as you gently lift your kneecaps upward without locking your knee joints. Your legs
should remain long and strong but with slightly soft knees. Begin to rotate your upper legs inward and your
lower legs slightly outward. Your legs will not actually rotate much in either direction, but you will become
more aware of the energy of your leg muscles in the process. Imagine an upward flow of energy from your
arches along your inner legs into your pelvis.
Continue to focus on your breath.
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Keep your pelvis in a neutral position so that the top of your pelvis is parallel to the ground. Center your hips
so they align moredirectly over your heels and find the place where you have to work a bit to stay balanced
without forcing or straining.
Keep your chest lifted (without arching your back), your shoulders relaxed, and your spine lengthened. With
each inhalation, feel your rib cage lift slightly away from your pelvis and imagine the energy from your feet
moving higher through your body toward the crown of your head.
Draw your shoulder blades together slightly to allow your chest to open more fully, with your arms relaxed
alongside your body and your fingertips pointed down toward the ground. Your palms should face either slightly
forward or toward your thighs
Continue to focus on your breath.
Keep your chin parallel to the ground, or slightly tilted downward, and imagine someone gently lifting your
skull away from your shoulders.
Keep your ears, shoulders, hips, knees, and ankles in a comfortable, not overly rigid alignment. Imagine a
straight line of energy running up and down the side of your body through each of these joints.
As you continue to breathe deeply, eliminate any thoughts other than those that have to do with your alignment
and your breath, and simply notice the physical and energetic movements in your body.
When your awareness becomes fully present in this asana, you have the key to practicing all asanas. The
extension to grow in this pose comes from deep in the mid back, and from this position the entirety of your
daily posture improves.
Adjustments
ArchesDirectthe student toroll the inner (medial) ankles outward to lift the arches.
You can brush your hand in the direction in which you instruct the student to move
the ankle, or you can place your fingers between the ground and the arch of the foot
to illustrate more space beneath the arch.
HipsStand behind the student. Center the hips more directly over the heels by placing
your hands lightly on the students hips at the iliac crest (top of the pelvis) and gently
guiding the hips into alignment over the heels.
ShouldersStand to the side of the student and check shoulder positioning while cueing
the student to relax the shoulders. Place your hands between the lifted shoulder blades
(mid-trapezius muscles) and guide the shoulders down away from the ears. You can also
touch the mid-chest (mid-sternal) area to encourage the chest to lift slightly, making sure
that the student does not begin to arch the lower back by lifting too forcefully.
Head and neckPlace your fingertips under the students chin or on the forehead and
your thumbs at the base of the skull behind the ears. Lightly suggest more length in
the neck by softly lifting the head. Gently guide the head back so that the ears align
comfortably over the shoulders.
Adjustment: lifted shoulders.
Modifications
PregnancyInstruct students to stand with the feet as wide apart as needed and in a position that is comfortable
enough to accommodate the belly and help them maintain balance. If balance is compromised, advise them to
use a wall or other sturdy prop.
LordosisStudents with this condition (extreme forward pelvic tilt) may need tangible feedback to move into a more
fully aligned Tadasana. It helps to have them stand against a wall and move the low back toward the wall in order
to feel the action of bringing the pelvis into a more neutral position (where the anterior superior iliac spine [ASIS],
the hip points located at the front of the pelvis,and pubic bone align vertically).
KyphosisFor students with this condition (extreme upper back curvature), place the back against a wall with a pillow
at the posterior bottom ribs while assisting them in pressing the shoulders back toward the wall. This modification
can also benefit people with extremely tight pectoral (chest) and anterior deltoid (front shoulder) muscles achieve
more awareness and open up more space in these areas.
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Standing Postures
Weakness, fatigue, or paralysisStudents can place the hands on the back of a chair for support while standing, or
sit instead of standing, and focus on lengthening the spine.
Severe balance concernsStudents can stand with the back in front of a wall and use it in the way that a child who
is learning how to ride a bicycle uses a training wheel. Specifically, they can press against the wall with the hands
for stability. Eventually, as balance improves, the rest of the body works with more synergy and the hands and arms
are used less for support.
Kinematics
To the outside observer, Tadasana may appear to be nothing more than relaxed standing in the anatomical position;
in actuality, it is slightly more active. Electromyographic studies on standing posture indicate that human beings
produce a rather minimal amount of muscular activity while standing in a relaxed, upright posture (Basmajian 1985).
In Tadasana, however, the muscular activity is focused on consciously attaining and maintaining length in the entire
body and is generally isometric in nature.
Mechanically, if the base of the body is not aligned properly, compensations must be made higher up the body
in order to achieve proper balance. For example, if you stand with your shoulders rolling forward and toward each
other, your neck tends to hyperextend to keep your head in a more upright posture. These compensatory changes
create poor overall posture, which, in the long term, may lead to many physical and emotional concerns.
Tadasana
Body segment
Foot and toes
Lower leg
Thigh
Torso
Kinematics
Muscles active
Quadriceps (C, I)
Thigh extension
Pelvic stability
Hip stability
Trunk stability
Shoulder
Upper arm
Elbow extension
Lower arm
Forearm supination
Supinator (C, I)
Extensor digitorum, indicis, and digiti minimi; lumbricales manus; interossei dorsales (C, I)
Neck
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, and I = isometric contraction.
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Vrkshasana
Tree Pose
[vrick-SHAAH-suh-nuh]
Vrksha is the Sanskrit word for tree.In Vrkshasana, the one-legged balance is reminiscent of
the strength and energy in the trunk of a tree. The roots, represented by the standing foot, press
down into the earth for support, and the branches or hands extend up ever taller toward the sun.
Standing as a tree, you are strategically balanced so that energy comes up to your standing foot
from the earth and you use gravity to your advantage as you press downward.
Many trees have roots on top of the earth, but the roots anchor into the ground. The part
of Vrkshasana that represents roots anchoring into the ground is the force, or energy, exerted
by gravity on the standing foot. Reciprocally, energy is drawn upward through the trunk of the
body, while the arms stretching overhead are like branches reaching for the sun. This action
allows the ribs to lift and expand the diaphragm, thus enabling more expansive breaths.
Description
Vrkshasana, like all single-legged balance postures, should be practiced equally
on both legs. Vrkshasana and Utthita Trikonasana (Extended Triangle) work well
togetherbecause of the muscular engagement needed to stabilize and open the
hips. In fact, many people prefer practicing Utthita Trikonasana before Vrkshasana
to prepare the hips for deeper external rotation.
Energetic Focus
First chakra (Muladhara) grounding energy
Foundational Focus
Root through the metatarsal heads and the heel of the standing foot. Press the inner
thigh of the standing leg and the sole of the non-weight-bearing foot toward each other.
Benefits
Caution
High blood pressureStudents with this condition should refrain from lifting the arms overhead.
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Standing Postures
Verbal Cues
From Tadasana (Mountain Pose), find a point somewhere in front of you to focus on with your eyes turned
slightly downward. Gaze forward on a motionless drishtiand allow your eyes to remain softly fixed on the
chosen point. Breathe deeply and feel your body come into alignment.
Slowly and smoothly, shift your body weight more fully onto your right leg and begin to lift your left heel off
the ground. When you feel stable on your right leg, exhale and draw your left knee up toward your chest. Find
the balance on your right foot from front to back, redirecting the movement that naturally moves the body from
side to side when standing on one leg.
Connect even more fully into your right leg, feeling the energy from the ground lengthen your spine and being
mindful not to let the left side of your pelvis drop lower than the right side.
Keep your right hip pressed back; at first, it may feel almost as if you are overcompensating. Keep your pelvis
square while you externally rotate your left knee out to your left side. Feel the front of your right thigh and the
inside of your left knee reaching away from each other.
Exhale and place the sole of your left foot on the inside of your right leg anywhere that you feel you are comfortably, yet challengingly, balanced. However, avoid placing the foot on the inner knee joint. Firmly press
your left foot and your right leg into each other. Doing so helps draw energy into the midline of your body and
helps you maintain balance.
Moving slowly, place your hands in Anjali Mudra (Prayer Pose) with your palms pressed lightly together at the
level of your heart. Remaining fully rooted to the ground, imagine all the energy in your body drawing inward
toward the midline and upward toward the sky.
Continue to focus on your breath.
As you breathe in, slowly raise your arms overhead and feel your chest and ribs lift higher, away from your
hips. Remain here for two to three more breaths.
Slowly release your arms to your sides and set your left foot on the ground. Rotate your right foot in both
directions and shake your leg out slightly to loosen up the joints of your right leg. Come back to Tadasana to
prepare for the other side.
Adjustments
ToesRemind students to spread the toes for stability and to focus on keeping the balance between
the front and back of the foot without clenching the toes. For a kinesthetic reminder, point to
or lightly brush the tops of the toes. You can also press down into the first metatarsal (big toe)
to help the student work from front to back instead of wobbling from side to side.
Hip of non-weight-bearing legStand behind the student and place your hands lightly on the
hips as you level them. Move slowly so that the student is not thrown off balance. If necessary,
move the hip of the standing leg back into alignment over the knee.
SpineEncourage length in the low spine by reminding students to lift the crown of the head
toward the sky. You can lightly brush upward in the space between the shoulder blades.
Chest and ribsStand behind the student, placing your palms against the sides of the rib cage,
and gently draw the ribs up. Alternatively, hold the students upper arms so that you can
support the student while promoting extension through the spine. Encourage the student to
keep the pinky fingers touching as the arms are raised in order to maintain external rotation
at the shoulders and keep the chest open. Standing behind the student works best because
it requires little physical effort on your part and is less distracting to the student.
ShouldersPlace your hands lightly on top of the students shoulders and remind the student to stay relaxed.
Adjustment: hip alignment.
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Modifications
Hip replacementTo avoid creating stress in the hip joint with its limited range
of motion, instruct the student to focus solely on balancing on one leg with
little if any external rotation of the bent leg. Invite the student to keep the
toes on the ground and rotate on the ball of the foot to the first point of
resistance in the hip.
Balance difficultyInstruct students to keep the toes of the bent leg on
the ground with the heel pressed against the straight leg or on a block
to the side of the standing leg. Have students use a prop (chair or wall)
as a sort of training wheelthat is, only as a way to regain balance if
they tend to wobble.
Severe balance difficultyInstruct students to place the foot of the bent
leg on a block or step stool. This technique helps students work on
opening the hips without compromising balance.
Pose deepeningInstead of placing the foot of the bent knee against
the standing leg, direct the student to reach the foot across to the
opposite hip into Ardha Padmasana (Half-Lotus) and wrap the sameside hand behind the back to hold the foot. If the student cannot
Modification: balance
quite reach the foot, she or he can use a strap.
difficulties.
Modification: pose
deepening.
Kinematics
Students often complain that the inside of the standing thigh is too slippery and that they are therefore unable
to hold the other foot against it. Generally, the problem does not really involve slippery pants or skin; rather, it is
a matter either of not pressing the sole of the foot firmly into the opposite thigh or of not having adequate range of
motion for that particular placement. If a student has enough flexibility and openness in the inner thigh to place the
heel of the foot into the groin, he or she will gain significant stability in the posture.
Kinematics
Active muscles
Toe extension
Gastrocnemius (I)
Ankle dorsiflexion
Thigh (R)
Quadriceps (C, I)
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Muscles released
Gastrocnemius,
soleus
Standing Postures
Body segment
Kinematics
Active muscles
Thigh (L)
Knee flexion
Hamstrings (C, I)
Hamstrings (C, I)
Hip stability
Pelvic stability
Hip flexion
Trunk stability
Adduction of scapulae
Abduction of humerus
Deltoids (C, I)
Pronation
Elbow flexion
Wrist hyperextension
Finger extension
Finger adduction
Torso
Shoulder
Upper arm
Lower arm
Neck
Muscles released
Adductors
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, I = isometric contraction, L = left, and R = right.
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Utkata Konasana
Fire Angle Pose
[OOT-kuh-tuh kohn-AAH-suh-nuh]
In Sanskrit, utka means fierce or intenseandkona means
angle. This wide-legged squat gets its name from the intense
energy used in the thighs to hold the position. The asana is
also often called Goddess Pose because it is reminiscent of the
commanding stance of strength depicted in many statues of feminine
deities.
Description
Utkata Konasana is a powerful squatting pose that charges up
the energy of the hips and legs. The more the legs are rotated
externally, the more the balance is affected.
Energetic Focus
First chakra (Muladhara) grounding energy, second
chakra (Svadhisthana) creative energy
Foundational Focus
Root through the heels and the fifth metatarsal heads. Anchor into the first metatarsal heads and draw energy through
an invisible line down from the base of the pelvis into the ground.
Benefits
Caution
Knee or hip surgeryPersons who have had knee or hip surgery should refrain from this pose until range of motion
is reestablished, then proceed with modifications if medically appropriate.
Verbal Cues
From Tadasana (Mountain Pose), step your legs as wide apart as is comfortable. Externally rotate the front of
your thighs, knees, and feet outward. Make sure that your knees are aligned in the same direction as your toes.
Visualize your kneecaps pointing directly away from each other.
Inhale and raise your arms out to your sides so that they are parallel to the ground with your palms facing down.
Keep your shoulders soft. Exhale and flex your hips, knees, and ankles, coming into a semi-squat.
Establish that your kneecaps are pointing in the same direction as your toes, and on the next exhalation squat
deeper. Breathe smoothly. Feel your outer hip muscles work to help open up more space betweenyour inner
thighs. Picture the outsides of your knees and thighs pressing into an imaginary wall behind you.
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Standing Postures
Squat deeper until your upper thighs come as close to parallel with the ground as is comfortable for you. Feel
your hamstrings (the backs of your thighs) and gluteal muscles (buttocks) contracting by imagining your heels
drawing together. Visualize the strong energy holding your thighs in place. Breathe length through your back
and sides while keeping your hips centered under your shoulders.
Continue to focus on your breath.
Press energy from your heart center out through your hands. Spread your fingers. If your arms fatigue, press
your palms together in front of your heart or place your hands on your hips.
Inhale and reach your arms overhead as you straighten your legs. Exhale and lower your arms back to your
sides. Prepare for the next pose.
Adjustments
Feet and kneesIf a students knees rotate inward out of alignment with the
toes, semi-squat behind the student and slightly to one side. Place your palms
to the inside of the thighs, just above the knees, and gently press the knees away
from each other. Instruct the student to use the outer hip muscles to help draw the
thighs away from your hands.
PelvisIf a students hips are thrust back so that the pelvis is considerably behind the
line of the shoulders, stand directly behind the student and turn your body slightly
sideways with your knees somewhat bent. Press the outside of your closest thigh
against the students pelvis. Place your hands on the front of the students
shoulders and encourage him or her to draw the backs of the shoulders
toward you as you support the movement. Move slowly so that you both
keep your balance.
Adjustment: feet and knees.
SpineIf the student rounds the back as he or she squats, encourage length
in the spine by cueing the student to lift the crown of the head toward the sky. Stand behind the
student and place your hands lightly on the shoulder blades. Ask the student to draw the upper
back into your hands.
ShouldersIf the chest is flexed so that the arms are not in line with sides of the body, stand
behind the student and place your hands lightly on top of the shoulders. Draw the upper
arms slightly back to open the chest.
Modifications
Hip or knee replacementThis pose may be practiced only if the student has been
medically cleared to work on range of motion and if the external rotation is not
taken to the extreme. Place the student near a wall for stability.
Balance difficulty or pregnancyInvite the student to practice with the back
against a wall while pressing the outer thighs toward the wall.
Pose deepeningIf the student is comfortable practicing with the knees
flexed at 90 degrees, invite her or him to bring the arms into Garudasana Modification: deepening the pose with
arm variation.
(Eagle Pose).
Kinematics
This pose is energizing and powerful, and it is a good pose for women to practice during pregnancy; in fact, the
delivery process is often aided by the attention to pelvic opening and strengthening. The pose is also grounding and
highly beneficial for students who are not pregnant. In addition to holding the pose statically, students can slowly
flex and extend the legs in a rhythmic pattern to dynamically increase lower-body strength.Practicing the pose in a
dynamic manner can gradually increase stamina and range of motion in the legs. Ensure that the patella aligns with
the foot to avoid straining the inner knee structures.
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Utkata Konasana
Body segment
Kinematics
Muscles active
Lower Leg
Stability
Thigh
Knee stability
Pelvic stability
Trunk stability
Abduction of humerus
Deltoids (C, I)
Elbow extension
Pronation
Elbow extension
Anconeus (C, I)
Finger extension
Neck
Torso
Shoulder
Upper arm
Lower arm
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, and I = isometric contraction.
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Muscles released
Adductors
Standing Postures
Utthita Trikonasana
Extended Triangle
[oot-T-HEE-tuh tree-kohn-AAH-suh-nuh]
In Sanskrit, utthita means extended or stretched, tri means three,
and kona means angle. The posture is named for the triangle formed by
the extended legs and the side bend in the body.
Description
From Tadasana (Mountain Pose), the legs are abducted (extended out) as
far apart as is comfortable, preferably between three and four feet (about
one meter), with one leg externally rotated. Arms are extended
out to the sides. The torso tilts laterally toward the externally
rotated leg so the arms are then perpendicular to the ground,
creating many triangles in the body's geometry.
Energetic Focus
First chakra (Muladhara) grounding energy, fourth chakra (Anahata) heartopening energy
Foundational Focus
Root through the heel and the first metatarsal head of the
front foot (of the externally rotated leg). Anchor into the
outer edge and heel of the back foot. Evenly balance the
grounding energy in bothlegs.
Benefits
Cautions
Heart conditions and high blood pressureInstruct the student to turn the gaze downward and keep the upper
arm on the hip.
Neck pain or injuryDirect the student to continue to gaze forward without turning the neck.
Shoulder concernsInstruct the student to keep the top hand on the hip and continue to rotate the shoulder back.
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Verbal Cues
From Tadasana (Mountain Pose), inhale and extend your arms out to your sides with your palms facing downward.
Step your legs apart, trying to place your feet as far apart as your outstretched hands, or as far apart as is comfortable to you.
Externally rotate your right leg out slightly more than 90 degrees, then internally rotate your left leg toward
your right heel about 45 degrees. Imagine a straight line drawn back from your right heel that passes through
the middle of your left arch.
Keep your front thigh muscles (quadriceps) actively firm by gently drawing your kneecaps up. Bring a slight bend
into both knees to keep from hyperextending the joints. Inhale and raise your right arm overhead, stretching
your side from your hip to your shoulder.
Slightly shift your pelvis to the left. As you exhale, extend your trunk to the right and reach out with your right
arm, bringing it parallel to the ground. Reach your fingers farther to the right, lengthening both sides of your
trunk. Let the weight of your hips shift back naturally.
Draw your shoulder blades slightly toward each other and imagine your clavicles (collarbones) moving slightly
apart to open your chest. Work to keep your front right thigh rolling out (rotating externally). At the same time,
press firmly into the left foot, while engaging the gluteal (buttocks) and hamstring muscles as if you were pressing
your thigh backward. This action opens both hip joints to create a natural opening within the groin. Your pelvis
will continue to rotate slightly toward the right, which protects the integrity of your sacrum.
Inhale and create more length in your torso by imagining your pelvis and right rib cage moving away from
each other as you stretch your torso further out over the right thigh. This elongates your right side and helps
keep your spine in alignment.
Continue to focus on your breath.
When you have reached as far to the right as you comfortably can, begin to lower your right hand toward the
ground and reach your left fingertips toward the sky, keeping your hands aligned with your shoulders. Allow
your pelvis to remain slightly turned inward to the right and externally rotate your left rib cage open toward
the sky. Imagine your breath opening more space in your right rib cage as it extends out over your right leg.
Feel the left side of your torso stretch so that your left shoulder and left hip move farther away from each other.
Keep your rib cage as parallel to the ground as possible. Imagine that your upper body is suspended to the side
with gentle support from your legs.
Gaze forward, keeping your ears aligned with your shoulders; alternatively, turn and look down toward your
right fingers. Keep your neck relaxed and in line with the rest of your spine.
Focus on balancing yourself evenly in both feet as your chest and hips remain open.
Continue to focus on your breath.
To come out of the posture, inhale and continue to press down through your legs as you bring your upper body
into an upright standing position. If there is any tension in your front leg, slightly bend the knee to create more
ease as you exit the pose. Prepare for the other side.
Adjustments
ArchesEncourage students to roll the inner (medial) ankles upward to lift the arches. You can brush your hand in
the direction in which you instruct a student to move the ankle, or you can place your fingers between the ground
and the students arch to create more space beneath the arch.
LegsRemind students to lightly draw up the front thigh muscles (quadriceps) to help keep the kneecaps lifted. You
can gently brush the mid-thigh muscles toward the hips. If the knees are hyperextending, remind students to relax
the knees slightly and engage the hamstrings by imagining that they are drawing the legs back together.
TorsoStand behind the student, using your thigh as a brace. Place your hand on the students upper rib cage and
gently guide the upper ribs toward you without drawing the pelvis back.
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Standing Postures
Rib cagePlace the palm of your hand lightly on top of the students upper rib cage,
halfway between the shoulder and the hip. Instruct the student to lengthen the spine
and move the rib cage away from your hand so that it does not curve toward the
ceiling. Also, you may stand facing the students outstretched arm and hold onto the
forearm as you move it toward you. While doing this, place your toes against the bend
in the students hip crease and gently press the students pelvis away from you.
ShouldersDirect students to rotate both shoulders externally in order to keep
the chest open and expanded, cueing them to softly draw the shoulder blades
toward each other. If a students torso is extending either in front of or behind
the plane of the front hip, gently move the shoulders back into alignment. Be
sure to hold students securely while you move them and to let go slowly, making
certain that they maintain balance.
HandsIf the students lower hand is placed against the shin or anywhere close to
the knee joint, instruct the student to be conscientious by not pressing the body
weight into the front of the leg; pressing back on the leg increases the risk
of knee hyperextension. If the student continues to press on the top of
the leg, modify the posture by placing a block or chair under the lower
hand on the outside of the front leg wherever the student can comfortably
Adjustment: rib cage.
reach it. Also encourage the student to use the abdominal and back muscles
to help support the upper body.
Head and neckCue the student to lengthen the neck and extend the head away from
the shoulders without strain or stiffness.
Modifications
Extreme stiffnessIf a student has trouble reaching for the ground without rotating
the chest toward the ground, place a block or the seat of a chair under the
bottom hand to elevate it slightly. The student may also need to decrease the
distance between the legs.
Balance and alignment difficultyPlace the student against a wall to work
on alignment. Cue the student to press the shoulder blades and the back
of the lower hip into the wall. The student may also need to decrease
the distance between the legs.
Neck weaknessSuggest that the student turn the gaze toward the
ground, but remind him or her to maintain the line of the entire
spine. This action continues to build strength but reduces the
strain on the neck.
Modification: extreme stiffness.
Kinematics
Utthita Trikonasana engages both balance and strength. Getting into position requires eccentric contractions of the top
lateral torso. Much of the movement in this asana occurs in the transverse plane, with the torso and top leg moving
slightly backward in opposition to the natural forward rotation of the pelvis. Once the position has been established,
most of the muscle activity shifts to isometric contractions to maintain body position with balance.
Many instructors have been taught that the torso and pelvis should be kept squared in the frontal plane by strongly
pressing the top hip back. However, for most people, this alignment creates an unnatural torque in the sacrum, and it
often overstretches the ligaments. This destabilizing force can create pain in the sacroiliac joint and the lower back.
Cueing students to slightly vary the internal rotation of the back foot, based on individual comfort level, allows for
a softer hip opening for those with tighter hips.
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Muscles active
Muscles released
Anterior tibialis, posterior tibialis, Gastrocnemius, soleus, peroneflexor hallucis longus (C, I)
als
Thigh (R)
Quadriceps (C, I)
Hip stability
Stability
Adductors
Abduction, stability
Hip stability
Pelvic stability
Hamstrings (E, I)
Pelvic stability
Spinal stability
Thigh (L)
Torso (R and L)
Torso (L)
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Kinematics
Toe abduction, foot
stability
Standing Postures
Body segment
Shoulder
Kinematics
Muscles active
Scapular rotation
Scapular adduction
Upper arm
Elbow extension
Lower arm
Forearm supination
Supinator (C, I)
Elbow extension
Anconeus (C, I)
Finger adduction
Stability
Sternocleidomastoid (C, I)
Neck
Muscles released
Pectoralis major
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, I = isometric contraction, L = left, and R = right.
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Parivrtta Trikonasana
Revolving Triangle Pose
[par-ee-VRT-tuh tree-kohn-AAH-suh-nuh]
In Sanskrit, Parivrtta means the other side; it is also often
translated as meaning to revolve or revolving. Trikonasana
means trianglethus the name of this asana, in which the
anterior (front) torso rotates along the axis of the spine in the
opposite direction of Utthita Trikonasana.
Description
Parivrtta Trikonasana is similar to Utthita Trikonasana
(Extended Triangle) but shifts the front of the pelvis from
the frontal plane to a position in which it is almost parallel
to the ground, thus causing the upper body to rotate around
the spine. The twist through the mid-thoracic spine makes
the posture more challenging for most students because it
requires greater strength, flexibility, and balance than are
needed for Utthita Trikonasana.
Energetic Focus
First chakra (Muladhara) grounding energy, and third
chakra (Manipura) vitalizing energy
Foundational Focus
Root through the heel and the first metatarsal head of the front foot. Anchor into the heel and the metatarsal heads
of the back foot. Evenly balance the grounding energy in bothlegs.
Benefits
Caution
Back injuryAs with any twisting posture, students with an acute back injury should be cautious when practicing
this asanaor skip it entirely.
Verbal Cues
Moving from Tadasana (Mountain Pose), step your left leg back far enough that the distance between your feet
is challenging but comfortable while also allowing you to keep your left heel firmly on the ground. Face your
right foot forward and externally rotate your left foot about 10 to 15 degrees.
Place your hands on your hips and softly press your inner thighs toward each other to stabilize your pelvis and
bring attention to your balance. This action also draws your left hip slightly forward and keeps your right leg
and torso facing your right foot.
98
Standing Postures
Inhale, lengthen out of your low spine, and reach your left arm overhead while keeping your right hand on
your hip.
Exhale and fold forward from your hips like a hinge, keeping your right hip stable. Allow your right hand to
slightly encourage your right hip back as you continue to reach forward with your left hand to elongate your torso.
Stop folding forward at the first point of resistance, whether it be in your hamstrings, hips, or lower back. Picture
your breath stabilizing your balance.
When you are in a comfortable position, exhale and place your left hand as far down the outside of your right
leg as possible without extending past your comfort range or the edge of your balance. Imagine pressing your
right leg outward, without actually moving it, and press your left hand against your outer right leg to engage
your outer hip muscles more fully for stability.
When you feel stable, rotate your torso slightly to the right and imagine the outside of your right shoulder
pointing toward the sky. Take a breath for stability and then straighten your right arm so that the palm points
away from you and your fingers point to the sky.
Inhale as you reopen the space between your hips and ribs by lengthening your lower ribs away from your
pelvis. Continue to elongate your entire spine all the way through your neck. Align your chin with the center of
your chest as much as possible without strain. If this taxes your balance, continue to look toward your right foot.
Keep your left hand reaching down toward the ground as your right hand stretches upward. Allow your breaths
to encourage more openness across your chest.
Remember to continue grounding through your feet and feel the revolving action through your mid-spine and
arms with each exhalation.
Continue to focus on your breath.
To exit the posture, unwind and bring your hands to either side of your front foot or
leg. Take a breath, then slowly place your hands on your hips. As you inhale, raise
yourself upright. Prepare for your next posture.
Adjustments
FeetIf the back foot lifts off the ground, cue the student to press down more firmly
on the outside of the back heel and the outer edge of the foot. You can squat behind
the student and press lightly on the outer aspect of the back foot with your hands or
toes. If the heel still lifts, ask the student to decrease the distance between the feet.
SpineIf a student is rounding the spine, stand to the side of the back leg, near
the hips. Place your closest hand on the top of the students far hip
and your other hand on the far shoulder. Using your hip to support
the students balance, draw the students hip and shoulder slightly
farther apart and draw the top shoulder toward you. Use your
hand to roll the shoulder down, away from the ear.
Adjustment: spine.
Modifications
Balance difficultyHave the student slightly bend the front knee. This
action also allows for more leverage to open the hips and straighten
the spine.
Tight hips or hamstringsPlace a block or a chair under the lower hand.
The use of the prop helps establish and maintain a straight spine while
eliminating undue strain on the hamstrings.
Balance or weaknessHave the student stand with the outside
of the front leg against a wall. Instruct the student to lean into
the wall for balance and to press the hand reaching down
against the wall. A block may also be necessary for comfort.
Modification: tight hips or hamstrings.
99
Kinematics
One of the most important aspects of this posture is to keep the spine as elongated as possible while flexing from
the hip joints. For this reason, students with tightness in the hamstrings or low back should use a block or other prop
under the bottom hand to keep the upper back from rounding. Also, direct students to focus on having the twist
come predominantly from the thoracic spine in order to help maintain integrity and stability in the hips, sacrum,
and lumbar spine.
Muscles active
Muscles released
Ankle stability
Peroneals (E, I)
Thigh (R and L)
Quadriceps (C, I)
Hip stability
Hip flexion
Hamstrings (E, I)
Hip extension
Hamstrings (E, I)
Adductors
Trunk stability
Torso (R)
Rotation to right
Torso (L)
Rotation to right
Shoulder
Pectoralis major
Scapular adduction
Torso (R and L)
100
Kinematics
Toe abduction, foot stability
Erector spinae
Standing Postures
Body segment
Kinematics
Muscles active
Muscles released
Upper arm
Elbow
Forearm supination
Supinator (C, I)
Elbow
Anconeus (C, I)
Pronation
Wrist hyperextension
Finger extension
Finger adduction
Stability
Sternocleidomastoid (C, I)
Neck
Biceps brachii,
brachialis, brachioradialis
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, I = isometric contraction, L = left, and R = right.
101
Uttanasana
Intense Forward Bend
[oot-taahn-AAH-suh-nuh]
In Sanskrit, Ut means intensity, and tan means to stretch or lengthen.
Description
Uttanasana intensely stretches and lengthens the spine and hamstrings.
This basic standing forward bend should be done by folding from the hips,
like a hinge, while maintaining a straight low back. It can be practiced
with the legs at any distance apart that feels comfortable yet challenging.
Uttanasana is usually performed as a resting, rejuvenating posture between
other standing postures and as part of the Sun Salutations.
Energetic Focus
First chakra (Muladhara) grounding energy, fourth chakra (Anahata) expressive
energy
Foundational Focus
Root through the metatarsal heads. Anchor into the center
of each heel.
Benefits
Cautions
Back concernsAnyone with low back concerns should be extremely mindful to bend forward from the hips
only as far as is comfortable and only with the use of props. In addition, instruct students to be mindful when
exiting from Uttanasana to avoid straining the low back. Byfocusing on lifting from the crown of the head to
maintain length in the spine, softening the knees slightly, and using their arms when necessary, students alleviate
pain and avoid possible damage.
Late pregnancyPractice with modifications (wider leg position and use of props) or skip this posture.
GlaucomaAs with all postures where the head is below the heart, this pose is not recommended without
modification for students with glaucoma. If it is practiced, it should be held for a very short time.
Verbal Cues
Start in Tadasana (Mountain Pose) with your feet at a comfortable yet challenging distance apart. Firm your thigh
muscles by pressing your legs slightly back without hyperextending your knees. Inhale and raise your arms above
your head. If your lower ribs flare forward and your spine moves into extension, imagine pressing your back
rib cage toward a wall behind you and draw your front pelvis slightly upward to reestablish an aligned posture.
102
Standing Postures
Exhale and draw your kneecaps upward slightly as you begin to fold forward at your hip joints. Keep the length
of your spine intact. Fold as far forward as feels comfortable to your back and hamstrings, stopping to breathe
at the first point of resistance. Let your arms come into a restful position on a prop or on the ground and relax
your shoulders.
Continue to reach out of the low back to keep length in your entire spine. Relax and picture your vertebrae
sinking toward the ground. If you feel any discomfort in your low back, place your hands on a prop to decrease
the flexion.
Continue to focus on your breath.
Relax your neck so that the crown of your head sinks toward the ground.
If your hands can touch the ground comfortably, place them near your heels and move your body weight slightly
more forward so that your hips align directly over your ankle joints. This action challenges your balance slightly.
If your hands do not touch the ground, allow them to hang down or place them against your legs or on a prop.
Be sure that there is no strain in your low back, hips, or hamstrings.
Picture your tailbone and sit bones reaching up to the sky as the crown of your head extends toward the ground.
Press through your heels as you breathe in and let the bottom of your pelvis reach up farther. As you exhale,
allow your spine to relax even deeper, suspending your upper body forward.
Soften your belly. Breathe into your low back and visualize your ribs expanding to the sides, thus allowing
more space for your breath. Keep your shoulders relaxed and away from
your ears.
To come out of the posture, place your hands on your hips or reach
your arms out to the sides. Open your chest by gently squeezing your
shoulder blades toward each other. Keep the front of your rib cage
elevated, and as you inhale press through your legs. Lift through the
crown of your head and begin to raise yourself to a standing position.
Adjustments
FeetAs much as possible, be sure that the outer edges of the students
feet are parallel with each other and with the outer edges of the mat. This
adjustment allows for more stability and alignment in the knees and hips.
Lower bodyStanding behind or to the side of the student, place your
hands lightly on the outside of the hips and gently move the hips so
that they are aligned over the ankle joints with the legs perpendicular to the ground.
NeckGently touch the back of the students head, or just remind
Adjustment: lower body.
the student verbally to relax the neck.
Modifications
Tight hamstringsInstruct the student to use a prop under the hands for support and to keep
the spine elongated.
Rounded backInstruct the student to take a wider stance with the feet
or to use a prop.
Pregnancy or stiff back, hips, or hamstringsSuggest that the student use
a wall or chair for support to relieve some of the physical work involved
in the posture, thus promoting an easier release in the spine and hamstrings. Instruct students to practice Ardha Uttanasana (Half Forward
Fold)by placing the hands against a wall or on top of a chair seat
and folding forward only until the spine is parallel to the ground.
Weakness or balance difficultyThe student can be seated on a
chair (or exercise ball) with the feet placed comfortably apart. From
Modification: weakness and balance difficulties.
there, instruct the student to fold as far forward as is comfortable.
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Kinematics
The most common mistake that students make in practicing this posture is to bend forward from the lumbar or thoracic
spine instead of from the hip joints. If the knees bend, the hips usually move out of alignment. Although bending the
knees can take pressure out of the lower back, it does not allow the hamstrings the opportunity to stretch fully, and
students generally continue to initiate the forward fold from the back rather than from the hips. To protect the lower
back in people with particularly tight hamstrings, use a prop under the hands.
Uttanasana
Body segment
Foot and toes
Kinematics
Muscles active
Dorsal interossei, abductor digiti
minimi brevis, abductor hallucis
(C, I)
Thigh
Knee extension
Quadriceps (C, I)
Hamstrings
Hip stability
Adductors (I)
Spine extension
Scapular abduction
(Gravity induced)
Humeral flexion
(Gravity induced)
Deltoids
Upper arm
Elbow extension
(Gravity induced)
Lower arm
Finger extension
Neck
Extension
None
Lower leg
Torso
Shoulder
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, and I = isometric contraction.
104
Muscles released
Gastrocnemius
Sternocleidomastoid, splenius
capitus and cervicis, cervical
erector spinae
Standing Postures
Prasarita Padottanasana
Extended-Leg Forward Bend
[pruh-SAAH-ree-tuh paah-doht-taahn-AAHsuh-nuh]
In Sanskrit, Prasarita means to expand or
spread. This asana is a variation of a forward
bend with the legs abducted.
Description
Although Prasarita Padottanasana
has a number of variations, four
are traditionally practiced in
the warm-up of the Ashtanga
yoga series. All four are pictured
here; however, the cueing is described only once because each variation begins in the same opening stance, followed
by a gentle back arch and forward fold from the hips. The only difference is in arm and hand placement. After each
forward bend, bring the hands back to the hips, stand, and move into the next posture.
Energetic Focus
First chakra (Muladhara) grounding energy, seventh chakra (Sahasrara), especially if the head touches the ground
Foundational Focus
Root through the metatarsal heads slightly more than the heels. Anchor into the outer edges of the feet.
Benefits
Cautions
Shoulder injuryStudents with shoulder concerns should proceed cautiously in variation 3.
Back concernsAnyone with low-back concerns should be extremely mindful and bend at the hips only as far
as is comfortable. A block or wall should be used for additional support.
Verbal Cues
From Tadasana (Mountain Pose), step your legs out as wide as is comfortable. Internally rotate your feet slightly
and press through the edges of the feet.
Position your body so that your hips, belly, and chest point forward. Anchor into the outer edges of your feet,
drawing energy up from your arches into your pelvis.
Bring your hands to your hips and open your chest by drawing your shoulder blades gently toward each other
and softening them down toward your hips. As you continue to press your feet firmly against the ground, feel
your spine lengthen.
105
Inhale and lift your chest slightly, feeling more expansion in your
chest. Imagine the breath drawing your collarbones wider.
Exhale, drawing your lower abdomen inward as you begin to
fold forward from your hip joints. Slightly lift your kneecaps as you continue flexing forward.
As you continue to exhale, press through your
legs and fold further forward, maintaining the
length and openness in your upper back
and chest.
Variation 2: Hands remain on the hips and elbows are drawn toward
Lower your hands to the ground or to a
each other behind the back.
prop and place them shoulder-width apart
between your feet.
Inhale as you straighten your arms and look forward while arching
(hyperextending) your back slightly. Feel the front of your chest
broaden and the front of your torso open.
Exhale and bend your elbows as you lower the crown
of your head toward the ground into a deeper fold.
Keep your inner elbows pulled in toward each
other and relax your neck so that your ears
drop away from your shoulders.
Adjust your body weight so that your hip
joints align directly over your ankles. Variation 3: Hands clasp behind the back. If there is sufficient flexibility
Roll forward slightly toward your toes, and comfort, the hands can lower toward the ground behind the head.
while still keeping your heels on the
ground; this straightens your knees slightly, giving you a deeper
stretch in the hamstrings. By moving slowly, you will maintain
balance.
If your head touches the ground, put as much weight on the
crown of your head as feels comfortable to you, being
mindful not to compress your neck. If you have so
much flexibility in the hips that when you fold forward your neck crimps, bring your legs slightly
closer together.
Continue to focus on your breath.
Variation 4: Hands reach out and grasp the big toes.
To exit, place your hands on your hips and
press firmly through your feet. Keep your elbows pointing away from you behind your back. Inhale as you lift
yourself upright. Step or jump your feet together into Tadasana.
Adjustments
BalanceIf the student has weak balance, stand behind her or him. Place the side of your hip against the back of
the students thigh to block him or her from placing the weight too far back on the heels. You can also stand to the
front of the student, placing your hands lightly on the outer edges of the hips, and slowly and gently bring the body
weight forward onto the toes to provide better alignment.
HandsWhen the students hands are on the ground, they should be in line with the feet. If the hands are too far
forward in front of the line of the toes, instruct the student to move the hands back. Have the student accommodate
moving the hands back by spreading the feet wider apart if comfortable.
NeckIf a student has hyperextended the neck, gently touch the back of the head to cue relaxation.
ElbowsIn variation 2, if the students elbows are not parallel to each other, stand behind the student and place your
hands on the upper arms and roll the elbows inward toward the midline of the body. This adjustment also helps
increase chest expansion. To further stabilize and build strength in the chest and shoulders in variation 1, place a
block between the students elbows and instruct the student to squeeze into it while keeping length in the spine.
106
Standing Postures
Modifications
Tight hamstrings or backFor the very inflexible, place the students palms against
a wall or on the seat of a chair to help avoid back strain while slowly stretching
the hamstrings. For those with more flexibility, place the palms on a yoga
block to provide support. Remind the student to focus on the length and
expansion of the spine while relaxing the back of the legs.
Tight groinIf the student is unable to abduct the legs far enough to place the
head on the ground, place a block or chair seat under the head for support.
Make certain that the prop is on a secure surface so that it will not slip.
WeaknessPlace the student at the edge of a chair or on a fitness ball.
Instruct the student to bend forward from the hips and practice the variations
of the arm positions.
Modification: tight hamstrings or back.
Kinematics
As in Uttanasana, if the quadriceps contract concentrically, the hamstrings relax more readily. Like Uttanasana,
which focuses deeply on the hamstrings, Prasarita Padottanasana also stretches both the hip adductor group (inner
thigh) and the peroneal group (outer calf) at the lateral ankle joint. Note: Although four variations of the asana are
discussed, only variation 1 is described in the kinematic table.
Kinematics
Muscles active
Muscles released
Lower leg
Thigh
Leg extension
Quadriceps (C, I)
Hamstrings, adductors
Hip flexion
Hamstrings (E, I)
Spine extension
Scapular abduction
(Gravity induced)
Overhead extension
(Gravity induced)
Upper arm
Humeral flexion
(Gravity induced)
Lower arm
Elbow flexion
(Gravity induced)
Finger extension
Neck
Extension
None
Torso
Shoulder
Sternocleidomastoid, splenius
capitus and cervicis, cervical
erector spinae
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, and I = isometric contraction.
107
Garudasana
Eagle Pose
[guh-rood-AAH-suh-nuh]
In Sanskrit, Garuda refers to the king of birds: the eagle. It also suggests the focus needed
to remain steady in this position.
Description
This one-legged balancing posture involves crossing the non-weight-bearing leg over the
standing leg. The thighs and hips are activated by the slight crouch. The mid back and
posterior shoulders are stretched as the arms cross in front of the chest. As with an eagle
focused and ready for action, this pose helps one develop stillness and concentration.
Energetic Focus
First chakra (Muladhara) grounding energy, fourth chakra (Anahata) heart-openingenergy
Foundational Focus
Root through the metatarsal heads and the heel of the standing foot. Squeeze the
energy of the inner thighs together.
Benefits
Helps develop focus, concentration, and increased balance.
Provides a deep stretch in the outer hips, along the posterior
shoulders, and between the shoulder blades.
Stretches and strengthens the calf and ankle of the standing leg.
Cautions
Hip replacementFor students with hip replacement, crossing the affected limb beyond the midline of the body
(adducting) is generally contraindicated (see the modifications section).
Knee injuryStudents with knee concerns should use modifications.
Verbal Cues
From Tadasana (Mountain Pose), find a gazing point (drishti) somewhere in front of you for focus. Keep your
gaze fixed on this spot throughout the posture to help eliminate visual distraction.
Shift your weight slightly to your right leg. Root through the toes and heel of your right foot. Inhale to create
space in your spine and keep your pelvis square and aligned under the shoulders.
Bring your hands to your hips and roll your front shoulders open as you exhale and slightly bend both knees.
Be sure that your body weight falls straight down from your spine and that your knees do not extend beyond
your feet. Flex your hips as if you were going to sit on a tall chair.
Slowly lift your left heel off the ground. Breathe, and when you feel stable, lift your toes off the ground and
cross your left knee over your right leg above the right knee joint, keeping both knees bent. If possible, hook
the top of your left foot behind your right calf and slightly press your inner thigh muscles (adductors) toward
each other for stability.
Keep the line of your sit bones directed toward the ground and your rib cage and chest lifted and open. With
every breath in, reach the crown of your head upward.
Continue to focus on your breath.
108
Standing Postures
Maintain length in your entire spine from your low back to your neck. Keep your body weight balanced with
your hips pressing back slightly and your spine as perpendicular to the ground as possible.
Inhale and stretch your arms apart out to your sides, like wings. Exhale and cross your arms above the elbows in
front of your chest as if you were giving yourself a hug with your right arm over your left arm. Feel the shoulder
blades draw slightly apart.
On an exhalation, externally rotate your upper arms so that the backs of your hands come closer together in
front of your face. If you comfortably can, press your palms together, essentially wrapping (binding) your arms.
Bring your hands in line with your gaze, along the midline of your body.
Continue to focus on your breaththe smoother and steadier your breath, the steadier your balance. Imagine
drawing energy up from the ground and having it centered in your navel, where your center of mass sits.
Breathe into the space between your shoulder blades, feeling them move slightly away from each other with
each inhalation, gently stretching the trapezius muscles. Be sure to soften your shoulders away from your ears,
keeping your neck as long as possible.
To exit the posture, inhale and slowly unwind your arms. Uncross your left leg and place the foot on the ground.
Inhale and straighten your right leg. Prepare for the opposite side.
Adjustments
BalanceFirst, for better balance, instruct the student to spread the toes as wide as is
comfortable. Stand behind the student and place your hands lightly on either side of
the hips. While the student exhales, draw the hips slightly back and down. At the same
time, use the outside of one of your shoulders to press against the students mid back
in order to encourage the student to lift the rib cage and open the space between the
shoulder blades.
Knee of standing legIf the knee of a students standing leg extends too far forward in
front of the line of the toes, stand behind and slightly to the side of the student with your
hip close to the students sacrum. Allow your hipto support some of the students body
weight. Holding onto the hips, gently move the students body weight back over the
heels.
ShouldersLightly touch the tops of the students shoulders to encourage the student
to relax the shoulders away from the ears.
ElbowsIf the students arms are crossed below the elbow, on the forearm, stand to
the front of the student and grasp the upper arms and gently move each arm across
the students chest, toward the opposite shoulder. Do not attempt this adjustment
if the student has any shoulder injury or discomfort.
Adjustment: balance.
Modifications
Balance difficultyPlace the student with the back against a wall if one is available; if not, instruct
the student to keep the toes of the lifted foot lightly touching the ground or resting on a block.
Knee concernsEncourage the student to keep the toes of the non-weight-bearing leg on the
ground to help maintain balance. This placement also keeps the supporting leg from taking all of
the body weight. Students with knee concerns should avoid hooking the top of the raised foot
behind the standing calf. Another option, which can also help those with balance difficulty, is to
sit at the edge of a chair or fitness ball (or lean against a wall) in order to keep the hips aligned
(and use the wall as a sort of training wheel as needed).
Hip replacement or extremely tight hipInstruct the student to cross the legs at the ankle
joint and to avoid crossing the non-weight-bearing knee over the midline of the body.
Tight shoulders or large chestIf the student is unable to bring the elbows near each
other in front of the body, one option is to invite the student to focus on pressing the
forearms together and breathing fully into the space between the shoulder blades. The
student may also simply reach the top hand across to the opposite shoulder while
placing the bottom hand or forearm against the outside of the reaching arm, thus
Adjustment: tight shoulders or
encouraging a stretch in the outside of the top arm as it crosses the chest.
large chest.
109
Kinematics
To avoid placing undue stress on the weight-bearing leg, the knee joint should be aligned with or posterior to the
forefoot. Students whose upper body is heavy or tight will have difficulty wrapping the arms. In this case, instruct
them to give themselves a hug by reaching the hands toward the opposite shoulders. This action allows for a stretch
in the posterior shoulder musculature.
Muscles active
Muscles released
Toe hyperextension
Ankle dorsiflexion
Ankle stability
Ankle dorsiflexion
Ankle eversion
Knee flexion
Quadriceps (E, I)
Knee stability
Adductors (I)
Thigh (L)
Knee flexion
Hamstrings (C, I)
Hip stability
Hip flexion
Thigh adduction
Trunk stability
Pectoralis major, anterior deltoid, Rhomboids, upper and mid tracoracobrachialis (C, I)
pezius, posterior deltoid
Scapular depression
Scapular stability
Thigh (R)
Torso
Shoulder
110
Kinematics
Toe abduction, foot stability
Gastrocnemius, soleus
Standing Postures
Body segment
Kinematics
Muscles active
Upper arm
Elbow flexion
Lower arm
Wrist extension
Wrist stability
Finger extension
Finger adduction
Neck
Muscles released
Triceps brachii
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, I = isometric contraction, L = left, and R = right.
111
Utthita Parshvakonasana
Extended Side-Angle Stretch
[oot-T-HEE-tuh paarsh-vuh-kohn-AAH-suh-nuh]
In Sanskrit, Parshva means side or flank, kon means angle, and utthita means
extended.ThusUtthita Parshvakonasana is an extended side-angle (or flank-angle)
stretch.
Description
This posture is a side-stretching lunge in which one hand is placed on the
ground on the lunging side and the other arm is extended overhead. Moving
into it from Virabhadrasana II (Warrior II) is an easy transition.
Energetic Focus
First chakra (Muladhara) grounding energy, second chakra
(Svadhisthana)creative energy
Foundational Focus
Root into the metatarsal heads and the heel
of both feet. Anchor into the outer foot of
the back leg.
Benefits
Cautions
Knee concernsStudents with a knee injury should be extra careful to prevent the bent knee from either rolling
inward or extending beyond the line of the toes.
Neck pain or injuryStudents with a neck concern should look forward and focus on keeping the sides of the
neck long.
Verbal Cues
From Tadasana (Mountain Pose), extend your arms out to your sides with your palms facing down.
Step your feet apart, abducting your legs, so that your feet are as far apart as your outstretched hands, or as far
apart as is comfortably challenging.
Externally rotate your left leg out 90 degrees, then turn your right foot in slightly toward your left at about 45
degrees.
112
Standing Postures
Exhale and slowly bend your left knee so that the top of your left thigh is as parallel to the ground as possible
while making sure not to extend the knee beyond the toes.If this misalignment happens, move into a slightly
wider stance.
Inhale and open and expand from the front center of your spine. Feel your hips and shoulders opening and
your spine extending and lengthening.
Exhale, keeping the foundation of your body strong, and reach through your left arm as your left rib cage extends
out over your left thigh. Continue to root through the outside edge of your right foot. Bend your left elbow and
place the forearm on top of your left thigh. Breathe here and allow your pelvis to naturally turn slightly toward
your left leg while your right thigh remains active and anchoring.
If it feels comfortable to do so, on an exhalation, lower your left hand to the ground, to either the inside or the
outside of your left foot. By placing your left arm in front of the knee, you make it easier to press back with
your upper arm to keep your knee from rolling inward. Placing your hand behind your left foot makes it easier
to maintain a frontal plane orientation in your rib cage. Place your hand where you feel that it most supports
your body.
Continue to focus on your breath.
Take your right hand to your right rib cage and press back (externally rotating) if you feel your chest rolling
toward your left thigh. Inhale and reestablish the length in your side, expanding through the front and back of
your spine.
On the next inhalation, sweep your right arm out in front of your body with your right palm facing the ground.
Keep your shoulders relaxed away from your ears and extend your right arm over your head so that your biceps
(upper arm) is close to your right ear. Imagine a strong line of energy drawing upward from the outside of your
right foot all the way into your right fingertips.
Keep the space in your neck as long and extended as possible. Press your right thumb slightly back to open
your shoulder a bit more. Continue to root through your right foot while still pressing the outside of your left
knee laterally to open your groin. Visualize your thighs rolling away from each other, opening your hip joints
more with each breath.
Remain focused on your breathing.
To exit the position, press firmly through both feet and inhale while extending your left knee and sweeping your
right arm out to the right side of your body. Imagine that you are being pulled up by that right hand. Prepare
for the next side.
Adjustments
Bent kneeIf the student is physically able to do so, remind him
or her to maintain the bent knee at an angle where the thigh is
close to being parallel with the ground. If necessary, instruct
the student to adjust the distance between the feet in order to
modify the angle of the knee. If the knee rotates inward, semisquat behind the student and place your closest hand on the midthigh of the bent knee and your opposite hand on the upper hip for
stability. Gently guide the bent knee into alignment.
Hips and torsoInstruct the student to imagine rolling the front of
the straight leg externally to encourage more opening in the hip joint
without compromising the pelvis. Stand behind the student and brace
your knee against the back of the pelvis. Use your closest hand to stabilize the top hip so that the student maintains balance. Use your other
hand to support the students upper body and maintain an open chest.
Hand placementHelp the student decide whether to place
the lower arm in front of or behind the foot, depending on the
students stability, flexibility, and openness in the hips. If the
student is new to the pose or has overly tight hips, encourage
Adjustment: hips and torso.
the use of a block.
113
Modifications
Stiff hipsIf the student cannot comfortably reach the ground without
compromising the spinal alignment, instruct the student to bend the
elbow of the downward facing arm and place the forearm on the
bent thigh as close to the knee as possible. The student may also use
a block for leverage. Caution: Students often sink into the shoulder in this
modification. It can be difficult for them to achieve length in the side to
lift out of the low back and neck, so cue them to press the forearm down
into the thigh, or hand into the block, and lengthen the torso.
Balance concernsA student with balance concerns can be placed
with her or his back against a wall to help maintain balance. It
is also helpful to use a block or chair to support the lower arm.
Stiff neck or shouldersIf the neck fatigues or is extremely stiff,
Modification: stiff hips.
instruct the student to look down toward the foot of the bent
leg instead of forward.
Kinematics
Students new to the posture often practice it in the modified position, wherein the lower arm rests on the thigh of the
bent leg. Over time, as students increase strength and flexibility in the hips and shoulders, they develop the ability
to bring the hand closer to the ground. Generally, when you see a students lower shoulder pressed up near the ear,
you can suggest that the student try to bring the hand to the ground or to a prop.
Muscles active
Ankle stability
Peroneals (E, I)
Thigh (R)
Quadriceps (E, I)
Knee stability
Knee extension
Quadriceps (C, I)
Pelvic stability
Thigh (L)
Hip and pelvis (R)
114
Kinematics
Muscles released
Adductors
Standing Postures
Body segment
Hip and pelvis (L)
Kinematics
Muscles active
Muscles released
Abduction
Pelvic stability
Torso stability
External rotation
Scapular adduction
Shoulder (R)
Shoulder (L)
Humerus flexion
Upper arm
Elbow extension
Lower arm
Elbow
Anconeus (C, I)
Forearm supination
Supinator (C, I)
Wrist extension
Finger extension
Finger adduction
Stability
Torso
Shoulder (R and L)
Neck
Iliopsoas, adductors
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, I = isometric contraction, L = left, and R = right.
115
Ardha Chandrasana
Half-Moon Pose
[AR-dhuh chuhn-DRAAH-suh-nuh]
Ardha is Sanskrit for half, and chandra is one of the
Sanskrit words for moon.
Description
This posture is named more for the pattern that
the body follows when entering the posture
than for what it looks like in the posture
itself. From Utthita Trikonasana (Extended
Triangle), the body weight is balanced on
the forward leg as the trailing leg lifts off the
ground in an arcing motion. If you visualize
the moon as a big circle, then the arc that the
non-weight-bearing leg moves through resembles the curve
of the half-moon. As an extension of Utthita Trikonasana,
Ardha Chandrasana provides similar benefits,
most notably in that it opens the chest, hips,
and pelvis.
Energetic Focus
First chakra (Muladhara) grounding energy, second chakra (Svadhisthana) creative energy, and fourth chakra (Anahata)
heart-opening energy
Foundational Focus
Balance evenly between the metatarsal heads and the heel of the standing leg. Root through the big toe with the
little toe acting as a counterbalance. Use the hand on the ground as a balance support.
Benefits
Strengthens the musculature of the weight-bearing leg, as well as the hip and torso on the non-weight-bearing
side.
Opens the chest and shoulders.
Builds concentration and focus.
Strengthens the hip abductors.
Cautions
PregnancyAfter the first trimester, this pose should be practiced with modifications.
Weakness or balance concernsThose with extreme weakness or balance difficulty should use modifications.
Hip or knee replacementThose with a replacement joint should either refrain from doing this pose or practice
it with modifications.
116
Standing Postures
Verbal Cues
Begin in Utthita Trikonasana (Extended Triangle), with a 4 to 6 inch (10 to 15 centimeter) narrower stance.
While extending your upper body over your right leg, bend your right knee and place your right hand down
to the ground in front of your toes. Turn your head to look at your right foot and mindfully keep your right
knee aligned with your right foot. Slightly press the knee externally to keep it from rolling inward, which can
compromise the joint.
Breathe deeply in this position for a few breaths and focus on the balance and strength in your right leg. Keep
the space open in your hips, low back, and chest.
Rest your left hand on your left hip. Check that your right leg continues to rotate externally and not inwardleg
alignment in this pose is very important. Imagine your breath lifting the arch of your right foot.
Continue to focus on your breath.
While keeping your right knee bent, extend your fingertips 4 to 8 inches (10 to 20 centimeters) further in front
of your right toes. Inhale and slowly straighten your right leg as you lift your left leg until it is parallel to the
ground. Press through the heel of your left foot, extending your toes to keep your leg strong. Focus on aligning
your hips over your right ankle and your balance in your right foot.
Consciously maintain external rotation in your right leg, keeping your knee and toes in alignment. Rotate your
left hip back slightly; imagine that you are pressing your shoulder blades and hips against a wall behind you.
With each inhalation, expand the space from the front center of the spine. Remember: The steadier your breath
is, the steadier your balance will be.
Turn to look forward, aligning your chin with your sternum, and keep length and space in your neck, shoulders,
and chest. Raise your left hand in the air and keep both arms reaching out from the center of your spine. Feel
the front of your shoulders externally rotate away from your chest. Use the energy in your right arm to help
maintain upper body balance and alignment without relying completely on the arm for overall balance.
Continue to focus on keeping the action and energy moving outward through your legs.
To exit this posture, slowly bend your right knee and lower your left leg back to the ground. Inhale as you
extend your right knee and bring yourself back into standing. Prepare
to repeat on the other side.
Adjustments
Standing legMake sure that the knee of the standing leg is aligned over
the ankle and rotated externally by 90 degrees. For a stable foundation,
it is usually best to have the student come out of the posture and move
back into it with any necessary modifications.
HipStand behind the student, facing toward the head, and position
your closest hip against the students top leg, hip, or low back for
stability. Place your nearest hand on the students top thigh and
gently draw the pelvis toward you. Place your other hand on the
students nearest shoulder to help her or him maintain spinal alignment.
Extended legStanding behind the student, brace your nearest hip against
the students low back and place one hand lightly under the knee joint
to move the leg parallel to the ground.
Adjustment: hip.
117
Modifications
Balance trainingPlace the student with the back near a wall, which may be used to encourage
alignment as well as balance support. Instruct the student to press the top hip and shoulder toward
the wall. Also direct the student to place the fingers of the top arm against the wall and press gently
into the hand to move the body away from the wall for a breath or two.
Weakness in hip abductorsPosition the student with the body perpendicular to a wall, so that the
sole of the non-weight-bearing foot is placed against the wall. The pressure helps with balance and with strengthening the lifted leg. If no wall is available,
stand facing the sole of the foot and instruct the student to
press the foot into your hand.
Difficulty reaching support hand to the groundPlace a block
under the students lower hand to aid in balancing and in maintaining
proper alignment. This modification should generally be used for all students who are new to practicing this pose to help them get a feel
for balance and keep them from overstretching.
Pregnancy or extreme weakness or imbalanceInstruct the student
to kneel and place one hand on the ground or on a block at her
or his side and lift the opposite leg off the ground.
Kinematics
Because this version of Ardha Chandrasana is entered from Utthita Trikonasanafirst flexing, then extending the
knee of the balancing legit greatly uses the quadriceps and gluteals. In addition, the pull of gravity challenges the
strength in the neck, hips, and spineas the student focuses on maintaining balance and alignment with the spine
and non-weight-bearing leg parallel to the ground.
Muscles active
Muscles released
Toe extension
Ankle dorsiflexion
Gastrocnemius, soleus
Thigh (R)
Quadriceps (C, E, I)
Adductors, gracilis
Quadriceps (C, I)
Thigh (L)
118
Kinematics
Standing Postures
Body segment
Hip and pelvis (R)
Kinematics
Muscles active
Hip stability
Hip extension
Trunk stability
Subscapularis, infraspinatus,
teres minor (C, I)
Scapular adduction
Upper arm
Elbow extension
Lower arm
Forearm supination
Supinator (C, I)
Elbow extension
Anconeus (C, I)
Wrist hyperextension
Finger extension
Finger adduction
Stability
Torso
Shoulder
Neck
Muscles released
Pectoralis major
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, I = isometric contraction, L = left, and R = right.
119
Parivrtta Parshvakonasana
Revolving Extended Side-Angle Stretch
[par-ee-VRT-tuh paarsh-vuh-kohn-AAH-suh-nuh]
In Sanskrit, Parshva means side or flank, and kon means angle.
Parivrtta means the other side and is often translated as meaning
to revolve or revolving. This posture is a twisted or revolving
flank stretch.
Description
Starting from Utthita Parshvakonasana (Extended
Side-Angle Stretch), the front torso rotates
toward the flexed thigh and away from the
anchoring back leg. It is a challenge to
keep the back foot rooted on the
ground, so the lower extremities
must provide anchoring that
connects the energy of the
body with the ground while
maintaining balance. The two popular variations of this posture usually involve changing the arm position. In one,
the top arm extends over the ears, as in Utthita Parshvakonasana. In the other, the hands are clasped together to
create a bind (see Modifications).
Energetic Focus
First chakra (Muladhara) grounding energy, third chakra (Manipura) vitalizing energy
Foundational Focus
Root through the metatarsal heads and the heel of the front foot. Anchor into the outer edge of the back foot. Evenly
balance the grounding energy in both legs.
Benefits
Cautions
Back concernsAs with other twists, a student with a back injury should be extra cautious and use modifications.
Neck concernsA student with a neck concern should look straight ahead and focus on keeping length in the
sides of the neck.
PregnancyIt is not advisable to practice this posture during pregnancy due to the extreme rotation in the torso.
120
Standing Postures
Verbal Cues
Start from Utthita Parshvakonasana (Extended Side-Angle Stretch) with your right leg forward and your right
hand to the outside of your right foot. Bring your left hand from over your head to your left hip. You may need
to adjust your left leg by turning your front pelvis toward the ground and lifting your heel off the ground so that
you can square your hips and rotate your spine more comfortably.
Once you feel balanced, press through the outside of your left heel, even if the heel does not reach the ground.
If the heel remains lifted, gently draw the energy of your inner thighs toward each other without actually moving
your thighs to help stabilize your balance.
Rotate the center of your chest toward your right knee as you exhale. Reach your left elbow toward the outside
of your right leg. If the spinal rotation feels comfortable for you, place your left hand on the ground to the
outside of the right leg. If that degree of rotation is uncomfortable or overly challenging, place your left elbow
on top of, or slightly to the outside of the right thigh.
On each inhalation, lengthen your spine and open your chest. On each exhalation, slowly rotate slightly further toward the right, stopping at the first point of resistance. Stay mindful not to go past the edge of what is
comfortably challenging. The rotation should be felt in your mid-thoracic spine.
Extend your right arm and lift your right hand over your head, bringing your upper arm near your right ear.
Gently guide your right thumb back to allow for more rotation in your right rib cage and openness in your
chest, if doing so is comfortable. Keep your gaze forward or look down toward your right foot, keeping both
sides of your neck long.
Continue to focus on your breath.
To exit this position, exhale and slowly lower your right hand back to the ground as you release the rotation in
your torso. Inhale and lift your left hand off the ground, and imagine being pulled up out of the lunge with that
hand as you also straighten your right knee, coming back into a standing position. Prepare for your next posture.
Another option for exiting this position is to place both hands on the ground under the shoulders and step the
right leg back into a plank to move on to other positions.
Adjustments
BalanceEnable the student to stay in position with greater stability by offering a block on which to
place the lower hand. This option should be used with all students who are new to the pose.
Bent legCheck that the students bent knee is not rotating inward. If it is, then guide the
knee into deeper external rotation by gently pressing your hand against the inside of
the students leg, slightly above the knee.
ShouldersInstruct students that the shoulders should be as far away from the ears as
possible. Gently touch the tops of the shoulders as a reminder to relax in this area.
SpineIf the student is rounding the spine, gently touch the upper spine between
the shoulder blades as a reminder to elongate through this area. Cue the student
to visualize the spine as a long straight line, with the crown of the head moving
away from the back foot.
Overhead extended armThe arm extended over the ear must be
rotated externally to open the chest and shoulders. Be sure that
the students palm faces down toward the ground. Stand or kneel
behind the student and hold the upper arm while gently rolling the
elbow toward the ground. Use the side of your body to stabilize
the student if necessary.
Adjustment: shoulders.
121
Modifications
Difficulty in rotating and balancingCue the student to lower the back knee onto the
ground, square the hips, and bring the lower arm to the outside of the opposite leg, either
to the ground or to a block. The student can then rotate and open the body with more ease.
From there, the student can lift the back knee off the ground if so desired.
Back knee painIf the back knee is uncomfortable on the ground, provide the student
with extra padding, such as a blanket or small pillow.
Tight shouldersThe hands can be in prayer position (Anjali Mudra)
so that the bottom elbow is used to press against the top or
outside of the bent thigh in order to create more leverage for
rotating the shoulders open.
Posture deepeningBinding the arms gives a deeper stretch in Modification: difficulty in rotating and balancing.
the chest and shoulders. Instruct the student as follows: Bend
the elbow that is placed to the outside of your bent knee, then
rotate your forearm inward so that it goes under your thigh.
Lower your rib cage slightly further toward your front thigh and
reach your lower hand toward the outside of the same-side hip.
Next, bend the opposite (top) elbow and rotate the front of the
shoulder toward the sky (hyperextending the shoulder). Bring the
back of that hand against your spine, reaching toward the opposite
hand. If the student cannot quite clasp the hands together, provide
a strap and work the hands toward each other. Make sure that the
strap remains securely on the upper hamstrings for comfort.
This positioning stretches the chest and the front of the shoulders more intensely. You can move students deeper into the
position if they are stable by moving the hip of the bent knee Modification: deepening the posture.
toward the back foot, thus creating more space in the torso.
Kinematics
This posture uses a considerable amount of energy due to the stability and concentration required to maintain both
balance and alignment. Most students will be comfortable practicing any of the modified versions of the pose.
122
Kinematics
Muscles active
Muscles released
Gastrocnemius, soleus,
peroneals
Thigh (R)
Knee flexion
Quadriceps (E, I)
Hip adductors
Thigh (L)
Knee extension
Quadriceps (C, I)
Standing Postures
Body segment
Hip and pelvis (R)
Kinematics
Muscles active
Muscles released
Torso (R and L)
Trunk stability
Torso (R)
Rotation to right
External obliques
Torso (L)
Rotation to right
Shoulder (R and L)
Scapular adduction
Shoulder (R)
Humerus flexion
External rotation
External rotation
Slight hyperextension of
humerus, stability
Upper arm
Elbow extension
Lower arm
Elbow extension
Anconeus (C, I)
Forearm supination
Supinator (C, I)
Finger extension
Finger adduction
Wrist hyperextension
Finger extension
Finger adduction
Stability
Sternocleidomastoid, splenius
capitus and cervicis, occipitals,
cervical erector spinae (C, I)
Shoulder (L)
Neck (R)
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, I = isometric contraction, L = left, and R = right.
123
Description
Parivrtta Ardha Chandrasana is basically the
half-moon posture with the upper torso
revolving to the opposite side. One can enter
this posture from either Ardha Chandrasana
(Half-Moon Pose) or Parivrtta Trikonasana (Revolving Triangle
Pose). This asana is much more challenging than Half-Moon due to the
twist, which requires greater strength for balance and greater flexibility
to rotate and remain open in the chest. Before attempting this posture,
beginning students should be able to balance for at least two or three breaths
in the other standing balance postures, and will generally require props.
Energetic Focus
First chakra (Muladhara) grounding energy,
second chakra (Svadisthana) creative energy
Foundational Focus
Balance evenly between the metatarsal heads and the heel of the standing foot. Root through the big toe, with the
little toe acting as a counterbalance.
Benefits
Cautions
Weakness or dizzinessAnyone feeling weak or dizzy should skip this posture.
Back or neck concernsAnyone with acute back injury should avoid this pose. Those with neck issues should
practice with caution or modification.
PregnancyIt is inadvisable to attempt this posture during pregnancy due to the extreme rotation in the torso.
Verbal Cues
From Utthita Trikonasana (Extended Triangle), extending to the right side, exhale and draw the crease of your
right hip back toward your left heel. Place your hands on your hips and slowly rotate the front of your left hip
toward your inner thigh. Press firmly through your left foot for grounding and balance.
Bend your right knee and rotate it slightly outward. Fold forward more deeply from your hips and place your
left fingertips on the ground approximately 4 to 6 inches (10 to 15 centimeters) in front of your right foot.
124
Standing Postures
Root through your right foot and on an inhalation begin to transfer the weight of your left leg forward over your
right foot and left hand. Breathe steadily, and when you feel balanced, slowly lift your left foot off the ground.
Look down at the ground as you straighten your right leg. Maintain length on all sides of your spine. When you
find your balance and alignment in your hips, continue reaching out of your extended back leg. Lengthen the
front of your spine and rotate the right side of your torso toward the sky.
Roll your right shoulder blade back and down toward your hips. Lift your right arm toward the sky and keep
length in your neck. Anchor strongly into the right leg, using your left hand to guide your balance.
Continue to focus on your breath, pressing strongly through your non-weight-bearing leg. Spread the left toes
to keep the foot active and feel a line of energy moving from the shoulders through the entire left leg.
To exit this position, inhale and slowly bend your right knee while setting your left foot back on the ground. Your
chest will naturally rotate forward out of the twist. Take another breath, and on the next inhalation straighten
your right leg and lift your torso. Exhale and bring your arms to your sides. Prepare for the next posture.
Adjustments
Support footInstruct students to spread the toes and keep the supporting knee aligned with
the foot, drawing energy up through the arch. Remind them to spread the toes and press
through the back lifted foot and leg.
BalanceTo help a student maintain balance, stand on the side of the elevated leg and use
your hip or ribs to provide support. Place the hand closest to the students legs on the
top hip, to provide support and to slightly draw the hip away from the lower ribcage.
Use your other hand to lift or gently guide the top shoulder toward the opposite side of
the body for greater rotation.
HipsCreate alignment in the hips by encouraging the student to
point the hip of the lifted leg toward the standing leg as much as
possible. Brush your fingertips on the crease of the standing hip to
encourage length in the torso.
Exiting the postureTo come out of this posture, students need to focus on moving slowly
and being mindful of body positioning. Focusing on the breath enables them to exit
the posture as gracefully and purposefully as possible. To assist a
student physically, stand to the side of the weight-bearing leg with
your hip blocking the students hip. Place your closest hand on the
students upper shoulder and your other hand on the opposite hip
Adjustment: balance.
and gently guide the person to unwind and come upright.
Modifications
Difficulty reaching ground with handIf a student has difficulty lowering to the ground while maintaining balance,
provide a block or the seat of a chair for the lower hand. This modification should also be used by most students
who are new to this pose to help provide balance and alignment without strain.
BalanceYou can help students establish and maintain balance in a number of ways. One
way is to instruct them to keep the upward rotating hand on the hip instead of extending
the hand toward the sky. Students can also place the hands against a wall for support or
place the sole of the lifted foot against a wall for stability.
Strength building, balance building, weakness, or pregnancyInstruct students to
start with a baby Revolving Half-Moon to build strength, flexibility, and
balance. Starting with the hands and knees on the ground, students
place the left hand on the ground to the outside of the right knee.
Instruct them to rotate the torso to the right and rest the right hand
on the right hip or extend the right hand in the air as they lift and
extend the left leg back. Some students may require the use of a
Modification: strength building, balance building,
block under the forearms and a blanket under the knees.
weakness, or pregnancy.
125
Kinematics
Because the lifted leg has nothing to press against, more effort is required to keep the spine lengthened and to open
the chest. This posture requires the deeper stabilizing musculature of the hips, pelvis, and spine to achieve and
maintain alignment and balance.
126
Kinematics
Muscles active
Muscles released
Toe extension
Thigh (R)
Quadriceps (C, I)
Adductors, gracilis
Thigh (L)
Quadriceps (C, I)
Flexion, stability
Hip stability
Hip extension
Torso (R and L)
Trunk stability
Torso (R)
Torso (L)
Shoulder
Pectoralis major
Scapular adduction
Hamstrings
Standing Postures
Body segment
Kinematics
Muscles active
Upper arm
Elbow extension
Forearm supination
Supinator (C, I)
Elbow extension
Anconeus (C, I)
Finger extension
Finger adduction
Neck
Stability
Sternocleidomastoid, splenius
capitus and cervicis, occipitals,
cervical erector spinae (C, I)
Muscles released
Biceps brachii, brachialis,
brachioradialis
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, I = isometric contraction, L = left, and R = right.
127
Utkatasana
Fierce, or Chair Pose
[OOT-kuht-AAH-suh-nuh]
This pose is fierce (utkata in Sanskrit) because when practicing it, one draws energy from and builds
strength in the thighs and hips, wherefrom warriors drew much of their power and virility in Indian
mythology. Thus Utkatasana is a very symbolic pose. Many yoga styles simply call the pose "chair
pose," as it resembles someone sitting.
Description
Although the positioning appears as if one is sitting in an uncomfortable chair, it is considered
a semi-standing squat with the arms lifted overhead. The energy used in this pose helps warm
the muscles in a short time. This posture is part of Surya Namaskara B.
Energetic Focus
First chakra (Muladhara) grounding energy
Foundational Focus
Root evenly through both heels. Anchor with the metatarsal
heads. Evenly balance the grounding energy in bothlegs.
Benefits
Caution
Knee injuryThose with knee pain or injury should avoid bending the knees deeply.
Verbal Cues
Begin from Tadasana (Mountain Pose) with your feet and legs parallel and your toes and knees pointed forward.
Inhale and raise your arms forward and parallel to the ground with your palms facing each other. Feel your
shoulders soften. Press your palms together; you may keep your hands shoulder-width apart if that is more
comfortable for you.
Softly elongate your neck so that your ears move up away from your shoulders. Keep your chest lifted and
continue to lengthen through your entire spine.
On the next inhalation, raise your arms higher so that your hands are overhead. Soften through your shoulders.
Exhale and bend your hips, knees, and ankles. As you lower your torso, try to keep your hips aligned slightly
behind the line of your heels and to keep your knees back behind your toes. Engage the muscles in the back
of your thighs and in your buttocks and imagine them helping to hold your thighs up; this stabilizes the knee
and hip joints.
Continue to connect with your breath, keeping an even rhythm as the effort in your legs increases.
128
Standing Postures
Feel your sit bones sink downward and notice the extension in your low spine. Gaze forward as you draw your
thumbs up and back to open your shoulder joints. Take time to breathe deeply, opening your chest and relaxing
your shoulder blades down slightly from your ears.
Be sure that your neck is comfortable so there is space in the back of your neck. If you are uncomfortable at all
in your neck or shoulders, lower your arms so that they are parallel to the ground, as at the beginning.
Feel the energy of your inner thighs drawing together without moving your legs and keep your knees aligned
behind the line ofyour toes. Notice that your hips feel as if they are being pulled backward and down, as if
you were preparing to sit. At the same time, allow your rib cage to lift toward the sky.
Find yourself in the space where you are the most comfortably challenged and continue to focus on your breath.
To exit this posture, inhale deeply as you straighten your hips and knees. Exhale and lower your arms back to
your sides in Tadasana.
A nice countering pose is Uttanasana (Intense Forward Bend), which will balance the intensity of this pose
with relaxation.
Adjustments
Feet and kneesInstruct the student to position the feet so that
they point directly forward. If the students knees are not aligned
in the same plane as the feet, gently press against the outsides of the
students knees. Occasionally, a student will attempt to squat too deeply,
thus causing the knees to compensate by rotating externally. To regain alignment, instruct the student to straighten up slightly.
Lower extremitiesStudents often align the hips and knees too far forward. To
adjust a students posture, stand in a semi-squat behind and to one side of the
student and place your hands on the sides of the students hips. Gently and
slowly guide the hips backward. Because the students balance will shift as
you move the hips, you must move slowly and with care. Remind the student
to direct the sit bones toward the ground in order to keep length
in the low spine.
SpineIf the student is standing with an accentuated forward
pelvic tilt (swayback), instruct the student to point the sit bones
Adjustment: lower extremity.
toward the ground and to keep length in the low spine. You can
place your hands lightly at the low spine, above the pelvis, as a reminder to lengthen the area. If the student flexes
at the hips so much that the chest tilts significantly toward the ground, remind the student to imagine sitting in a
chair and to draw the spine toward the seat back. Sometimes straightening the knees a bit helps realign the torso.
ChestIf the students chest is collapsing inward, help rotate the arms externally to keep the shoulders open. Standing
in front of the student, place your hands on the upper arms, and externally rotate the elbows toward each other
and toward the midline of the body. Also, you can gently guide the students thumbs toward the back of the bodyto
open the shoulders even more.
Modifications
Weakness or knee painInstruct students not to squat down too far. Focus on the alignment and on lengthening the
spine. Over time, invite students to increase the flexion once they have gained muscular strength and muscular
endurance.
Balance difficulty and leg weaknessPlace the student with the back against the wall for support, both for balance
and for gradually gaining strength in the thighs and hips.
Standing instability and late pregnancySuggest that students place the feet farther apart for better stability. Remind
them, however, to ensure that the knees do not turn inward.
Strength buildingPlace a towel or small ball between the students knees and a block between the hands to help
target the knee and shoulder alignment. By pressing against the props, the student increases strength at the point
of proper alignment.
129
Kinematics
The body positioning of this asana is similar to that of a traditional squat but with the legs closer together. Still,
even though no additional load is placed on the body, the alignment in the sagittal plane in this asana helps build
and maintain joint stability. To provide a balanced load in the knee joint, cue students to engage the adductors and
hamstrings, as well as the quadriceps, for greater comfort and stability. Proper body alignment generally enables
synergy in the anterior and posterior musculature.
Utkatasana
Body segment
Kinematics
Muscles active
Lower leg
Quadriceps (E, I)
Knee stability
Hip flexion
Pelvic stability
Hip stability
Thigh
Hip and pelvis
Torso
Trunk stability
External rotation
Scapular adduction
Upper arm
Elbow extension
Lower arm
Forearm supination
Supinator (C, I)
Elbow extension
Anconeus (C, I)
Finger extension
Finger adduction
Shoulder
Neck
130
Muscles released
Gastrocnemius, soleus
Standing Postures
Virabhadrasana I
Warrior I
[veer-uhb-huh-DRAAH-suh-nuh kuh]
In the Western hemisphere, this pose is known as Warrior I. In India, tradition uses
letters of the alphabet rather than numerals as descriptors, and the first consonant
letter of the Sanskrit alphabet is pronounced kuh. Virabhadra is the name of a
powerful mythical warrior who, according to legend, was so great that when a hair
of his dropped to the earth it caused a great army to arise.
Description
Warrior poses are not only symbolic of warrior energy but also quite physical
in that they require considerable strength in the muscles of the legs,
which represent virility and power. At the same time, all three warrior
asanas demand that the chest and heart area remain open, thus
illustrating bravery, vulnerability, and openheartedness. The
arms and legs are active, while the heart center, when open,
banishes the fear of death.
The Warrior I variation is a standing forward lunge. The
hips face forward with the legs in the sagittal planeone leg forward and the other backinstead of having both
legs out to the sides (in the frontal plane) as in Utthita Trikonasana (Extended Triangle) and Vrkshasana (Tree Pose).
Virabhadrasana I works deeply into the hip muscles. In many active vinyasa or Ashtanga classes, it is commonly
entered from Adho Mukha Shvanasana (Downward-Facing Dog).
Energetic Focus
First chakra (Muladhara) grounding energy, third chakra (Manipura) vitalizing energy
Foundational Focus
Root into the metatarsal heads and the heel of the front foot. Anchor into the outer edge and big toe of the back foot.
Evenly balance the grounding energy in bothlegs.
Benefits
Cautions
Knee injuryStudents with knee pain or injury should be extra careful to flex the knee less than 90 degrees and
to prevent the knee from turning inward.
Shoulder concernsStudents with shoulder pain or injury should modify the pose by keeping the arms parallel
to the ground, or even with the hands on the hips.
High blood pressureStudents with high blood pressure or other heart concerns should keep the arms parallel
to the ground.
131
Verbal Cues
From Adho Mukha Shvanasana (Downward-Facing Dog), inhale and take a giant step forward with your right
leg so that your foot aligns between your hands, with your knee joint stacked over your ankle joint and your
toes and knee facing forward. Externally rotate your left foot about 45 degrees and press the outer heel and
pinky toe to the ground. (If entering from Tadasana [Mountain Pose], take a large step back with your left leg
and align your legs, as just described, then flex your front leg into a lunge.)
Inhale and raise your torso so that it is perpendicular to the ground and your hips are as level as possible with
your front knee. Try to keep your right knee bent at 90 degrees so that your right thigh remains parallel to the
ground. Exhale, press your inner thighs toward each other, and feel your left hip draw forward, squaring your
hips more evenly under your shoulders.
Inhale and raise your arms overhead with your palms either pressed together or shoulder-width apart. Soften
your shoulders and press your thumbs back slightly to open your chest and shoulder joints. Direct your gaze
forward to a distant point on the ground (drishti). Keep your chin parallel with the ground.
Press firmly into the outside of your left foot and heel and continue to draw your inner left thigh toward your
right leg. The front of your left pelvis will align slightly behind the line of your right pelvis. Allow your right
knee to open slightly toward your right pinky toe.
As you settle your hips into this pose, imagine sliding your right heel back slightly. This engages the hamstrings
and gluteals to help stabilize the knee joint while relieving some of the work in the quadriceps. Connect to
the power in your legs.
Continue to focus on your breath.
Inhale and elongate through your lower spine and feel your rib cage lifting and arching back slightly.
With each exhalation, notice your lower body feeling more grounded. With each inhalation, lift your chest
slightly higher; notice a lightness in your upper body.
Keep your left heel firmly connected to the ground, pressing through the outer edge of the foot, and draw
energy up from the arch into your pelvis. This action helps maintain alignment in the pelvis and increases the
balance and grounding in the pose.
Maintain smooth, steady breaths as you feel the strength in the energy of your whole body.
To exit this position, press through your right leg, extending your knee, and step your
left leg forward. Alternatively, you can bend forward at the hips, place your hands
on the ground, and step or jump back to flow into another posture.
Adjustments
Back footTo help maintain grounding in the back leg, walk to the students side and
use your toes to lightly brush against the outer edge of the heel, thus encouraging
the student to press the foot into the ground. Do not push too hard!
Front kneeLightly touch the medial side (inside) or top of the students knee and
guide the leg into a slight external rotation, which keeps the knee from rolling
inward. Instruct the student to lift the arch slightly, while continuing to maintain
balanced pressure through the toes and heel. This adjustment helps stabilize the
energy through the knee joint.
HipsTo align a students hips comfortably under the shoulders, place your
fingers at the outer edge of the crease in the flexed hip and gently guide
the hip back. At the same time, lightly press the back hip forward.
SpineRemind the student to keep the top of the pelvis level. Brush
your hand upward on the low spine, encouraging length through
the lower vertebrae.
Adjustment: knee.
132
Standing Postures
Upper torsoStand behind the student and place your hands on the upper arms, with your thumbs to the inside
and your fingers to the outside of the arm, near the shoulders. Gently rotate the students arms externally, so that
the elbows rotate slightly inward and toward each other.
ShouldersInstruct students to softly draw the shoulders down away from the ears to keep space in the sides of the
neck. Place your hands gently on top of the shoulders and press softly downward and outward.
ChestRemind students to keep the chest lifted. To help physically, place your fingertips or the palm of your hand on
the mid spine. Ask the student to lift the back forward
and up, away from your hand.
Modifications
Weakness, fatigue, or pregnancyStudents can
place a chair, stool, or fitness ball under the hips
to take some of the body weight off of the front
leg. The prop increases stability and balance and
reduces the amount of energy needed for maintaining proper position. It also allows students
to focus on centering energy and on body alignment. When using a chair, turn it sideways so that
the chair back is nearest to the forward leg,
thus enabling the student to use
the closest hand to hold onto
the chair back for support.
Weak shouldersIf a stuModification: weakness, fatigue, or pregnancy.
dent has an acute shoulder
condition with limited range of movement, instruct the student to raise the arms
only as high as is comfortable. For a gentle strength-building option, encourage
the student to flex the arms at the shoulders with the palms facing each otherat
shoulder height. Instruct the student to keep the thumbs pointed up or externally rotate the arm so that the palms face upward. The shoulders often
fatigue quickly in beginning students and those who are recovering
from injury. Invite these students to orient the upper arms out to the
sides with the elbows bent at 90 degrees and pointed outward toward the
side walls with the fingers extendedin other words, in a shape resembling
that of an American football goalpost. For weaker individuals, encourage them to
place the hands on the hips, with the fingers pointing back to keep the shoulders in
Modification: weak shoulders.
external rotation, and the chest open.
Knee concernsThe lunge in this asana is beneficial in strengthening the quadriceps and aligning the kneecaps.
Students with a compromised knee joint should move slowly into and out of this pose and should focus on alignment. Instruct them to flex the front knee only as far as is comfortable, while keeping the hips higher than the knee.
They should also keep the front shin perpendicular to the ground and simultaneously engage both the quadriceps
and the hamstrings. In another possible modification, Baby Warrior, the back knee rests on the ground instead
of being straight and lifted. This lunge is similar to that practiced in classical Sun Salutations. For comfort, students
often require a soft prop, such as a blanket or towel, under the kneecap on the ground.
Kinematics
Because students are so focused on the front knee, they are often unaware that the hips are not aligned and that the
hip of the back leg is rotated backward. The more firmly they press through the back foot, the more the hip flexors
stretch to allow the pelvis to rotate freely forward. You can help students reorient the hip of the back leg forward, as
well as increase balance, by reminding them to imagine drawing the inner thighs toward each other.
133
Kinematics
Muscles active
Gastrocnemius, soleus
Ankle stability
Thigh (R)
Quadriceps (E, I)
Knee stability
Thigh (L)
Knee extension
Quadriceps (C, I)
Pelvic stability
Hip flexion
External rotation
Pelvic stability
Trunk stability
Rectus abdominis
External rotation
Scapular adduction
Upper arm
Elbow extension
Lower arm
Forearm supination
Supinator (C, I)
Elbow extension
Anconeus (C, I)
Finger extension
Finger adduction
Stability
Torso
Shoulder
Neck
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
134
Muscles released
Standing Postures
Virabhadrasana II
Warrior II
[veer-uhb-huh-DRAAH-suh-nuh k-huh]
In the Western hemisphere this pose is
known as Warrior II; it is the second asana
named after the warrior Virabhadra. The second
consonant in Sanskrit is pronounced k-huhsimilar to that of Warrior
I (kuh), but in this case the sound is aspirated. As a guide to proper
pronunciation, it takes twice as much breath to say k-huh as
it does to say kuh.
Description
This lunge posture is similar to that of Virabhadrasana I,
but instead of the chest facing forward in the sagittal
plane, the bent leg here is rotated externally,
directly out to the side, with the arms abducted
and parallel to the ground in the frontal
plane. The spine is perpendicular to the
ground with the natural curves intact.
Energetic Focus
First chakra (Muladhara) grounding energy, second chakra (Svadisthana), third chakra (Manipura) vitalizing energy
Foundational Focus
Root into the heel of the flexed leg. Anchor into the heel and outer edge of the extended leg. Evenly balance the
grounding energy in both legs.
Benefits
Cautions
Knee concernsStudents with knee injury or weakness should practice with modification.
Neck concernsStudents with neck injury or pain should avoid turning the head and gaze forward instead.
PregnancyAfter the second trimester, students should proceed with caution and modification.
Verbal Cues
From Tadasana (Mountain Pose), inhale and reach your hands over your head. Exhale and lower your arms out
to your sides until they are parallel to the ground. Step your right leg out to the side so that your feet are as far
apart as your outstretched hands, if doing so is comfortable.
135
Rotate your left foot slightly inward toward your right heel and rotate your right leg out at 90 degrees so that
a line drawn from the heel of your right foot would bisect your left arch. Press evenly through both feet and
breathe comfortably.
Orient your outstretched arms and shoulders in the frontal plane. Allow your left hip to rotate slightly inward
toward the right to protect the structural integrity of your sacrum. Continue to press fully into your left outer
heel for anchoring.
Inhale and elongate through your spine while keeping the top of your pelvis parallel to the ground. Imagine
externally rotating both thighs, opening them from the center away from each other. Feel the energy of your
legs increase.
Exhale and turn your head to the right, gazing past your right fingertips. Align your chin with your right shoulder and soften through your neck. If you feel your shoulders rise, rotate your palms upward to encourage your
shoulder blades to soften away from your ears.
Exhale and bend your right knee until your hips and right knee are bent at about 90 degrees. Draw energy
upward from your right hamstrings and gluteals by imagining that you are drawing your right heel back, toward
your left foot. This action helps to stabilize the knee.
Continue to extend through your left leg and left arm. Feel your left rib cage press back to keep your torso from
rotating too far out of the frontal plane. Allow your front pelvis to naturally turn slightly toward the right for
comfort and to support your lower back and sacrum.
Continue to focus on your breath.
Keep your right thigh opening out to the right while rooting through the heel and big toe of your right foot.
Visualize a wall behind your back and imagine gently pressing the back of your left thigh, rib cage, and shoulders toward it.
With each exhalation, let your hips lower toward the ground as you bring the top of your right thigh parallel to
the ground. Make certain that your right knee does not extend beyond the line of your right foot.
To exit the posture, inhale and straighten your right leg. Rotate your toes forward and bring your arms to your
sides. Prepare for the next side or asana.
Adjustments
Bent kneeRemind students to roll the front thigh outward by lightly brushing your hand against the outside of the
knee; alternatively, just point to the knee and remind students verbally. You can also semi-squat behind a student
and place one hand on the mid thigh of the flexed leg and the other hand on the outside of the opposite hip for
stability. Slowly externally rotate the students flexed thigh to more fully open the pelvis.
Hips and kneesIf a student has difficulty keeping the bent knee and opposite hip apart, place the students back
against a wall so that less energy is expended on balancing and more can be used to consciously open the front
of the body. Instruct the student to press the extended leg back toward the wall. To
make a hands-on adjustment, stand to the students back, place one hand on the
students flexed thigh and the other hand on the outside of the opposite thigh, and
encourage the student to draw the thighs away from each other.
Hip heightStand behind the student, place your hands lightly on
the outer hips, and guide the pelvis lower. Be sure that the student is both strong and balanced enough to comfortably manage
this adjustment. You may need to suggest that the student take the legs farther
apart in order to avoid placing excessive stress on the bent knee while working
to engage the hips and legs more fully.
ShouldersInstruct students to relax the shoulders down away from the
ears. Place your hands softly on the tops of the shoulders and gently
guide them downward.
SpineIf a students spine leans out over the bent leg such that the
spine is no longer perpendicular to the ground, stand behind
the student with your hands on the sides of his or her ribcage
Adjustment: spine.
and lightly guide the torso back to center by gently aligning the
136
Standing Postures
shoulders over the hips. Instruct the student to guide the pelvis toward the bent knee
while keeping the crown of the head pointing directly upward.
Modification
Pregnancy, weakness, or rehabilitationInstruct the student to
bend the front knee less than 90 degrees. This modification requires
less muscular energy and endurance. The student can also use a wall, chair, or
fitness ball for support.
Kinematics
It is usually best to instruct students to place the feet slightly wider apart
than the distance of the outstretched hands, if it is comfortable
for them to do so. Otherwise, the feet tend to be too close
together when moving into the lunge, and the bent knee extends
Modification: pregnancy, weakness, or rehabilitation.
past the foot, thus causing a loss of stability and alignment and
possibly straining the knee structures. A too-narrow stance also
makes it harder to open the hip and easier to roll the bent knee inward, thus offsetting the body weight and possibly
straining the medial knee. Even when the knee is aligned properly, students must engage the hamstrings to work in
synergy with the quadriceps in order to balance the muscular forces through the joint. To help students establish this
balance, cue them to root through the front heel.
Kinematics
Muscles active
Thigh (R)
Quadriceps (E, I)
Thigh (L)
Knee extension
Quadriceps (C, I)
Hip flexion
Abduction, stability
Muscles released
Gastrocnemius, soleus
Gastrocnemius, soleus,
peroneals
Adductors
(continued)
137
Kinematics
Muscles active
Abduction, stability
Pelvic stability
Torso stability
Scapular adduction
Scapular rotation
Upper arm
Elbow extension
Lower arm
Forearm pronation
Elbow extension
Anconeus (C, I)
Finger extension
Finger adduction
Neck (R)
Neck (L)
Sternocleidomastoid (C, I)
Torso
Shoulder
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, I = isometric contraction, L = left, and R = right.
138
Muscles released
Iliopsoas, adductors
Sternocleidomastoid
Standing Postures
Virabhadrasana III
Warrior III
[veer-uhb-huh-DRAAH-suh-nuh guh]
This is the third warrior position dedicated to the
ancient warrior Virabhadra. As with the other two warrior asanas, the
designation of this third variation is signified by a Sanskrit consonant soundin this
case the third one, which is guh.
Description
This asana can be thought of as a variation of Tadasana
(Mountain Pose), which serves as the starting point. In this
pose, the arms are extended overhead and the body is flexed
at the hip, balanced over one leg, with the upper body and
opposite leg parallel to the ground. To create balance and
stability, the deeper core and hip muscles are required to work in unison. The pose also requires considerable strength
and endurance due to the force of gravity working against both the extended upper body and the outstretched leg.
After performing this posture, be sure to counterstretch, with any forward folding asana, to relaxboth the low back
and the hip stabilizers.
Energetic Focus
First chakra (Muladhara) grounding energy, third chakra (Manipura) vitalizing energy
Foundational Focus
Balance evenly between the metatarsal heads and the heel of the standing foot. Root through the big toe, using the
little toe as a counterbalance.
Benefits
Cautions
Balance concerns or vertigoStudents with extreme balance difficulty or vertigo should practice with support.
High blood pressureStudents with high blood pressure should practice with modifications.
Verbal Cues
Begin either from Virabhadrasana I or from Tadasana (Mountain Pose).
From Virahabhadrasana I:
With your right leg forward in the lunge, draw back through the crease in your right hip. Rotate your left
foot so that the toes point forward and lift the left heel off the ground. Maintain pelvic alignment. Keep your
arms overhead with your shoulders soft.
Exhale and fold forward at your hips. Straighten your right leg as you begin to lift your left foot off the ground
behind you. Balance here for a breath or two.
139
Inhale as you move your body weight completely onto your front leg, bringing your torso, arms, and back
leg parallel to the ground.
Root into the big toe and heel of your right foot, directing the energetic balance of your foot from front to
back rather than side to side. Slightly guide your left hip inward, toward your inner right thigh to bring the
back of your pelvis parallel to the ground.
Gaze slightly forward, looking toward your hands or somewhere slightly ahead of you on the ground. Keep
softness in your neck and relax your shoulders away from your ears. Breathe steadily.
From Tadasana:
Inhale and raise your arms above your head. Relax the top of your shoulders away from your ears. Transfer the
weight of your body onto your right leg, then step your left foot straight behind you so that the toes are barely
touching the ground. Imagine gently pressing your inner thighs toward your midline to help stabilize your
balance. Remain poised here for a couple of breaths. Stay mindful of keeping your hips squared and level.
Inhale and lengthen through your spine. Exhale as you slowly begin to fold forward from your right hip while
lifting your left leg and lowering your torso until both are parallel to the ground.
With each in-breath, continue to extend and lengthen through your arms, torso, and extended back leg. On
each exhalation, imaging your left hip rotating inward toward your right thigh to keep your pelvis aligned.
Gaze slightly forward toward your hands or somewhere slightly ahead of you on the ground. Draw your
shoulders softly away from your ears. Breathe steadily.
To exit the pose from either version of entry, inhale and begin to slowly lower the left leg down to the ground
as you lift your chest and torso upright. Use the strength of the legs, hips, and lower abdomen to move in a
controlled fashion to avoid straining the low back as you lower the leg. Relax your hands to your sides and
prepare for the other side.
Adjustments
Standing leg bentStudents often bend the support leg significantly to compensate for
balance difficulty or tight hamstrings. Instruct them to spread the toes and straighten
the supporting knee. Also, remind students to focus on evenly distributing the
body weight on the foot and folding forward only as far as the
hamstring comfortably allows with a straight knee. Stand in
front of the student to provide balance support as indicated
in the balance adjustment description in this list.
HipsIf the hip of the students lifted leg is higher than the hip of the supported
leg, stand to the supporting-leg side and gently hold the students outer hips.
Lower the elevated side of the pelvis so that the hips are aligned in the
frontal plane with the rest of the torso. Move slowly and gently so that
the student does not lose balance. To keep the student from falling, press
Adjustment: hips.
your hip against the students hip as a prop.
BalanceStanding in front of the student, place your outstretched
arms under the students forearms and let the student lean lightly
into your arms until balanced. Be sure to remove your arms slowly
and only when the student is balanced. Assume a relaxed stance
with your knees slightly bent; avoid using your own shoulder or
back to hold the student up. Many students, especially beginners, are much more comfortable if they position the arms out
to the sides for balance.
ArmsTo help a student straighten the arms and lift or press the
thumbs higher, stand in front of the student, hold on to the upper
arms, and gently rotate the shoulders externally. This adjustment
keeps the student from rounding the upper back and aids in
strengthening the back and shoulders. Also, you may simply
brush your hands on the outsides of the students arms to cue Adjustment: balance.
the student to relax the shoulders away from the ears.
140
Standing Postures
Modifications
Shoulder or neck tightness or painInstruct students to hold the
arms at the sides with the hands by the hips. Often, this
modification also makes it easier to balance and keep the
torso straight.
Balance difficulty and strength buildingPlace the students hands on a ballet bar, against a wall, or even on
the back of a chair to help provide lift in the upper body
and aid in balance. The student can also place the foot of Modification: balance difficulty and strength building.
the lifted leg against a wall to build strength and balance.
WeaknessIt is best not to keep anyone in this posture for too long if it is the first time that a student has practiced it
or if the student experiences significant weaknessas may be the case for someone recovering from illness or injury.
Kinematics
This asana requires a great deal of strength in the low-back and hip-extensor strength to keep the lifted leg parallel to
the ground. As an appropriate counterposture, follow this posture with a resting forward bend, such as Uttanasana
(Intense Forward Bend).
Kinematics
Muscles active
Toe flexion
Plantar flexion
Thigh (R)
Quadriceps (C, I)
Adductors (C, I)
Thigh (L)
Knee extension
Quadriceps (C, I)
Hip stability
Hip extension
Pelvic stability
Muscles released
Anterior tibialis
Iliopsoas
(continued)
141
Shoulder
Kinematics
Muscles active
Trunk stability
Stability
Subscapularis (C, I)
Upper arm
Elbow extension
Lower arm
Forearm supination
Supinator (C, I)
Elbow extension
Anconeus (C, I)
Finger extension
Finger adduction
Neck
142
Muscles released
Standing Postures
Parshvottanasana
Intense Side Stretch
[paarsh-voht-taahn-AHH-suh-nuh]
In Sanskrit, Parshva means side or flank, and ottana
means intense extension or stretch; thus parshvottanasana
indicates an intense stretch in the side.
Description
Parshvottanasana is similar to Uttanasana (Intense
Forward Bend), but in this case one leg is forward
and the other is back. This placement of the legs
requires more balance and creates a deeper stretch
through the hips, hamstrings, and sides. The arms
are in Anjali Mudra, or Prayer Pose, behind the
back, if doing so is comfortable. The stretch
extends from the backs of the heels all the
way up into the neck, thus releasing tension
throughout the entire back of the body.
Energetic Focus
First chakra (Muladhara) grounding energy, third chakra (Manipura) vitalizing energy
Foundational Focus
Root into the metatarsal heads and the heel of the front foot. Anchor into the outer edge and big toe of the back foot.
Evenly balance the grounding energy in bothlegs.
Benefits
Cautions
Glaucoma or high blood pressureIn general, students with glaucoma or high blood pressure should not place
the head below the heart; therefore, modifications should be used.
Shoulder injuryAnyone with a shoulder injury should practice a modified version of hand placement.
Verbal Cues
From Tadasana (Mountain Pose), step your legs apart a distance of three to four feet (about one meter). Turn
to the right so that your right leg is forward, your left leg is back, and your torso is aligned with your right leg.
Rotate your left foot and thigh slightly toward the right. Adjust the width of your feet so that you can keep your
left heel on the ground. Gently press your inner thighs toward each other to help align your hips forward.
143
Press the palms of your hands together behind your back with the fingertips pointed up. Draw the tips of your
fingers up your spine. Go only as far as it feels comfortably challenging to go; never force or strain! Keep the front
of your shoulders rolling open. If this positioning is not comfortable for your wrists or shoulders, modify by either
grasping opposite elbows or clasping your hands together behind your back with the knuckles pointing down.
Continue to focus on your breath as you soften the shoulders and open the chest.
Continue to press your inner thighs toward each other, drawing your left hip slightly forward and your right hip
backward. Lift your low back, ribs, and chest away from your hips as you breathe in deeply. Keep your gaze
focused forward as you gently arch backward from your upper back, widening your collarbones. Relax your
shoulders and maintain even length in your neck.
Exhale, drawing your right hip back slightly. Take your time as you begin to slowly fold forward until either
your spine is parallel with the ground or you feel the first point of resistance in your muscles. Keep your pelvis
aligned and continue to root through your feet.
With the next exhalation, relax your torso farther down over your right leg as much as you can without rounding
your back. Feel the left side of your rib cage move inward slightly toward your right thigh.
As you inhale, feel your torso lengthen from your hips to the top of your head. Imagine lengthening your chest
out beyond your toes. Relax your neck and soften your abdomen as you breathe
deeply into your back and hips. Feel the balance in your feet from front to back
and press firmly through your back heel.
Continue to focus on your breath.
Continue gently moving your right hip back. You should feel your right hip
and hamstring lengthening deeply anduseyour left leg as an anchoring force.
To come out of this position, press down firmly through both feet and extend
upward through the crown of your head. Relax your hands and bring them
to your sides as you prepare for the other side.
Adjustments
Front hipStanding either behind or to the side of the student, use your
fingertips to gently guide the front hip back and square the hips forward
in the sagittal plane.
Rib cageStand behind the student to the side of the back leg. Place your
closest hand on the opposite side of the students rib cage and your
other hand on the side of the rib cage nearest you. Use your hip as a
prop to keep the student balanced. With a light touch, slightly rotate
Adjustment: rib cage.
the nearest side toward you and the far side ribs toward the inner thigh
of the students front leg, so that the chest points more directly toward the ground.
ShouldersGently place your hands on top of the students shoulders and guide the
shoulders down away from the ears. With your fingertips lightly on the students
anterior (front) shoulders, draw the shoulder blades toward each other to open
the chest more fully.
NeckLightly touch the back of the students head as a reminder to release
tension held there.
Modifications
Tight shouldersIf a student cannot comfortably place the palms together behind
the back, instruct the student to place the arms behind the waist and clasp the
opposite elbows. Alternatively, instruct the student to clasp the hands behind
the body with the elbows straight. As the student folds forward, she or he can lift
the arms to help stretch the front of the shoulders and expand the chest. When the
student moves to the other side, invite him or her to place the other forearm or thumb
on top in order to maintain energetic synergy in the pose.
144
Standing Postures
Increased shoulder stretchFor students who can press the palms together,
instruct them to point the elbows up toward the sky.
Tight hamstringsIf the hamstring stretch is too intense, instruct the student to bend the front leg slightly, taking care not to let the knee turn
inward if it is bent. Also, remind all students to refrain from folding
deeper than the hamstring is comfortable going.
Rounded backCue the student to refrain from folding down toward
the thigh all the way. Invite the student to keep the back parallel to
the ground. Also, for some students, it is best to cue the leg positioning, but instead of reaching the arms behind the back invite
them to place the hands on the hips or against a chair or wall.
This modification is appropriate for persons with glaucoma.
Kinematics
As in Virabhadrasana I (Warrior I), the more firmly the student presses through the back foot, the more the hip flexors
stretch to allow the pelvis to rotate forward. This action also helps create better balance as the student folds forward
and deepens the stretch in the hip extensors. The arm kinematics shown in the chart reflect arms in reverse Anjali
Mudra (Prayer Position)that is, with the palms together behind the back.
Kinematics
Muscles active
Muscles released
Anterior tibialis
Thigh
Quadriceps (C, I)
Flexion, stability
Pelvic stability
Hip extension
Trunk stability
Torso
Iliopsoas
(continued)
145
Kinematics
Muscles active
Scapular adduction
External rotation
Upper arm
Hyperextension of humerus
Lower arm
Elbow flexion
Forearm pronation
Wrist hyperextension
Finger extension
Neck
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, I = isometric contraction, L = left, and R = right.
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Muscles released
Pectoralis major, anterior deltoid,
coracobrachialis
Standing Postures
Description
This asana uses strength in the hip flexors and quadriceps of both the standing and
(especially) the flexed leg. Once you are balanced on one leg and holding onto the
big toe of the lifted leg with either your fingers or a strap, this is generally the end of
the pose. However, from this position, the lifted leg can be abducted to the side, then
brought back to the center, with the torso flexed forward before finally lowering the leg
slowly to the ground.
Energetic Focus
First chakra (Muladhara) grounding energy, second chakra (Svadhisthana) creative energy
Foundational Focus
Root through the heel and the first metatarsal head of the front foot. Anchor into the
heel.
Benefits
Position one.
Caution
Lower back injuryStudents with a lower back injury should practice
with modifications.
Verbal Cues
Starting from Tadasana (Mountain Pose), shift your weight more fully onto your
right leg. Place your hands on your hips for stability and roll your front shoulders
and chest open. Exhale as you bend your left hip and knee, drawing your thigh
up toward your chest. Breathe here, maintaining balance.
Keep your right hand on your right hip, and reach down with the first two fingers
of your left hand to hook your big toe. Maintain length in your spine and keep
your chest lifted. Take your time as you sustain your alignment and balance.
Slowly begin to straighten your left leg out in front of you so that it is parallel
to the ground.
Position two.
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Adjustments
Standing footIf the supporting foot is not pointed directly forward under the knee joint, students will have difficulty
maintaining balance. Remind them to keep the toes and knees pointed forward and aligned under the hips.
LegsStand in front of the student and provide gentle support to the lifted leg. Hold the leg lightly at the
heel. You can help the student rotate the leg slowly to the side as you help with balance.
HipsTo help the student maintain hip alignment and keep the top of the pelvis parallel to the
ground, stand behind the student and lightly place your hands on the sides of the hips as you make
the necessary adjustment. Proceed with a light touch.
ShouldersBe sure that the students shoulders do not roll forward, thus closing off the chest
and rounding the upper back. Stand behind the student and place one hand lightly
between the shoulder blades. Instruct the student to draw the shoulder blades
toward your hand. This adjustment opens the front shoulders and lifts the chest.
Modifications
Hamstrings or hip tightnessGive the student a strap to wrap around the foot
as an extension of the arms. This modification allows the student to keep the spine
straight and aids significantly in balance. If no strap is available, you can instruct the
student to keep the knees bent slightly and place the hands behind the thigh
for support. Doing so helps alleviate strain in the low back.
Increase strength and flexibilityStudents can rest the lifted foot against
a wall, chair back, or ballet bar as they focus on spinal alignment while
building strength and flexibility in the legs.
Modification: hamstrings or hip tightness.
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Standing Postures
Lower back injury or weaknessInstruct the student to sit in a chair or on a fitness ball in order to focus on balance
and flexibility while flexing the hip and extending the knee.
Kinematics
An added benefit of this posture is the subtle strengthening and stretching of the posterior shoulder in the arm that
reaches for the extended foot. To give a student the feeling of elongation in the back of the body, place the back
against the wall and direct the student to press the shoulder blades toward the wall. This action helps create proper
alignment, which aids balance in the long run.
Kinematics
Muscles active
Toe extension
Ankle dorsiflexion
Thigh (R)
Quadriceps (C, I)
Stability, adduction
Adductors (C, I)
Thigh (L)
Knee extension
Hip stability
Hip flexion
Torso
Pelvic stability
Trunk stability
Humerus abduction
Scapular adduction
Shoulder (R)
Muscles released
Gastrocnemius, soleus
Hamstrings
Pectoralis major
(continued)
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Kinematics
Muscles active
Shoulder flexion
Stability
Scapular stability
Elbow flexion
Elbow extension
Forearm supination
Supinator (C, I)
Elbow extension
Anconeus (C, I)
Forearm pronation
Wrist extension
Finger adduction
Finger flexion
Finger adduction
Neck
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, I = isometric contraction, L = left, and R = right.
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Muscles released
Posterior deltoid, rhomboids
Standing Postures
Natarajasana
King Dancer
[nut-tuh-raahj-AHH-suh-nuh]
In Sanskrit, Nata means dancer, and raja means royal. This posture
symbolizesone of the many forms of Shiva (a Hindu god) as Lord of the Dance.
Description
Natarajasana is a one-legged balance posture with a backbend and is indeed
rather regal looking with the puffed-out chest. The non-weight-bearing leg
is extended behind the back, and the arms reach either overhead or behind
the back to the foot. This posture has many variations. Most people cannot
achieve the back arch and shoulder opening of the original posture, so a
modified version is generally taught. The posture is described here in three
phases, building from the least demanding to the most.
Energetic Focus
First chakra (Muladhara) grounding energy, third chakra (Manipura)
vitalizing energy, fourth chakra (Anahata) heart-opening energy
Foundational Focus
Root through the first metatarsal head and heel.
Benefits
Cautions
Acute back painStudents with acute low back injury should refrain performing from the back-
arching phase of this posture.
PregnancyPregnant students should practice phase one.
WeaknessStudents feeling weakness should practice phase one.
Verbal Cues
From Tadasana (Mountain Pose), bring your hands to your hips and shift your weight to your left foot
without allowing your right hip to drop. Find your drishti (gazing point) and remain focused. Breathe.
Phase One
Bend your right knee and bring your right heel toward your buttocks. Inhale and reach back
with your right hand to grasp your right foot or ankle. Hold wherever you can do so comfortably with your hand or a strap, making sure that there is no strain in your low back. Flex your
right foot so that the toes point toward the rightknee.
Inhale, lifting your ribs away from your hips, and begin to press your right thigh slightly back
while keeping your hips stable and aligned under your shoulders. Draw your inner thighs
toward the midline of your body so that your bent leg does not abduct or rotate externally.
Continue to focus on your breath. This may be the end of the pose.
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Phase Two
Inhale and raise your left arm overhead while lifting the rib cage. As you
exhale, keep your pelvis leveland your chest lifted while bending forward
slightly from your left hip joint.
Create a slight backbend as you strive to stretch your hips and rib cage away from
each other, opening up your chest and abdomen. Keep the front of your shoulders
opening away from your chest by drawing your shoulder blades softly together. Imagine your collarbones moving away from the center of your chest on each inhalation.
Gaze up toward your left fingertips. Keep your neck long. Imagine your pelvis
and the crown of your head stretching away from each other with each breath.
Continue to focus on your breath. This may be the end of the pose.
Phase Three
If you feel comfortably balanced and have substantial flexibility in your shoulders, spine,
and hips, stand straight instead of flexing forward at the hips. Press the center of your
chest upward toward the sky as you arch your mid back slightly. Draw your right heel
up toward your shoulder blades. Feel the deep stretch in the front of your right thigh.
Hold your right leg in place while stretching both arms overhead. Reach back with
your hands and grasp your right foot or ankle. Use a strap to hold the foot for greater
comfort.
Maintain the upright position of your spine and continue to lift your rib cage
out of your low back area. With every inhalation, lift higher and feel your chest
puff open. Maintain your grip on the foot, lifting it as high as you comfortably
can and imagining it to move toward the back of your head. Feel the arc of energy
through your torso as you root into the ground with your left leg.
To exit this posture, slowly release your foot and bring your arms back to
your sides. Lower your leg to the ground and prepare to practice on the other
side. Counter this pose with Adho Mukha Shvanasana (Downward-Facing
Dog) or Balasana (Childs Pose).
Adjustments
BalanceStand in front of the student and hold onto the top hand with one or both of your hands.
Extend the students arm overhead, lifting slowly. You may need to place your hand on the hip
of the students supporting leg for stability. Release the student slowly so that he or she
maintains balance.
Non-weight-bearing legStand behind or to the side of the student and gently tap the
front of the thigh, cueing the student to lift the thigh higher behind the body. You can
also place your hand gently under the students heel to aid in balance while helping
to lift the leg higher, if doing so is comfortable.
Low backStudents often arch the low back or abduct the leg to reach the foot; both
moves can aggravate the lower back. To adjust, stand to the side of the student and
place one hand on the students hip and the other on the shoulder. Help the student
maintain alignment and balance as she or he slowly draws the foot toward the hand.
ShouldersStand behind the student, place your hands on the students upper arms,
and rotate the shoulders externally and down away from the ears.
Adjustment: low back.
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Standing Postures
Modifications
Building flexibilityFor students with very tight quadriceps, modify the position by wrapping a strap
around the lifted ankle or foot. For those with slightly more flexibility, simply instruct the student to
grasp the ankle or foot while drawing the heel toward the buttocks. This is also a good counterstretch
for Padangusthasana (Entended Hand-to-Toe Pose).
Tight shouldersMake sure that the students arms are rotated externally as they reach overhead
by keeping the elbows parallel to each other. If the elbows point away from the body, then the
arms are not externally rotated and it will be difficult or impossible to reach the hands closer to
the foot. If comfortable for the student, a strap can be wrapped around the upper arms to achieve
and maintain shoulder alignment.
Pregnancy, weakness, or acute low-back concernsAsk the student to stay in phase one of the posture.
For increased balance, instruct the student to practice near a wall or place a sturdy chair in front or
to the side of the student for extra support.
Kinematics
People with sufficient flexibility in the shoulders, hips, and spine can arch the back so that the
foot touches the back of the head.
Modification:
building flexibility.
Kinematics
Muscles active
Toe extension
Thigh (R)
Knee flexion
Hamstrings (C, I)
Adductors (C, I)
Stability, adduction
Adductors (C, I)
Hip stability
Pelvic stability
Thigh (L)
Muscles released
Quadriceps
Iliopsoas
(continued)
153
Shoulder
Kinematics
Muscles active
Trunk stability
Scapular adduction
External rotation
Scapular stability
Upper arm
Lower arm
Forearm supination
Supinator (C, I)
Finger flexion
Neck
Neck stability
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, I = isometric contraction, L = left, and R = right.
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Muscles released
Posterior deltoid
8
Seated Postures
Dean Mitchell/istock.com
155
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Seated Postures
Malasana
Basic Squat, or Bead Pose
[maahl-AAH-suh-nuh]
In Sanskrit, mala means bead, and in yoga tradition a string of prayer
beads is referred to as a mala. It is thought that the squatting position of
this posture makes a person appear to resemble a bead dangling from a
string. The pose is also commonly called Garland Pose.
Description
Malasana is considered a seated posture in this text because of its
grounding nature. It is a good transitional asana when moving from a
standing pose to a seated one; it is also a good pose for vinyasa practice
when moving from one posture to the next. Because of the restorative
nature of Malasana,it can be incorporated into a practice session at
any time.
Energetic Focus
First chakra (Muladhara) grounding energy, second chakra
(Svadhisthana) creative energy
Foundational Focus
Root through the heels. Anchor with the metatarsal heads. Evenly balance the grounding energy between bothlegs.
Benefits
Caution
Knee or ankle concernsStudents with a knee injury should either practice with modifications or skip this pose.
Verbal Cues
From Tadasana (Mountain Pose), place your feet hip-width apart with your toes pointed straight ahead or slightly
out to the sides. Be sure that your feet are not pointed inward or your knees will roll together as you lower your
hips toward the ground, which can strain the inner knee structures.
As you begin to flex your hips, knees, and ankles, shift your pelvis and knees back toward your heels as if you
were lowering your buttocks onto a chair just beyond your reach.
Keep your rib cage floating up and your chest and front shoulders open as you inhale. Gently draw your shoulder
blades toward each other to keep your front shoulders and chest expanded.
As you exhale, lower your hips farther. If you need to, reach your arms out in front of your body to keep your
balance. Feel your abdominal muscles activate to aid in your balance.
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Move slowly and breathe deeply as you lower to a point where you are comfortable yet slightly challenged.
Adjust your position according to what feels best for your bodyto maintain stability.
Continue to focus on your breath.
Press outward through your thighs to keep your knees from rolling toward each other. Anchor your energy down
through your heels and do the best you can to sink your heels all the way to the ground.
Stay in this position for a few breaths. Interlace your fingers and rest your forehead on your thumbs, or bring
your hands together in Anjali Mudra (Prayer Pose). Soften your abdomen and relax your shoulders as you focus
your breath into your back.
If your knees begin to roll toward each other, gently press your elbows into your inner thighs to maintain alignment with your knees and feet. Keep your shoulders soft.
To exit this position, lower your bottom onto the ground as slowly and gracefully as possible and prepare for
the next asana.
Adjustments
HeelsMany students have tight calf muscles, which causes them to lift the heels off the
ground. The ideal solution is to place a towel or blanket under the heels for support
and comfort; you can also simply roll up the back of a mat and place it under the
heels. This is the most common adjustment needed for this posture.
KneesA students knees often roll in toward each other. When this happens, place the students arms between the knees as a wedge to hold the
knees out. Cue the student to check to ensure that the knees are pointed
in the same direction as the toes.
BalanceSquat or kneel in front of the student, whichever is most comfortable for you. The two of you should hold onto each others wrists.
Take on some of the students weight until she or he feels well balanced.
Adjustment: heels.
Gently draw the student toward you so that the students body weight
does not sink back too far behind the heels.
Modifications
Knee concernsUse a bar, such as a ballet
bar, if available, so that the student can
hold onto it when squatting down, thus
taking the body weight off of the knees.
In addition, you can have the student
sit on blocks or on the ground with
bent knees. In this option, instruct the
studentto abduct the thighs and slightly
round the torso while engaging the abdomAdjustment: balance.
inal muscles.
Foot injury, very stiff ankles, weak knees, or hip replacementThe student can lie on the back with the knees pulled
into the chest. The knees should be held apart wider than the shoulders for a restorative posture.
Kinematics
Although this postures deep squat may seem completely contraindicated for those with a knee injury, it can be
beneficial to some because of the stretching in both the thighs and the calves. Some causes of knee hyperextension
may be helped by gently stretching overly tight calf muscles. This pose is a particularly beneficial posture for pregnant
students because the squat opens and gently stretches the pelvis and perineum.
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Seated Postures
Malasana
Body segment
Foot and toes
Lower leg
Kinematics
Muscles active
Ankle stability
Muscles released
Gastrocnemius, soleus
Thigh
Knee flexion
Quadriceps (E, I)
Quadriceps
Hip flexion
Stability
Torso
Trunk stability
Shoulder
Internal rotation
Upper arm
Elbow flexion
Lower arm
Forearm supination
Supinator (C, I)
Finger extension
Finger adduction
Thumb abduction
Neck flexion
Neck
Triceps brachii
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, I = isometric contraction, and R = relaxed.
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Dandasana
Staff Pose
[duhn-DAAH-suh-nuh]
Danda is Sanskrit for staff or walking stick. The pose name Dandasana describes
the straightness and strength of the upper torso and back.
Description
In Dandasana, the spine and the lower body are
straight and strong with the hips bent to 90
degrees. It is an active posture with the upper
spine, lower abdominal, and thigh muscles all
working to keep length in both the upper and
lower body. This asana is generally the point from
which many other seated postures build.
Energetic Focus
First chakra (Muladhara) grounding energy
Foundational Focus
Root evenly through the sit bones. Anchor into the backs of the heels.
Benefits
Caution
Back painStudents with acute back pain should practice with modifications.
Verbal Cues
Sit on the ground with your legs stretched out in front of you. Keep your legs and feet as close together as is
comfortable with your sit bones (ischial tuberosities) level on the ground. Place your hands down to either side
of your hips with your fingers pointed forward toward your toes.
Breathe in deeply as you lengthen your spine, lifting your rib cage from your pelvis. Draw your shoulder blades
together slightly, and soften your shoulders away from your ears. Gaze softly forward beyond your toes.
Roll your upper thighs toward each other slightly while keeping your toes pointed upward. Slide your kneecaps
toward your hips by activating your quadriceps. Anchor into the back of your heels to keep them from lifting
off the ground. Imagine your pelvis rooting into the ground and draw energy upward.
Press down through your hands and sit bones to elongate the sides of your spine. Feel your shoulders softening
away from your ears and the front of your shoulders rolling open away from your chest.
160
Seated Postures
With each exhalation, notice your ears aligned over your shoulders, and your shoulders aligned over your hips.
With each inhalation, feel the crown of your head stretching upward toward the sky.
Focus on your breath. Prepare for your next pose.
Adjustments
LegsRemind students to keep the toes pointed upward. Gently brush the outsides of the feet to cue students to
press the feet closer together by activating the adductor and quadriceps muscles.
Spine and shouldersMost students will not realize that the upper back is rounded. To adjust, kneel behind the
student (watch your mechanics), and place your hands to the sides of the ribs and gently cue to lift the rib cage
upward. You can also press your knee gently against the students mid back to encourage more length in the spine.
At the same time, place your hands on the fronts of the students shoulders and gradually roll the upper arms back
to open the chest and elongate the spine.
HeadObserve students to see if the chin is jutting forward. To adjust, place your hands lightly to the sides of the
students head and move the head back to align the ears directly over the shoulders. You can also place your hand
lightly on top of a students head and ask the student to press
against your hand to lengthen the neck and spine.
Modifications
Tight hamstrings or weak upper spineThe most common
adjustment for Dandasana is to place a folded blanket or
towel under the students pelvis. It is also acceptable to allow
students to keep the knees flexed slightly as they work, over
time, to stretch the hamstrings. Another modification is to place
students with the hips and back against a wall, stick, or other
sturdy linear object and instruct them to press the pelvis and
upper back against the object to align the spine.
Tight shouldersInvite the student to externally rotate the upper
arms so that the fingers point backward instead of forward to
open the shoulders more completely.
Kinematics
The common modification of placing a blanket, bolster, or folded towel under the students hips helps alleviate
strain in the low back by repositioning the tilt of the front pelvis slightly more forward, thus achieving a more natural
alignment in the spine. This modification also helps alleviate the rounded back that occurs in those with very tight
hamstrings. By allowing more concentrated flexion at the hip joint, the student strengthens the upper spine muscles
while also aligning the shoulders directly over the hips. This modification is appropriate and quite beneficial as it
provides a base of aligned posture with ease and stability in all of the other seated positions.
Dandasana
Body segment
Kinematics
Muscles active
Muscles released
Toe extension
Lower leg
Ankle dorsiflexion
Gastrocnemius, soleus
Thigh
Knee extension
Quadriceps (C, I)
Hamstrings
Pelvic stability
(continued)
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Dandasana (continued)
Body segment
Torso
Kinematics
Muscles active
Pectoralis minor (C, I)
Upper arm
Elbow extension
Lower arm
Elbow extension
Anconeus (C, I)
Wrist hyperextension
Finger extension
Neck
Shoulder
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Muscles released
Pectoralis major
Seated Postures
Janu Shirshasana
Head-to-Knee Pose
[JAAH-noo sheer-SHAAH-suh-nuh]
Janu is Sanskrit for knee, and shirsha means
head.
Description
In this seated forward bend, one leg is
stretched forward in front of the body, and
the knee of the opposite leg is flexed and lowered laterally to the ground. This posture is broken down into two
parts, the first of which concentrates on lengthening both the upper and lower halves of the body. In the second, or
resting, phase of the pose, the head rests close to the knee. In some variations of Janu Shirshasana, the foot of the
bent knee is flexed and rotated with the toes pointing toward the ground. In other variations, the ankle of the bent
leg is crossed into Ardha Padmasana (Half-Lotus).
Energetic Focus
First chakra (Muladhara) grounding energy, second chakra (Svadhisthana) creative energy
Foundational Focus
Root evenly through the sit bones. Anchor into the heel of the straight leg.
Benefits
Cautions
Acute knee or back painPractice with modifications.
Intestinal discomfortDue to the pressure created in the abdomen, those with intestinal discomfort should
refrain from practicing this pose until the discomfort passes.
Verbal Cues
Phase One
From Dandasana (Staff Pose), anchor through your left leg. Bend your right knee and draw your thigh toward
your chest while pointing your sit bones slightly toward the back edge of your mat. Keep your hips as squared
as possible as you rotate your right leg out, lowering the outer leg toward the ground.
As your right thigh lowers to the ground, picture the top of that thigh as a bottle top opening. As your right
thigh rotates out (externally), the twisting action helps free the hip joint, thus opening space and releasing ten-
163
sion. The more the hip opens, the less stress is placed on the knee.
Dorsiflex the foot, so that the toes point toward the knee and help
stabilize the joint.
Interlace your fingers, and, as you inhale, raise your arms overhead.
Pronate your forearms to rotate your palms away from your body.
Extend your arms as straight as is comfortable, pressing your
thumbs toward the sky and pointing your pinky fingers toward the
ground behind you to more fully engage your posterior shoulder
and upper back muscles. Relax your shoulders away from your
ears, opening space in the sides of your neck.
Exhale and turn your torso slightly toward the left so that you
align your spine with your straight left leg.
Inhale and lengthen your spine as you begin to feel taller through
your torso. Feel your rib cage lift out of your low back. Gaze
forward beyond your toes.
Exhale and slowly fold forward from your hips, like a hinge.
Stop at the first sign of resistance and breathe into that space.
Phase one.
Fold only as far as you can comfortably go without rounding
your spine, then place your hands on the ground to either side of your left leg.
Maintain all of the length and extension in your spine and reach your hands
toward your left foot. Hold on wherever you can reach comfortably with
your hands or with the use of a strap.
Continue to focus on your breath.
Phase Two
On the next inhalation, arch your mid back slightly, lift your chest,
and imagine your navel reaching toward the sky.
Exhale and fold your torso forward from the bottom to the
top, draping your upper body over the front of your left leg.
With each exhalation, let your neck relax as your head
lowers toward your knee. Allow your right rib cage to relax
toward your left leg.
Moving into phase two.
Soften your abdomen. Visualize your breath moving into
your back and imagine that energy opening space between your ribs and between your vertebrae. Focus your
breath on any place where you feel tension or resistance.
To exit the pose, bring your hands to the ground beside your hips. Inhale and press through your arms to raise
your torso. Exhale and stretch your right leg out, and prepare for the opposite side.
Adjustments
FeetIf the students bent-leg ankle feels uncomfortable, adjust by either increasing the angle of the knee or placing
some light padding under the ankle.
KneeIf the students bent knee is off the ground, you can offer support with a folded blanket or adjust for hip and
back tightness (explained next).
HipsIf the students hips are not square in relation to the outstretched leg, use your hands to gently draw the hips
back; alternatively, cue the student to move the hips in a manner such that the hip of the straight leg moves back
a little. You also can press the other hip (of the bent-knee leg) slightly forward at the same time. Note: The forward
bend should come from the hips; otherwise, the back tends to round, especially in the low spine.
164
Seated Postures
Modifications
Raised bent knee, rounded back and shouldersSeat the student on a bolster
or blanket to lift the hips higher than the knees. If the bent knee remains
lifted higher than the hips, place a bolster, folded blanket, or block under
the upper thigh for support. This modification helps open the hips and
takes effort off of the low back, thus allowing for more relaxation. It
also allows for a straighter upper spine.
Tight hips or hamstringsProvide a strap to wrap around the outstretched foot if the student cannot reach it without rounding the
spine.
Pregnancy or otherwise large bellyTo comfortably accommodate a larger belly in this forward fold, invite the student
to widen the straight leg slightly before folding. This modification may also be used to open more space in the low back
Modification: tight hips or hamstrings.
of the bent-leg side.
Kinematics
This posture uses the concentric contraction of the quadriceps to help release the hamstrings and hip rotators as
the torso folds over the outstretched leg. As the student continues to lengthen the torso out over the straight leg, the
adductors of the bent leg are stretched. In the torso, the scapulae (shoulder blades) are drawn slightly together and
toward the hips by the concentric contraction of the rhomboids and trapezius muscles between the scapulae, which
help keep the torso long throughout the posture.
The torso should be elongated as much as possible, especially during the first phase of the pose. If a student's
upper back is rounded, then it is important to help the student lift the front ribs and open the chest.
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Kinematics
Muscles active
Muscles released
Toe extension
Lower leg
Ankle dorsiflexion
Gastrocnemius, soleus
Thigh (R)
Knee flexion
Adductors, gracilis
Thigh (L)
Knee extension
Quadriceps (C, I)
Hamstrings, adductors
Hip flexion
Adductors
Adductors (E, R)
Hamstrings (E)
Trunk stability
Humeral flexion
Scapular stability
External rotation
Upper arm
Elbow extension
Lower arm
Forearm supination
Supinator (C, I)
Finger flexion
Neck
Torso
Shoulder
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, I = isometric contraction, L = left, and R = right (in the body segment column) or relaxed
(in the muscles active column).
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Seated Postures
Ardha Matsyendrasana
Half Lord of the Fishes Pose
[AR-dhuh muht-see-yen-DRAAH-suh-nuh]
Matsya means fish in Sanskrit, and endra
means ruler. In one of the legends
explaining the origin of the asanas, a
fish overheard Shiva (a Hindu god)
explaining the secrets of yoga and was
fascinated with the knowledge. The
fish began to twist its body in order to
hear the words more clearly. Shiva
noticed the fish and gave it the
divine form of Matsyendra, who
then spread the knowledge
of yoga throughout the
land. This twisting asana
is the foundation of all
the seated twists.
Description
Ardha Matsyendrasana is a seated twist in which one leg is straight out in front of the body and the other leg is bent and
usually crossed over the straight leg near the opposite hip. The upper torso is rotated in the direction of the bent leg.
Energetic Focus
First chakra (Muladhara) grounding energy, third chakra (Manipura) vitalizing energy
Foundational Focus
Root evenly through the sit bones. Anchor into the heel of the flexed leg and the back of the heel of the straight leg.
Benefits
Cautions
Migraine or cold symptomsStudents with migraine headache or severe cold symptoms should replace this
posture with a gentle, restorative supine twist.
Hip replacementStudents with a hip replacement should not cross the foot of the bent knee over the straight leg.
Acute back injuryStudents suffering from a back concern should either proceed with caution or skip this pose.
PregnancyPregnant students should rotate only through the upper spine if they are beyond the first trimester.
167
Verbal Cues
From Dandasana (Staff Pose), inhale and lengthen your spine. Exhale and pull your right thigh to your chest.
Cross your right foot to the outside of your left leg as close to your left hip as is comfortable. Press firmly into
the ball of your left foot. You will feel a slight rotation of your pelvis where your left hip moves slightly forward
of your right.
Inhale and raise your right arm overhead to lift your rib cage. On an exhalation, slowly rotate your rib cage and
belly toward the right. Stop when you can no longer move without assistance from your arms.
Inhale and feel your rib cage lift away from your hips. Lower your right arm and place your hand on the ground
as close to your sacrum as possible. Externally rotate your right shoulder so that your fingers point away from
your body. Breathe deeply into the open space of your right chest, and feel your chest rotate slightly more to
the right.
Place your left arm wherever it feels most comfortably challenginghugging your right rib cage, wrapped
around your right knee, or with the back of your elbow to the outside of your right thigh. Use this connection
for stabilizing the twist. Remain mindful to keep the line of your spine perpendicular to the ground. Soften into
the twisting action through your thoracic spine.
Continue to focus on your breath.
Inhale and lengthen your spine, imagining more space opening up between the vertebrae. As you exhale, turn
your head to look over your right shoulder. Rotate your rib cage as much as you comfortably can so that your
right shoulder points as far back from the front of your body as is comfortable. Tuck your chin toward your right
shoulder to encourage a deeper stretch on the left side of your neck.
To exit this posture, inhale and slowly turn your head and chest forward. Place your hands to your sides and
extend your right leg out. Prepare for the next side.
Adjustments
Legs and hipsMake sure the students outstretched leg is
extended but comfortable and that the hip of the bent knee
remains on the ground. If it lifts off the ground, either
instruct the student to root through the sit bones or
place the student on a bolster or blanket.
SpineIf the spine rounds, kneel behind the student
and gently press against the middle spine with your
hands or knee. Cue the student to lift the chest
and lengthen the spine, moving it away from your
support.
ShouldersCue the student to relax the shoulders
away from the ears by placing your hands gently
on top of the shoulders. Also, remind the student
to reach the crown of the head upward.
Adjustment: spine; shoulders.
RotationFor students with a limited spinal range of
motion or with shoulder concerns, instruct them to
keep the elbow of the front hand straight and to place the other hand to the side, wherever it is comfortably challenged. To adjust, kneel behind the student and place one hand on the front of the shoulder to the side where the
student is rotating. Place your other hand on the students rib cage on the opposite side. Gently move the students rib
cage forward, away from you, while rotating the shoulder around a little farther, thus creating more spinal rotation.
Hand positionEncourage the student to keep the back arm as straight and as close to the spine as possible. This
position depends on the length of the students arm and the width of the shoulders. In all cases, the shoulders
should remain relaxed.
168
Seated Postures
Finger positionInstruct the student to rotate the back arm externally so that the fingers point away from the spine. Kneeling
behind the student, place one hand on the students extended
upper arm and rotate the shoulder externally. At the same
time, place your other hand on the students opposite
shoulder to create length through the front of the chest.
Modifications
Low-back weakness or hip or hamstring tightnessPlace
a folded blanket under the students hips to help align
the pelvis.
Hip replacement or larger bellyInstruct the student not
to cross the bent knee over the opposite leg but
instead to keep it aligned with the same-side hip
by placing the foot of the bent leg against the
inside of the straight leg.
Adjustment: rotation.
Kinematics
Ardha Matsyendrasana focuses on toning the abdominal and spinal muscles and creating a gentle stretch in the deep
external hip rotators and the shoulders. Having both legs grounded helps create more length in the torso, as does the
grounding of the arm that rotates behind the body. The twist is initiated in the lower thoracic region and, depending
on a persons spinal flexibility, continues up through the spine into the cervical spine (neck). The firmness of the
abdominal muscles also helps keep the torso lifted and stable.
Kinematics
Muscles active
Toe extension
Lower leg
Ankle dorsiflexion
Thigh (R)
Knee flexion
Thigh adduction
Muscles released
Gastrocnemius, soleus
Thigh (L)
Knee extension
Quadriceps (C, I)
Hip flexion
Iliopsoas (C, I)
Hip flexion
Torso (R and L)
Trunk stability
Torso (R)
Rotation to right
Torso (L)
Rotation to right
(continued)
169
Kinematics
Muscles active
External rotation
Shoulder (R)
Scapular adduction
Shoulder (L)
Forearm extension
Elbow flexion
Elbow extension
Anconeus (C, I)
Forearm supination
Supinator (C, I)
Forearm pronation
Wrist hyperextension
Wrist extension
Finger extension
Finger adduction
Neck (R and L)
Neck (R)
Sternocleidomastoid
Neck (L)
Sternocleidomastoid (C, I)
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, I = isometric contraction, L = left, and R = right.
170
Muscles released
Shoulder (R and L)
Seated Postures
Marichyasana A
Marichis Pose, Variation A
[mar-EE-chee-YAHH-suh-nuh kuh]
Marichi is the name of a great sage in Hindu mythology, and the
word can be translated as the way of light. The Marichyasana
variations are symbolically and energetically powerful, as
Marichi himself is said to be. This is the first of four Marichyasana
poses.
Description
Marichyasana and its variations are extensions of the spinal twist of
Ardha Matsyendrasana (Half Lord of the Fishes Pose). The main
difference between the two postures is that in the Marichyasana
variations the arms are bound around the body to create a deeper
stretch into the joints. Marichyasana has four commonly
practiced variationsA, B, C, and D. In variation A, the bent
leg does not cross the opposite leg, and the arms wrap behind
the back as the torso moves into a forward bend.
Energetic Focus
First chakra (Muladhara) grounding energy, second chakra
(Svadhisthana) creative energy, third chakra (Manipura)
vitalizing energy
Foundational Focus
Root evenly through the sit bones. Anchor into the heel of the flexed leg and the back of the heel of the straight leg.
Benefits
Cautions
PregnancyAfter the first trimester, pregnant students should avoid doing this posture due to the compression
of the abdomen.
Spine concernsThose with a spine injury should practice with modifications or skip this pose.
Shoulder injuryProceed with caution and modifications.
171
Verbal Cues
From Dandasana (Staff Pose), inhale to lengthen your spine. As you exhale, bend your right knee and draw
your thigh to your chest. Place your heel as close to your pelvis as possible. Imagine your left leg as an anchor,
keeping the thigh muscles activated.
Inhale and raise your right arm overhead. Exhale and bring the outside of your right upper arm to the inside
of your right leg. Exhale and fold from the hips, imagining someone gently pulling your right hand forward so
that your right shoulder reaches beyond your right shin.
Rotate your chest and belly slightly to the left. Bend your right elbow and press against your shin with your
upper arm. Inhale and lift your rib cage away from your hips.
Internally rotate your right arm so that your thumb points downward. Bend your elbow and reach your hand
around the outside of your right leg toward your spine. Press your upper arm against your shin to help lift your
chest, moving it forward toward your right foot.
Bring your left arm behind your back, with the palm facing out and reach toward your right hand. Grasp your
left wrist with your right hand. Inhale and lengthen your spine, arching back slightly to lift your chest and open
your abdominal region.
Exhale and fold forward from your hips while you stretch your chest toward your left knee. Relax your spine
and neck. Release your muscles with each exhalation.
Continue to focus on your breath.
To exit this position, exhale and release your arms slowly. Bring your hands by your hips and inhale as you lift
your chest upright. Straighten your right leg and prepare for the other side.
Adjustments
Extended legIf the students extended leg is rotated externally, this generally means that the leg is relaxed. Brush
the outside of the foot to cue the student to activate the leg throughout the posture, with the toes and knee pointing
up, and remind the student to anchor through that leg.
Bent legSometimes a student needs to take the knee wider than hip-width apart to accommodate the rib cage
rotation. However, instruct the student to align the knee with the hip as much as possible to make it easier to wrap
the arm around the leg. Gently press the outside of your shin against the students outer thigh to bring the leg into
alignment.
ShouldersKneel behind the student and place one hand on the upper arm on the side toward which the student
is rotating. Gently guide the shoulder into greater external rotation. At the same time, place your opposite hand
on the lower back ribs, near the kidneys, and gently press forward and up. This adjustment creates length as well
as rotation in the torso.
HandsIf the students hands are nearly but not quite touching behind the body, ask the student to relax and breathe
deeply. Kneel behind the student and place a hand on each of the students upper arms. As the student exhales,
slowly press the arms closer together to draw the fingertips nearer. The student also can bend farther forward to help
shorten the space between the thigh and the rib cage. Have the student stay in this position for only a few breaths
until more strength and flexibility are gained.
Modifications
Tight hipsIf the hip of the bent leg is lifted off the ground, place a rolled-up blanket or towel under the students
opposite hip and remind the student to root the hips into the ground.
Tight shouldersInstruct the student to hold the ends of a strap between both hands in order to allow the student
to hold the arms in a static position and deepen the stretch.
Kinematics
Because of the deep shoulder stretch, students new to this pose may feel like the circulation is being cut off when
they bind the arms. After some practice, the muscles relax and the joints loosen and students gain more range in the
joint to allow the posture to be comfortable for a longer time.
172
Seated Postures
Kinematics
Muscles active
Toe extension
Ankle dorsiflexion
Ankle dorsiflexion
Thigh (R)
Knee flexion
Hamstrings (C, I)
Thigh (L)
Knee extension
Quadriceps (C, I)
Hip flexion
Torso
Trunk stability
Hyperextension, adduction of
humerus
Scapular adduction
Elbow flexion
Elbow flexion
Lower arm
Forearm pronation
Wrist extension
Finger flexion
Flexor digiti minimi brevis, interossei dorsales manus and palmaris, opponens digiti minimi,
flexor pollicis brevis (C, I)
Neck
Shoulder
Muscles released
Gastrocnemius, soleus
Sternocleidomastoid
173
Marichyasana B
Marichis Pose, Variation B
[mar-EE-chee-YAHH-suh-nuh k-huh]
This asana is the second of the four Marichyasana variations.
Description
This variation of Marichyasana is similar to variation A, except that
instead of the leg being extended in front of the body, the knee is
flexed and the ankle is placed in Ardha Padmasana (Half-Lotus).
Energetic Focus
First chakra (Muladhara) grounding energy, second chakra
(Svadhisthana) creative energy, third chakra (Manipura) vitalizing
energy
Foundational Focus
Root evenly through the sit bones. Anchor into both feet
and the externally rotated knee.
Benefits
Cautions
Knee injuriesStudents should be extremely mindful of the knee in Ardha Padmasana whether they have a knee
injury or not. If it is difficult to rotate the leg externally because the hips are tight, the knees take on the strain
in order to compensate.
PregnancyDue to the compression into the abdomen, women in the second or third trimester of pregnancy
should not practice this posture.
Shoulder injuryThose with a shoulder injury should proceed with caution and modifications.
Verbal Cues
From Dandasana (Staff Pose), inhale to lengthen the spine. On the next inhalation, bend your left knee and
externally rotate the leg so the knee lowers toward the ground. Exhale and bring your left ankle to the crease
of your right hip, into Ardha Padmasana (Half-Lotus Pose). Please see modifications for Ardha Padmasana for
students who cannot accommodate this positioning comfortably.
174
Seated Postures
With your next exhalation, bend the right knee and bring the thigh toward the chest. Dorsiflex the left foot so
the top of the foot and toes press into the outside of the right thigh. This helps secure the foot in position.
Inhale and raise your right arm overhead. Exhale and lower your right arm to the inside of your right leg. Exhale,
folding from your hips and imagine someone gently pulling your right hand forward so that your right shoulder
reaches beyond your right shin.
Rotate your chest slightly to the left. Bend your right elbow and press against the shin with your upper arm as
you lift your rib cage away from your hips.
Internally rotate your right arm so that your thumb points downward. Bend the elbow and reach your hand
around the outside of your right leg toward your spine.
Bring your left arm behind your back, with the palm facing out, and reach toward the right hand. Clasp the left
wrist with the right hand. Inhale and lengthen the spine, arching back slightly to lift the chest.
Exhale and fold forward from the hips, pressing your chest toward your left knee. Relax your spine and neck.
Release your muscles with each exhalation.
Continue to focus on your breath.
To exit this position, exhale and release the arms slowly. Bring the hands by your hips and inhale as you lift your
chest upright. Uncross your left leg and straighten both legs back into Dandasana. Prepare for the opposite side.
Adjustments
Leg positioningUse the adjustments for Ardha Padmasana to help the student into the most appropriate positioning, as some students are unable to sit in the full expression of the pose without lifting one side of the pelvis off the
ground. You may also simply cue the student to place the left foot under the right thigh, near the hip.
FeetThe foot in Ardha Padmasana should not be overstretched on the outside of the ankle. Remind the student to
keep the foot dorsiflexed and active.
HipsIf students hips are not level, kneel behind the student with your hands lightly touching the hips. Press downward gently and draw back slightly on the side that is not in Ardha Padmasana.
Bent legSometimes a student will need to take the knee wider than hip width to accommodate the rib cage rotation.
As in Variation A, encourage the student to align the knee with the hip as much as possible to make it easier to wrap
the arm around the leg. Gently press against the students outer thigh to bring the leg into alignment.
HandsIf the hands are almost touching, remind the student to relax and breathe deeply. The student can bend
farther forward to help shorten the space between the thigh and rib cage. Invite the student to stay in this position
for only a few breaths until the student gains more strength and flexibility.
Modifications
Tight hip in Ardha PadmasanaIf the student is unable to sit in Ardha Padmasana, instruct the student to keep the
bent leg on the ground as in Janu Shirshasana (Head to Knee Pose). Place a blanket or bolster under the bent knee
to relax the leg in either position.
Tight shouldersInstruct the student to hold the ends of a strap between both hands to allow for holding the arms
in a static position while deepening the stretch in the shoulders.
Kinematics
Because the foot of the leg in Ardha Padmasana is wedged against the opposite thigh and abdomen, it makes it
somewhat easier to hold the leg in position for those working on the external rotation in Padmasana (Lotus Pose).
Tight shoulder adjustments are the same as in Variation A.
175
Kinematics
Muscles active
Toe extension
Ankle dorsiflexion
Ankle dorsiflexion
Thigh
Knee flexion
Hamstrings (R)
Hip flexion
Iliopsoas (C, I)
Hip flexion
Iliopsoas (C, I)
Trunk stability
Hyperextension, adduction of
humerus
Scapular adduction
Elbow flexion
Elbow flexion
Lower arm
Forearm pronation
Wrist extension
Finger flexion
Flexor digiti minimi brevis, interossei dorsales manus and palmaris, opponens digiti minimi,
flexor pollicis brevis (C, I)
Neck
Torso
Shoulder
Muscles released
Adductors
Sternocleidomastoid
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, I = isometric contraction, L = left, and R = relaxed (in body segment column) or right (in
muscles active column).
176
Seated Postures
Marichyasana C
Marichis Pose, Variation C
[mar-EE-chee-YAHH-suh-nuh, guh]
This is the third of the four Marichyasana variations.
Description
This variation of Marichyasana is somewhat similar to variation A. In this variation,
the foot of the bent leg is crossed over the opposite thigh, the torso twists in the
direction of the bent leg, and the opposite arm wraps around the bent leg
binding behind the back.
Energetic Focus
First chakra (Muladhara) grounding energy, second chakra (Svadhisthana)
creative energy, third chakra (Manipura) vitalizing energy
Foundational Focus
Root evenly through the sit bones.
Anchor into the heel of the flexed
leg and the back of the heel of
the straight leg.
Benefits
Cautions
PregnancyDue to the compression in the abdomen, women in the second or third trimester of pregnancy
should not practice this posture.
Shoulder injuryThose with a shoulder injury should proceed with caution and modifications.
Verbal Cues
From Dandasana (Staff Pose), inhale to lengthen your spine. Exhale and bend your right knee, bringing your
thigh to your chest. Cross your right foot over your left thigh and place the foot on the ground wherever it feels
most comfortable.
Inhale and rotate your rib cage to the right. Turn your head to look over your right shoulder as far as is comfortable. Imagine your left leg as an anchor, keeping the thigh muscles activated. Place your right hand on the
ground for support.
177
On your next exhalation, continue to keep your torso rotated to the right and reach your left arm across your
body to the outside of your right leg. Move your left shoulder blade toward the outside of your right knee as
you turn your torso a bit more to the right, if comfortable.
Bend your left elbow and press your upper arm against the outside of your right knee as you lift your rib cage
away from your hips.
Internally rotate your left arm so that your thumb points toward the ground, then wrap your arm around the front
of your right leg. Reach the hand around, toward your right hand, and bind your hands together, if comfortable.
Inhale, lengthening your spine, and open as much space between your lower ribs and pelvis as possible. Continue to press the back of your left upper arm against your right leg for leverage.
Continue to focus on your breath.
To exit this position, exhale and release your arms slowly. Rotate your chest forward and bring your hands by
your hips. Uncross your left leg and straighten both legs back into Dandasana. Prepare for the opposite side.
Adjustments
Extended leg If the students extended leg is rotated externally, this generally means that the leg is relaxed. Brush
the outside of the foot to cue the student to activate the leg throughout the posture with the toes and knee pointing
up; remind the student to anchor through that leg.
HipsIf the students hips are not level and touching the ground, kneel behind the student with your hands lightly
touching the students hips and press downward to ground the pelvis.
TorsoKneel behind the student, and place your hand onthe students same-side shoulder. Pull back gently as you
use your opposite hand to press forward and up on the students rib cage, thus creating more spinal rotation.
HandsIf the students hands are almost touching and have enough range of motion, encourage the student to relax
and breathe deeply, drawing the hands closer together on an exhalation. You may aid in drawing the hands closer
by kneeling behind the student and grasping the upper arms. As the student exhales, press the arms toward each
other and draw the hands closer together, as far as is comfortable.
Modifications
Tight hipsIf the hip of the bent leg lifts off the ground, place a rolled-up blanket or bolster under the opposite hip,
or both hips if necessary, to balance the pelvis.
Tight shouldersInvite the student to hold the ends of a strap between the hands behind the back. This modification
allows the student to hold the arms in a static position to deepen the stretch without straining the shoulder joints.
Shoulder injury or tight chestInstead of asking the student to bind the arms behind the back, invite the student to
place the back arm against the spine and press the back of the opposite arm into the bent knee. You can also have
the student practice Ardha Matsyendrasana (Half Lord of the Fishes Pose) instead.
Kinematics
The pressure of the bent arm against the opposite thigh aids in gaining leverage to rotate the torso more fully.
178
Seated Postures
Kinematics
Muscles active
Toe extension
Ankle dorsiflexion
Ankle dorsiflexion
Thigh (R)
Knee flexion
Hamstrings (C, I)
Muscles released
Thigh (L)
Knee extension
Quadriceps (C, I)
Hip flexion
Gluteus maximus
Hip flexion
Hamstrings
Torso (R and L)
Trunk stability
Torso (R)
Rotation to right
External oblique
Torso (L)
Rotation to right
Shoulder (R)
External rotation
Scapular adduction
Internal rotation
Humerus hyperextension
Scapular adduction
Elbow flexion
Forearm pronation
Wrist extension
Finger flexion
Flexor digiti minimi brevis, interossei dorsales manus and palmaris, opponens digiti minimi,
flexor pollicis brevis (C, I)
Neck (R)
Neck (L)
Head rotation
Sternocleidomastoid (C, I)
Shoulder (L)
Sternocleidomastoid
179
Marichyasana D
Marichis Pose, Variation D
[mar-EE-chee-YAHH-suh-nuh g-huh]
This is the fourth of the four Marichyasana variations.
Description
This variation of Marichyasana is a combination of the Ardha Padmasana
(Half-Lotus) element of variation B and the twisting of variation C. It is
by far the most technically challenging variation; in fact, many people
describe this combination of hip opening, spinal twisting, and arm
binding as a pretzel pose.
Energetic Focus
First chakra (Muladhara) grounding energy, second chakra (Svadhisthana)
creative energy, third chakra (Manipura) vitalizing energy
Foundational Focus
Root evenly through the sit bones. Anchor into both feet and
the externally rotated knee.
Benefits
Cautions
Knee injuriesStudents should be extremely mindful of the knee in Ardha Padmasana, whether or not they have
a knee injury. If it is difficult to rotate the leg externally because the hips are tight, the knees take on the strain
in order to compensate. Modifications should be used.
PregnancyDue to compression in the abdomen, women in the second or third trimester of pregnancy should
not practice this posture.
Shoulder injuryStudents with extreme shoulder tightness or injury should practice with caution and modifications.
180
Seated Postures
Verbal Cues
From Dandasana (Staff Pose), inhale to lengthen the spine, creating as much space between the ribs and hips
as possible. Keep the hips level and on the ground.
On the next inhalation, bend your left knee and externally rotate the leg so that the knee lowers toward the
ground. Exhale and bring your left ankle to the crease of your right hip into Ardha Padmasana (Half-Lotus Pose).
(Please see the modifications for Ardha Padmasana for students who cannot accommodate this positioning
comfortably, or simply place the left foot under the right thigh as close to the hip as possible.)
With your next exhalation, bend your right knee to your chest. Dorsiflex your left foot so that the tops of the
foot and toes press into the outside of your right thigh to keep the foot in position.
Breathing in, place your right arm behind your spine for leverage. Bring the back of your left arm across to the
outside of your right knee. Reach as far as you can, using the energy of your right arm to lift your spine.
Reach your right hand behind your back toward your left hip. Internally rotate your left arm so that your thumb
points toward the ground, then wrap your arm around the front of your right leg. Reach your left hand toward
your right hand.
As you exhale, rotate your right shoulder and rib cage back as far as is comfortable and press your left rib cage
forward toward the outer edge of your right knee. Press the back of your left upper arm against your right thigh
for leverage. Bind your hands together, if comfortable.
Continue to focus on your breath.
To exit this position, exhale and release your arms slowly. Bring your hands beside your hips and inhale as
you lift your chest upright. Uncross your left leg and straighten both legs back into Dandasana. Prepare for the
opposite side.
Adjustments
Ardha Padmasana positioningPlease refer to the modification instructions for Padmasana in chapter 8to help the
student into the most appropriate positioning. The foot in Ardha Padmasana should not be overstretched on the
outside of the ankle.
HipsIf the hips are not level, kneel behind the student with your hands lightly touching the outer pelvis. Press down
gently and pull back on the hip that is not in Ardha Padmasana.
Bent legSometimes a student needs to take the knee wider than hip-width apart to accommodate the rib cage rotation. However, instruct the student to align the knee with the hip in order to make it easier to wrap the arm around
the leg. Gently press against the students outer thigh with the outside of your calf to coax the leg into alignment.
HandsIf the students hands are almost touching, encourage the student to relax and breathe deeply. The student
can bend farther forward to help shorten the space between the thigh and rib cage. Have the student stay in this
position for only a few breaths until the student gains more strength and flexibility.
Modifications
Tight hip in Ardha PadmasanaIf the student is unable to sit in Ardha Padmasana, suggest that the student keep the
bent leg on the ground. Place a blanket under the bent knee for support to relax the leg in either position.
Tight shouldersCue the student to hold the ends of a strap between the hands. This modification allows the person
to hold the arms in a static position to deepen the stretch.
Inability to bind armsInstead of binding with the initial balancing arm, suggest that the student keep the hand on
the ground behind the spine and place the outside of the opposite arm against the outside of the bent knee. You
can also instruct the student to bind by twisting the torso in the opposite direction.
Balance concernsIf the student has extreme difficulty attaining this posture without strain, or cannot maintain
positioning and stay balanced, it is best to substitute another posture.
Kinematics
The Ardha Padmasana positioning of the leg in this posture is likely to require modification for many students. As
always, students should refrain from forcing the legs or arms into this position if they experience any discomfort.
181
Marichyasana D (Right Knee Flexed, Left Leg in Ardha Padmasana, Torso Rotated to
Right)
Body segment
Kinematics
Muscles active
Toe extension
Ankle dorsiflexion
Ankle dorsiflexion
Thigh
Knee flexion
Hamstrings (C, I)
Pelvic stability
Hip flexion
Hip flexion
Iliopsoas (C, I)
Trunk stability
Torso (R)
Rotation to right
Torso (L)
Rotation to right
Shoulder (R)
External rotation
Scapular adduction
Internal rotation
Humerus hyperextension
Scapular adduction
Elbow flexion
Forearm pronation
Lower arm
Wrist extension
Finger flexion
Flexor digiti minimi brevis, interossei dorsales manus and palmaris, opponens digiti minimi,
flexor pollicis brevis (C, I)
Neck (R)
Neck (L)
Head rotation
Sternocleidomastoid (C, I)
Torso (R and L)
Shoulder (L)
Upper arm
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, I = isometric contraction, L = left, and R = right.
182
Muscles released
Adductors
External obliques
Sternocleidomastoid
Seated Postures
Paschimottanasana
Seated Forward Bend, or Intense West-Side Stretch
[puhsh-chee-moht-tuhn-AHH-suh-nuh]
Paschima means west in Sanskrit, and uttana means intense
stretch. Traditionally, it is considered ideal to face east
for meditation and practice; therefore,
the east side of the body is viewed
as the front, whereas the west
side is viewed as the back.
Literally translated, then,
paschimottanasana means
intense stretch of the
westor, in this case, of
the back side of the body.
Description
This is a seated, full forward bend. The legs are outstretched in front of the body, and the torso is folded forward at
the hips and, to the best of the students ability, resting on the front of the legs.
Energetic Focus
First chakra (Muladhara) grounding energy, third chakra (Manipura) vitalizing energy
Foundational Focus
Root evenly through the sit bones. Anchor into the backs of the heels.
Benefits
Caution
Back injuryPerform this pose with the back straight and little or no forward bend. Until the student is strong
enough to release the spine while sitting, the pose should be practiced with modification or replaced by a
different pose.
Intestinal discomfortDue to the pressure created in the abdomen, students with intestinal discomfort should
refrain from practicing this pose until the discomfort passes.
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Verbal Cues
Active
From Dandasana (Staff Pose), inhale and sit tall. Roll your upper legs toward each other slightly and reach your
sit bones back so that your pelvis tilts slightly forward. Inhale and raise both arms overhead.
Expand the space between your front hip points (anterior superior iliac spines) and your navel. Exhale and begin
to flex at your hips, like a hinge. Fold forward only as much as is comfortable without rounding your upper
back. Stop at the first sign of resistance or tightness and soften into that space.
Place your hands on the ground beside your hips and use your arms to help lengthen your spine. Keep your
ears aligned with the top of your shoulders.
Gently reach your hands toward your feet and hold wherever you comfortably can while maintaining an elongated back.
Inhale, lift, and open your chest, arching back slightly. Roll your upper arms out,imagining your collarbones
expanding away from each other, and continue to lengthen the front of your torso. Move your ribs forward
and up slightly,and soften your shoulders away from your ears. Maintain length in your throat and the back
of your neck.
Resting
Exhale and slowly roll down your spine from the bottom to the top, relaxing your torso over your legs.
Soften your abdomen and find your breath moving into the back of your body. Relax your shoulders away from
your ears and keep your neck soft. Visualize your body sinking into the earth.
Imagine your breath moving into any place that is resistant or holding tension
and release that area completely. Soften the back of your neck to feel more
lengthening between your shoulder blades.
To exit this position, place your hands on the ground beside your
hips. Inhale and press down through your hands as you slowly lift
your torso and head.
Adjustments
FeetThe students feet are generally not of much concern in this
pose; however, if the student can reach the hands beyond the feet,
then you can help the person deepen the posture. Instruct the
student to bring the feet together and draw the toes toward the
head. You can assist by gently pressing up against the bottom of
the toes.
LegsIf the students knees are bent, check for proper back
alignment and support. It is better to have the student back
Adjustment: spine; shoulders.
off, focus on the legs, and sit more upright than to let the
student struggle with tight hamstrings. Note: If the student has
finished with the active phase of the posture and is resting, he or she may
UNSTABLE
bend the knees slightly as a modification, as long as the body remains
relaxed. Instruct the student to bring the legs as close together as
is comfortable.
HipsIf tight hamstrings prevent the forward bend from starting
in the hips, modify with a strap (see the modifications section).
SpineStudents often have trouble keeping the back straight. To
help a student lengthen the spine, squat or kneel behind the
student and place the heels of your hands at the bottom edge of
her or his rib cage. Lift, ever so lightly, as the student exhales.
This action helps tilt the pelvis forward and lengthens through
the lower back. Do not press downward on a student in this
Unstable and possibly harmful alignment: spine and
shoulders rounded.
position; doing so may result in back injury!
184
Seated Postures
ShouldersIf a students back is rounded, the shoulders will usually be rounded as well. To help the student roll the
fronts of the shoulders open, kneel behind the student and place a hand on each shoulder with your fingers draped
just in front of the junction of the arm, shoulder, and chest. Use your hands to gently draw the collarbones apart
and lightly press the shoulders down. At the same time, you can softly press your knee into the students mid back,
thus lifting the chest and opening the shoulders.
NeckThe students neck should be actively aligned with the spine in the active phase of the pose and should be
relaxed in the resting phase. The key is to keep space in the neck between the
head and shoulders regardless of the phase.
Modifications
Spinal weaknessWhen practicing this pose, it is common to use a prop,
such as a strap, pillow, or folded blanket. A blanket or bolster propped
under the hips takes some of the pressure and work off of a weak or
rounded back.
Tight hamstrings or hipsStudents benefit greatly when they sit
propped up on a blanket or bolster. This positioning helps tilt the
front pelvis forward to ease the hamstrings and lower back. If
a student cannot reach the hands to the feet, offer the student
a strap to wrap around the feet. The strap allows the student
to get an extra stretch in the shoulders and lateral torso. The
student should not grasp the strap tightly, because doing so
Modification: tight hamstrings or hips.
tightens the upper body in the pose.
Kinematics
If a student is very close to bringing the chest down to the legs, you can assist in deepening the flexion. However,
when applying adjustments in this posture, be certain that your hand placement and the movement of the adjustment
are mechanically sound. Never press down on the students spine to deepen the forward bend! Doing so would put
excessive strain on the spinal ligaments and discs.
To begin, kneel behind the student and lightly place your palms flat against the students upper pelvis with your
fingers pointing toward the ground. Keep your hands in position and gently lift and lengthen the pelvis toward the
direction of the head. The pelvis will not actually lift, but the motion will elongate the lower spine and help the student
flex at the hip joint, rather than allowing the low spine to round. Also, make certain that you move according to the
students breath pattern; actively provide the adjustments as the student exhales to keep the energy flow.
Paschimottanasana
Body segment
Kinematics
Muscles active
Toe extension
Lower leg
Ankle dorsiflexion
Muscles released
Gastrocnemius, soleus
Thigh
Knee extension
Quadriceps (C, I)
Hamstrings
Hip flexion
Spinal extension,
stability
Trunk stability
Torso
(continued)
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Paschimottanasana (continued)
Body segment
Shoulder
Kinematics
Muscles active
Scapular adduction
Scapular stability
Serratus anterior
Humeral flexion
Upper arm
Elbow extension
Lower arm
Elbow extension
Anconeus (C, I)
Forearm supination
Supinator (C, I)
Neck
186
Muscles released
Latissimus dorsi
Seated Postures
Gomukhasana
Cows Face Pose
[go-mook-AHH-suh-nuh]
Go in Sanskrit means cow, and mukha is the word for face. At first glance, this pose
may not seem to resemble the face of the gentle and symbolically nurturing creature
after which it is named. You may see the pattern, however, if you look at your image in
the mirror while practicing this pose. The arms are like a cows ears, and the legs form the
shape of a cows mouth.
Description
In this seated asana, the legs are on the ground, stacked in front of the
hips with the knees bent. One knee is folded on top of the other, aligned
with the middle of the body. The spine is upright, and the arms are bent,
with one elbow pointed up and the other pointed down as the
hands reach toward each other and bind behind the back. Note:
Sometimes the two halves of the pose are done separately.
Energetic Focus
First chakra (Muladhara) grounding energy, second chakra
(Svadhisthana) creative energy, fourth chakra (Anahata) heartopening energy
Foundational Focus
Root evenly through the sit bones. Anchor into the outer thigh
of the leg resting on the ground.
Benefits
Cautions
Hip replacementsStudents with a hip replacement are advised not to cross the legs over the midline of the
body. They may practice the arm portion of the posture and sit in any other comfortable position.
Shoulder injuryAdvise students with any shoulder injury to use caution. For students with rotator-cuff tears,
the anterior shoulder of the bottom arm is usually sensitive and tight in this pose, thus making it inadvisable for
them to rotate the arm externally. Students with a history of shoulder dislocation should modify the pose with
the use of a strap so that the hand does not reach as far behind the back.
Verbal Cues
From Dandasana (Staff Pose), exhale and bend your right knee, drawing your thigh toward your chest. Cross
your right foot over your left leg, placing your foot on the ground outside your left thigh as close to the hip as
is comfortable.
187
Externally rotate your left leg so that your left little toe moves toward the ground. Flex your left knee and bring
your left heel to the outside of your right hip.
Exhale and relax your right hip, allowing your knee to rotate externally and rest on the top of your left knee.
Draw your right foot as close to your left hip as is comfortable.
Dorsiflex your feet so that the toes point toward your knees. Root through
your sit bones and settle into the stability of your pelvis. With each exhalation, relax your legs more.
Inhale and reach your right arm overhead so that your upper arm aligns
with your ear. Externally rotate the arm, pointing the thumb away from
your body.
Soften your right shoulder and bend your right elbow. Slide the palm of
your right hand down your back to the lowest vertebra you can comfortablyreach. Inhale and lift the elbow toward the sky, being mindful not to
push your head forward.
Extend your left arm out to the side with your palm facing up. Keep the
front of your shoulder rolled open and place your left hand to the ground
behind you. Rotate (pronate) your lower arm so that the palm faces away
from your body. Bend your left elbow and reach the back of your left hand up
your spine toward your right hand. If your hands touch, bind them together.
If not, simply focus on pointing your elbows in opposite directionsthe
right elbow to the sky, the left one to the ground.
Continue to focus on your breath.
Inhale and lift your chest upward to keep your spine elongated. Exhale
and let your shoulders relax. Feel the space opening between your
ears and shoulders, keeping your neck long yet soft.
To exit this posture, inhale and release your fingers. Slowly bring
both hands down to your sides. Exhale and lift your right knee off of To prepare the shoulders for the bind,
your left. Lean back slightly and straighten your left leg, then your extend your left arm out to the side with
right leg, and prepare for the next side.
your palm facing up.
Adjustments
BackIf the students upper back is rounded, kneel behind the student, place the palms of your hands just below
the scapulae, and slowly press the rib cage forward and up.
ArmsIf the students elbows are abducted and aligned wider than shoulder-width apart, place
your hands against the outsides of the upper arms, near the shoulders, and gently press the
arms closer toward the students midline.
HandsIf the students hands do not touch but are very close, you may be able, with
the students permission, to move the hands the extra distance to enable them to
meet. Kneel behind the student and place your hands on the students upper arms,
just above the elbows. Carefully and slowly, press the hands closer together.
Modifications
HipsIf the hips are not level on the ground, place a blanket under the lower
hip. As an option, the student can sit on the foot of the bottom leg to raise the
hip level.
Hip replacementInstruct the student to sit in any comfortable position where
the thighs do not cross over each other.
Tight shouldersIf a student cannot reach the hands together without assistance, ask the student to hold the ends of a strap between the hands.
Modification: tight shoulders.
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Seated Postures
Kinematics
Gomukhasana provides an excellent stretch for the triceps. If a student is unable to touch the hands together, it is
beneficial for the student to use a strap of some type between the hands. The strap allows the student to hold the arm
positioning with much more ease. Remind the student to keep a fairly relaxed grip on the strap so as not to tighten
the arms.
Kinematics
Muscles active
Toe extension
Lower leg
Ankle dorsiflexion
Thigh
Knee flexion
Hamstrings (C, I)
Hip flexion
Iliopsoas (C, I)
Pelvic stability
Torso stability
Sternoclavicular stability
Subclavius (I)
Torso
Shoulder (R)
Muscles released
Upper arm
Elbow flexion
Forearm supination
Supinator (C, I)
Forearm pronation
Hand
and fingers
Wrist extension
Finger extension
Finger adduction
Neck extension
Neck
Triceps brachii
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, I = isometric contraction, L = left, and R = right (in the body segment column) or relaxed
(in the muscles active column).
189
Paripurna Navasana
Full Boat Pose
[par-ee-POUR-nuh naah-VAAH-suh-nuh]
Paripurna means full or complete, and nava is
Sanskrit for ship or boat. The shape of the body
in Navasana resembles a boat with the oars balanced
in the water.
Description
Navasana is a seated jackknife balancing position. The legs are
raised off the ground with straight knees, and the toes hover at
eye level. The spine is straight and reclined slightly, and the arms
are extended parallel to the ground.
Energetic Focus
First chakra (Muladhara) grounding energy, third
chakra (Manipura) vitalizing energy
Foundational Focus
Root evenly through the sit bones. For those with stronger abdominals and no low-back concerns, the rootcan move
back more fully onto the sacrum.
Benefits
Strengthens the thighs, hips, abdominal muscles, and back; targets the core musculature.
Massages the internal organs.
Stimulates digestion.
Builds balance and concentration.
Caution
Pregnancy or injuryPregnant or injured students are advised to avoid this posture.
Intestinal discomfortDue to the pressure created in the abdomen, students with intestinal discomfort should
refrain from practicing this pose until the discomfort passes.
Verbal Cues
From Dandasana (Staff Pose), exhale and bend your knees, bringing them toward your chest. Keep the soles
of your feet flat on the ground. Place your hands on the backs of your thighs and lift your chest as you inhale.
Keep your spine long and your shoulders relaxed.
Exhale and begin to recline your torso with your spine straight. Feel your abdominal muscles and hip flexors
engage to support your spine and notice your balance shifting toward the backs of your sit bones.
On an exhalation, slowly lift your feet off the ground, keeping your knees flexed. Balance here between your
sit bones and your tailbone and slowly take your hands away from the backs of your thighs, bringing your arms
to your sides parallel to the ground.
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Seated Postures
If this position feels comfortably challenging, stay here and focus on your breath. If your back feels fatigued but
your abdominals feel strong, bring your hands again to the backs of your thighs for support.
If you feel strong and comfortable, especially in your low back, then roll farther back onto your sacrum so that
there is more activity in your abdominal muscles. Remain relaxed in your shoulders, with a long torso.
Continue to focus on your breath.
To go further, into the full Navasana (Paripurna Navasana),
place your hands behind your thighs again. Use your arms
to hold onto your legs to assist or relieve your low back
and legs. Exhale and gradually straighten your knees,
bringing your toes to eye level. Look toward your toes
with a soft gaze.
If and when you feel ready, release your hands so that
your arms are once again parallel to the ground. Breathe
length and strength from your sit bones to your hands
and feet. You are in full Navasana if you are breathing!
To exit the position, exhale and slowly lower your feet
back to the ground and sit upright. To rest your thighs and
abdominal muscles, lower your legs into Baddha Konasana (Bound Angle) and rest before the next posture.
Adjustments
Adjustment: spine.
Modifications
Weakness or fatigueFor a weak or tired student, the intensity of the pose can
be reduced by bending the knees. Also, to build strength, instruct the student to
keep the feet on the ground while reclining for a few breaths at a time.
Building strengthThe student can use the arms for support by placing the hands
on the ground behind the hips with the elbows bent. Instruct the student to raise
one leg while maintaining the integrity of the upper body. After a few breaths,
the student can switch to the other side.
Tailbone concernsOccasionally, a student complains of tailbone pain when
reclining in this asana. First, instruct the student to sit on a folded blanket. If
this does not alleviate the pain, skip this pose altogether, or instruct the student
to recline only somewhat and to focus on lifting the feet off the ground while
Modification: weakness or fatigue.
maintaining an elongated spine.
191
Kinematics
For students who are new or weaker, the balance point of the body falls between the ischial tuberosities (sit bones)
and the tailbone. If the body is balanced above the tailbone, higher onto the pelvis, the likelihood of flexion in the
lumbar spine increases, as does the possibility of injury. For more experienced or stronger students, balancing on
the flattened sacrum provides more concentrated strengthening of the abdominals; it is important that these students
do not have any lumbar or sacral concerns.
Paripurna Navasana
Body segment
Kinematics
Muscles active
Toe extension
Lower leg
Plantar flexion
Thigh
Knee extension
Quadriceps (C, I)
Hamstrings
Thigh adduction
Hip flexion
Torso
Trunk stability
Humerus flexion
Joint stability
Upper arm
Lower arm
Forearm supination
Supinator (C, I)
Wrist extension
Finger extension
Sternocleidomastoid, scalenes
(C, I)
Shoulder
Neck
192
Muscles released
Seated Postures
Baddha Konasana
Bound Angle Pose
[BUD-dhuh kohn-AAH-suh-nuh]
Baddha is Sanskrit for bound, and kona means angle. This posture is
often called Cobblers Pose because it replicates the traditional seated
position for East Indian shoemakers. The shoemakers used the feet to
hold a shoe so that both hands were free. The pose is also referred
to as Butterfly Pose by teachers who do not use Sanskrit terms in
their teaching and in childrens classes.
Description
In this seated asana, the knees are bent and the legs rotated
externally with the soles of the feet either pressed together or held
together with the hands to make a seal or lock.
Variations of this posture involve making the
space between the ankles and the groin
more or less open.
Energetic Focus
First chakra (Muladhara) grounding
energy, second chakra (Svadhisthana)
creative energy
Foundational Focus
Root evenly through the sit bones. Anchor into the outer legs and the outsides of the feet. Connect with the energy
of the heels and toes of each foot pressing together.
Benefits
Caution
Knee, hip, or groin injuryStudents with such an injury should use modifications andprops.
Verbal Cues
From Dandasana (Staff Pose), exhale and bring your knees toward your chest. Inhale and let the outside of your
knees slowly lower toward the ground.
193
Root through your sit bones with your body weight evenly distributed to both sides. Inhale and keep your spine
lifted and strong, and reach your tailbone and sit bones slightly back toward the end of your mat by slightly
folding the front pelvis forward. Settle back firmly on the base of your pelvis.
Bring your hands to the ground beside your hips and press the soles of your feet together. Feel your knees move
slightly closer to the ground as you exhale softly. Press lightly into your arms to open more length through the
sides without lifting your hips off the ground.
Maintain the length in your spine and place your hands on your ankles or clasp your fingers around your feet,
keeping your shoulders relaxed.
Continue to focus on your breath.
Inhale deeply to elongate your torso. On your next exhalation, fold forward from your hips, feeling your pelvis
rock forward. Imagine lowering your chest toward the ground beyond your feet. Soften your shoulders and continue to keep your hands around your ankles or feet for leverage. Feel free to gently press your elbows against
your inner legs to help open your thighs slightly more. You can also place your hands on the groundhowever
you are most comfortable.
If your hips feel comfortable, use your hands to draw the soles of your feet open toward the sky. This action
gently rolls your outer legs closer to the ground, thus opening the groin more deeply. Place your hands on your
mid thighs and gently rotate your thighs externally to open them. As always, when you inhale, lengthen your
spine and extend the crown of your head beyond your feet.
To exit this posture, place your hands to the ground beside your hips. Press firmly through your arms and inhale
as you lift slowly through your chest and the crown of your head. Exhale and stretch your legs out in front of
you as you move back into Dandasana.
Adjustments
FeetInstruct the student to actively press the outer edges of the soles of the feet together. Gently brush the feet with
your hands as a reminder.
KneesIf the student has difficulty lowering the knees to the ground, help the student roll the soles of the feet up
by pressing the tops of the feet toward the ground. Instruct the student to open the soles of the feet as if opening a
book. This action rotates both legs externally.
SpineTo help support the students back, sit or kneel behind the student with your shin against the back. Place your
hands lightly on the mid thighs while gently rotating the legs externally. Press
your shoulder or knee lightly against the students spine and lift. This action
encourages length in the back.
Modifications
Groin or knee injuryPlace blocks or blankets under the students outer
knees and hips for support.
Tight hipsInstruct the student to make the knee angle larger by moving
the feet farther from the body. The student may also keep the feet
slightly apart for comfort. Most students with tight hips also benefit
greatly from propping the outer legs as in the previous modification.
Weak or injured spinePlace the student on the back for spinal
support but open the angle between the legs to stretch the groin.
This positioning is called Supta Baddha Konasana(Reclining Bound
Angle). If this positioning still creates a strain on the spine, instruct
the student to lie on the ground with the legs against a wall and
place the soles of the feet together while gently pressing the knees
toward the wall.
PregnancyPlace stacked bolsters, blankets, or a chair in front of
the student and have her rest her arms and forehead on the prop for
support. This modification works well for all seated forward bends. Modification: groin or knee injury.
194
Seated Postures
Kinematics
In this posture, it is sometimes difficult for students to recognize why the knees do not come all the way down to the
ground. Common sense would suggest that tight adductors are the culprits, and this is true in many cases. However,
other factors are often involved as wellspecifically, tight hip rotators and individual anatomical differences.
For students with tight hips, the forward-bend portion of the asana is made possible by a coordinated effort
between the hip flexors (iliopsoas and rectus femoris), the spinal extensors (erector spinae), and sometimes the arms.
The forward bend is initiated by an eccentric contraction of the spinal muscles; if initiated with an exhalation, the
contraction of the abdominal muscles also aids reciprocally in allowing the spinal muscles to soften. Then, to aid
in the flexion, the hip flexors contract concentrically to help draw the torso down farther. Because of the external
rotation of the femurs, the angle of contraction in the flexors may not allow a person to lower any farther without
using the arms to draw the torso down as well. Students should keep the shoulders relaxed when using the arms and
should not force the torso downward.
Baddha Konasana
Body segment
Foot and toes
Kinematics
Toe extension
Muscles active
Lower leg
Ankle inversion
Thigh
Knee flexion
Hamstrings (C, I)
Hip flexion
Adductors (E)
External rotation
Sartorius (C, I)
Trunk stability
Scapular adduction
Upper arm
Elbow flexion
Lower arm
Forearm supination
Supinator (C, I)
Flexor digiti minimi brevis, interossei dorsales manus and palmaris, opponens digiti minimi,
flexor pollicis brevis (C, I)
Neck
Torso
Shoulder
Muscles released
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, and I = isometric contraction.
195
Upavishtha Konasana
Wide-Angle Seated Forward Bend
[oo-puh-VISH-tuh kohnAAH-suh-nuh]
Upavishtha means seated or
sitting in Sanskrit; kona means angle.
Description
Upavishtha Konasana is a seated straddle position. With the legs outstretched from the center, the torso folds forward
toward the ground from the hips.
Energetic Focus
First chakra (Muladhara) grounding energy, second chakra (Svadhisthana) creative energy
Foundational Focus
Root evenly through the sit bones. Anchor into the backs of the heels.
Benefits
Cautions
Back pain or injuryPractice with modification or skip the pose.
Advanced pregnancy (where the belly gets in the way of folding forward)Practice with the use of props to
support the abdomen and back.
Verbal Cues
From Dandasana (Staff Pose), inhale and move your legs apart as wide as you comfortably can, making sure
that the stretch in the groin is not intense. Point your tailbone and sit bones toward the back of your mat, which
will tilt the front of your pelvis slightly forward.
Root the fronts of your sit bones into the ground and imagine energy drawing from the top of your head downward toward your hips. Point your toes and knees up. Breathe deeply and slowly and lift your rib cage away
from your hips.
Inhale and reach your arms up and then out to your sides as you expand your chest. Gaze forward with your
chin parallel to the ground and your ears aligned over your shoulders.
As you keep your chin and chest lifted, exhale and fold slowly forward from your hips. Maintain length in
your spine as you bring your chest closer to the ground. Stop at the first point of resistance and breathe length
through your entire spine. Keep your chest open and your upper back long.
Lower your arms and place your hands above or below your knees or on the ground in front of your legs. Press
lightly down into your hands and use this energy to support your back and rib cage as you lift the chest higher,
slightly arching the back. Exhale and fold forward more deeply from the hip joints.
196
Seated Postures
Adjustments
KneesIf the student needs to bend the knees slightly for comfort,
seat the student on folded blankets or a bolster to help lift the
hips and decrease stress on the hamstrings and low back.
SpineIf the student rounds the spine in the forward fold,
cue the student to sit upright slowly and begin again. Kneel
behind the student and place your hand lightly on the mid
back and encourage length by moving the fingers up the spine
Adjustment: spine.
toward the head.
Modifications
Tight back or hamstringsSeat the student on a folded blanket or bolster to
help tilt the pelvis slightly forward. You can also invite the student to keep
the knees bent slightly or place a small rolled-up towel behind the knees.
PregnancyHelp the student keep the abdomen open and not compressed. Place a chair or stacked blankets in front of the student for
her to rest her hands on. As the student flexes forward slightly, the
support of the chair allows her to keep the torso upright. The student
may also rest her arms and head on a chair with a pillow for
relaxation. Many students also find a soft bolster or pillow
under the growing abdomen to be comfortably supportive.
Weakness or injuryModify the seated posture to a restorative
one such as Viparita Karani (Restorative Legs-Up-the-Wall
Pose), in which the heels and backs of the legs are against a
wall and the back is on the ground.
Modification: pregnancy.
Kinematics
As the upper body flexes forward, people with tight adductors often find that the legs roll into internal rotation. To
help make your students aware of this action, give them an additional verbal cue to keep the knees and toes pointing
upward or slightly externally rotated. Remind students to focus the breath softly into the groin and hamstrings if they
feel any tightness in these areas, and not to push beyond the first point of resistance.
197
Upavishtha Konasana
Body segment
Kinematics
Muscles active
Toe extension
Lower leg
Ankle dorsiflexion
Thigh
Knee extension
Quadriceps (C, I)
Trunk stability
Scapular adduction
External rotation
Joint stability
Upper arm
Elbow extension
Lower arm
Forearm supination
Supinator (C, I)
Flexor digiti minimi brevis, interossei dorsales manus and palmaris, opponens digiti minimi,
flexor pollicis brevis (C, I)
Neck
Torso
Shoulder
198
Muscles released
Hamstrings
Pectoralis major
Seated Postures
Parighasana
Kneeling Triangle, or Gate Pose
[par-eegh-AAH-suh-nuh]
In Sanskrit, parigha is the word for a crossbar used to lock a gate, which is the shape
of the body in this posture. Physically, this side stretch lengthens the intercostals
(rib muscles) and enables the expansion of the breath. In a metaphysical sense, the
breath is the gateway that connects the mind, body, and spirit.
Description
This intense side stretch is generally practiced in a kneeling position with one leg abducted
and rotated externally. It can also be described as a kneeling version of Utthita Trikonasana
(Extended Triangle). The deeper variation of this posture requires considerable flexibility
in the lateral torso because the hips are lowered onto the ground.
Energetic Focus
First chakra (Muladhara) grounding energy, second chakra (Svadhisthana) creative
energy, third chakra (Manipurna) vitalizing energy
Foundational Focus
Root into the knee and the top of the foot of the bent leg. Anchor
into the heel and possibly the toes of the straight leg.
Benefits
Cautions
Knee concernsPractice with modifications.
Back concernsThose with back pain or injury should limit the lateral stretch to some degree and use props
for support.
Verbal Cues
From a kneeling position, place your knees hip-width apart with your thighs perpendicular to the ground. Align
your spine and legs as in Tadasana (Mountain Pose). Abduct your right leg, keeping it in line with your torso.
Rotate the top of your right thigh externally so that your knee and toes points upward.
If possible, press your right forefoot flat against the ground to help support your balance and stretch the upper
ankle. If this action strains the ankle or causes cramping, allow your toes to lift slightly off the ground. Anchor
into your left knee and right heel.
Stretch your arms out to your sides with your palms facing downward. Inhale and lengthen your spine, reaching
the crown of your head toward the sky.
199
As you exhale, reach your right arm out over your right leg, maintaining length in your
low back. When you have stretched out as far as you comfortably can, slowly lower
your right hand toward the ground without placing any upper body weight on your
right leg. Be sure that your left thigh remains perpendicular to the ground and
does not shift to either side.
Sweep your left arm forward, then reach over your head, bringing your upper arm
close to your left ear. Point your palm toward the midline of your body. Continue to
gaze forward; however, if there is tension in your neck, look down to your right foot.
Continue to focus on your breath.
As you breathe, notice your breath filling your entire torso, lengthening your
sides. Feel the muscles between your ribs expand as your spine continues
to lengthen. Keep your torso aligned over your right leg.
To exit this pose, press your right foot firmly into the ground and sweep
your left hand out to the left side of your body. As you inhale, feel yourself
lifted by your left arm. Exhale and lower your arms to your sides.
Bring your right knee back under your body and prepare to move
to the left side.
Adjustments
Foot of extended legIf the students foot is not aligned with the hip, the balance will be
compromised. Invite the student to slide the foot back so that the heel is in line with the hip.
Extended thighSquat or kneel behind the student and place one hand on the outer mid
ribcage or the hip of the kneeling leg to provide stability, and the other hand on the
mid thigh of the straight leg. Gently draw the muscles toward you to externally rotate
the leg and open the pelvic region.
Rib cageIf the torso is sinking into the extended thigh, kneel behind the student
and lightly place your hand on the outer portion of the rib cage. Cue the student
to lengthen the spine and draw the ribs away from your hand.
ShouldersTo help open the chest and shoulders, squat or kneel behind the
student, place your nearest hand on the students upper arm, and slowly
rotate the arm externally. Cue the student to maintain length in the neck.
Modifications
Knee painIf the student has difficulty placing the total body weight on the
knees, double up the mat or place other padding under the joint.
Modification: tight back or sides.
Tight hamstrings or adductorsInstruct the student to keep the extended
knee slightly bent.
Tight back or sidesIf the student is unable to reach the ground with the
bottom hand, place a block or other prop to the outside of the extended
leg. This modification allows the student to keep weight off of
the leg yet remain balanced.
Posture deepeningInstead of keeping the thigh of the bent
knee perpendicular to the ground, the hips can be flexed so
Modification: deepening the pose.
that the sit bones rest on the ground. If flexibility allows, the
hands can reach overhead toward the foot of the straight leg. This variation should be practiced only by students
with sufficient range of motion in the hips and knees to allow for deepening the asana comfortably.
Kinematics
The upper-body and hip mechanics of this posture are similar to those in Utthita Trikonasana (Extended Triangle),
except that this is a kneeling posture. As with Trikonasana, the emphasis here is to keep the torso mainly in the frontal
plane and to continue to encourage length in the spine.
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Seated Postures
Kinematics
Muscles active
Muscles released
Toe extension
Thigh (R)
Knee extension
Quadriceps (C, I)
Thigh (L)
Knee flexion
Hamstrings, adductors
Iliopsoas, quadriceps
Pelvic stability
Torso
Trunk stability
Torso (L)
Shoulder (R)
External rotation
Humerus flexion
External rotation
Scapular adduction
Upper arm
Elbow extension
Forearm supination
Supinator (C, I)
Forearm extension
Anconeus (C, I)
Wrist extension
Finger extension
Finger adduction
Neck
Shoulder (L)
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, I = isometric contraction, L = left, and R = right.
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Virasana
Hero Pose
[veer-AAH-suh-nuh]
Vira is Sanskrit for hero or champion. In Hindu mythology, the thighsare
an extremely important part of the body, signifying virility and power. This
pose focuses an intense stretch in the front thighs (quadriceps).
Description
Virasana is a deep kneeling posture in which the hips are seated on the
ground between the feet. Variations of this asana are used to sit in certain
styles of meditation.
Energetic Focus
First chakra (Muladhara) grounding energy
Foundational Focus
Root evenly through the sit bones as they rest either on the ground, on a
prop, or on the backs of the calves. Anchor into the tops of the feet and the shins.
Benefits
Cautions
Acute knee injuryStudents with undiagnosed knee pain should not practice this posture. Others with a knee
injury should proceed cautiously and with modifications.
Circulatory concernsStudents with cardiac or other circulation concerns should avoid this pose.
Verbal Cues
Kneel on the ground with your knees approximately hip-distance apart. Rest the tops of your feet against the
ground with your toes pointed directly backward.
Exhale as you begin to slowly lower your hips toward your heels. Place your hands on your upper calves and
rotate the bulk of your calf muscles away from the midline of your body. This action helps relax the knees as
you lower farther and opens up space in whichto place your hips.
Keep your knees aligned and your spine lengthened as you lower your hips onto the ground between your
ankles. If you notice your knees splaying, focus on drawing your inner thighs toward each other. This action
will also provide an anchoring sensation in your pelvis.
Inhale and lift your chest and the crown of your head upward. Roll your shoulders back and relax them to keep
your chest expanding with your breath. Gaze softly forward, keeping length in the sides of your neck.
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Seated Postures
Rest your hands at your sides or on top of your thighs. Breathe deeply and continue to relax your shoulders.
Continue to focus on your breath, and feel your hips soften with each exhalation.
To exit the position, place your hands on the ground beside your legs. Slowly shift your pelvis to one side and
rest on the side of your hip. Extend your knees as you sweep your feet forward, bringing you into Dandasana. Roll your ankles in both directions
in order to loosen your knees and hips. Prepare for your next pose.
Adjustments
FeetEnsure that the students toes are not pointing out to the sides.
If they are, instruct the student to come back into a kneeling position
with the tops of the feet on the ground and the inner ankles against the
side of the hips.
KneesTake care that the students knees are as close together as possible. Kneel in front of the student and place your hand lightly between
the knee joints. Instruct the student to press against your hand with both
knees. Remove your hand and instruct the student to keep the
pressure constant.
ShouldersRemind the student to keep length in the spine
with the front shoulders rolled back. To help establish
length in the upper spine, kneel or semi-squat behind
the student, press your knee or palm lightly against the Adjustment: shoulders.
students spine, and lift gently. Place your opposite hand on the students nearest shoulder
to help encourage openness in the chest.
Modifications
Foot pain or tight anklesIf the student has a foot or ankle injury or complains of
feeling uncomfortable with the top of the feet against the ground, place a folded
blanket under the front of the ankle joint. It may also help to place
the hips on a folded blanket or block.
Knee painPlace a folded blanket or a block under the students hips to open the angle under the knees. This action
decreases pressure on the knee joints. Another possible modification is to bend only one knee at a time, especially if the
student has pain or injury in one leg. From the low lunging
position, instruct the student to extend one leg forward and
lower the hips to the ground behind. Depending on the
students flexibility, she or he may wish to place a block
or blanket under the hip of the straight leg.
Posture deepeningInstruct the student to interlace
the fingers and press the palms out. Then have the
student inhale and reach the hands over the head.
On an exhalation, cue the student to bring the hands
behind the hips and slightly recline the spine to
achieve a deeper stretch in the quadriceps.
Kinematics
Sometimes a student rotates the lower legs externally in order to rest the pelvis on the ground between the heels.
This action creates a risk of injury in the medial knee structures. Always check that the front of the shins is resting
flat on the ground and that the calves and feet do not rotate externally.
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Virasana
Body segment
Kinematics
Muscles active
Toe extension
Lower leg
Internal rotation
Thigh
Knee flexion
Quadriceps (E, R)
Quadriceps
Hip flexion
Torso
Trunk stability
Humerus adduction
Scapular adduction
Upper arm
Elbow extension
Lower arm
Forearm pronation
Wrist hyperextension
Finger extension
Neck
Shoulder
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Muscles released
Seated Postures
Bharadvajasana
Bharadvajas Pose
[bhuh-RUHD-vaah-JAAH-suh-nuh]
In Hindu mythology, Bharadvaja was one of the legendary Seven Seers. He was
also the father of Drona, a great military leader who fought the war chronicled
in the Mahabharata.
Description
Bharadvajasana is a gentle, seated twist that can be practiced with the legs
in a sideways, leaning Virasana (Hero Pose) or with one leg in Virasana
and the other in Ardha Padmasana (Half-Lotus Pose).
Energetic Focus
First chakra (Muladhara) grounding energy, third chakra (Manipura)
vitalizing energy, fourth chakra (Anahata) heart-opening energy
Foundational Focus
Root evenly through the sit bones. In the basic position, anchor into
the outside of the leg resting on the ground. In the deeper expression
of the pose, anchor into the outside of the leg resting on the ground
and press the top of the foot into the opposite hip.
Benefits
Cautions
Acute knee concernsStudents with acute knee concerns should practice only the basic variation or use modifications.
Acute spinal concernsStudents with spinal concerns should limit rotation in the spine.
Intestinal discomfortDue to the pressure created in the abdomen, students with intestinal discomfort should
refrain from practicing this pose until the discomfort passes.
Verbal Cues
From Virasana (Heros Pose), shift your body weight to your right hip and lower the hip to the ground. Keep
your legs together and allow your left ankle to rest on top of the arch of your right foot.
Inhale and lengthen your spine as you settle your hips more comfortably onto the ground. Exhale and bring your
right hand to the ground behind your hip. Reach your left hand across your body to the outside of your right leg.
205
As you exhale, focus on keeping the top of your pelvis level with the ground and continue to ground through
your sit bones.
With each inhalation, lengthen your spine, allowing your right arm to aid in keeping your spine perpendicular
to the ground. With each exhalation, lightly press your right shoulder farther back, and rotate the front of the
shoulder away from your chest in order to open more space in this area.
Keep your right shoulder open, and slowly turn your head and look over your left shoulder. Align your chin
with your shoulder without straining your neck. For a deeper stretch in the right side of your neck, slightly lower
your chin toward your left shoulder.
Continue to focus on your breath.
To exit this posture, exhale and slowly turn your head forward. Then inhale and slowly bring your chest forward. Lift your hips back over your heels into Virasana and prepare to practice the pose on the opposite side.
Adjustments
FeetBe sure that the bottom foot is resting on the ground. Cue the student to relax both feet.
HipsIf the top of the students pelvis is not level with the ground, place a blanket under the lower hip. Kneel behind
the student, place your hands softly at the top of the pelvis, and apply light pressure downward. Be aware of the
students comfort level.
SpineRemind the student to lift out of the low spine. Kneel behind the student, gently place your hand on the
rounded spine, and encourage lengthening up.
RotationIf the student has difficulty rotating the shoulder, squat or kneel behind the student and place one hand
on the front of the shoulder joint nearest to you. Place your opposite hand on the students outer rib cage and
gently rotate the shoulder toward you as you gently press the rib cage away. Lightly lift the students spine as you
move the torso.
Modifications
Tight spine or shoulders in the Ardha Padmasana
variationIf the student has difficulty grasping
the toe, wrap a strap around the foot and cue
the student to hold onto the other end with
the hand behind the back.
Pose deepeningThe following variation
is for students who can sit comfortably in
Ardha Padmasana (Half-Lotus Pose). Instruct
students to cross the bottom leg over the
top so that the foot rests in the crease of
the opposite thigh in Ardha Padmasana.
Next, instruct them to reach the hand
farthest from the feet behind the back
and toward the top foot. If possible, students can grab the big toe and use the Modification: tight spine or shoulders
connection for leverage while rotating.
in the Ardha Padmasana variation.
Kinematics
In Bharadvajasana, the spine should remain perpendicular to the ground with all of the natural curves intact. However,
because of tight hip extensors and rotators, some students find that they cannot keep both halves of the pelvis on
the ground. To compensate, the low back curves laterally toward the legs; another compensation is to exaggerate
the forward curve in the low spine (lordosis). For comfort and proper alignment, place a bolster or blanket under the
hip farthest from the legs.
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Seated Postures
Kinematics
Muscles active
Muscles released
Toe extension
Lower leg
Ankle stability
Thigh
Knee flexion
Hamstrings (C, I)
Hip flexion
Iliopsoas (C, I)
Adductors (E, I)
Hip flexion
Iliopsoas (C, I)
Internal rotation
Spinal stability
Torso (R)
External oblique
Torso (L)
Shoulder (R)
Humeral extension
Pectoralis major
External rotation
Torso (R and L)
Shoulder (L)
Elbow extension
Supination
Supinator (C, I)
Forearm pronation
Wrist hyperextension
Finger extension
Wrist flexion
Finger extension
Neck (R)
Neck (L)
Sternocleidomastoid (C, I)
Sternocleidomastoid
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, I = isometric contraction, L = left, and R = right.
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Padmasana
Lotus Pose
[puhd-MAAH-suh-nuh]
Padma is Sanskrit for lotus flower, which is associated with beauty, spirituality,
and eternity. When meditating in Padmasana, the energy of prana is said to flow
through the chakra centers, which are generally represented as lotus flowers.
Description
Padmasana is an upright, seated position in which the legs are crossed
in front with each ankle resting comfortably on the opposite thigh near
the crease of the hip. This is the quintessential seated asana in hatha
yoga and East Indian meditation. Padmasana is said to connect the
energies of the root chakra and the crown chakra while in meditation.
To sit comfortably in this position, one needs flexible, open hips.
This takes time and practice. Many people, especially in the West,
have inflexible hip joints and cannot easily sit in this position
without much preparatory work. Four variations of Padmasana
are provided here so that students at every level of flexibility can
sit in this restful position.
Energetic Focus
First chakra (Muladhara) grounding energy, seventh chakra (Sahasrara) divine energy
Foundational Focus
Root evenly through the sit bones. Anchor into the outer edges of the thighs while resting the outside of each foot
against the opposite thigh.
Benefits
Cautions
Acute knee injuryStudents with acute knee concerns should either practice only the basic variation or use
modifications.
Artificial jointsStudents with a hip or knee replacement should either skip this pose or practice only with
modifications.
Verbal Cues
For all variations, emphasize to students that they should each respect the limits of their own body! Even if a student
can normally come into Padmasana quite easily, there may be days when, because of body temperature or fatigue,
the student has difficulty. Remind students to move slowly and to come into the posture only to the point where the
body is most comfortably challenged. In this way, they can sit restfully.
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Seated Postures
As you relax your lower body into this posture, be sure to keep your spine straight, lengthened, and relaxed.
Continue to Padmasana or, to exit this variation, extend your bottom leg and then your top leg. Loosen your
hips, knees, and ankles by rolling your legs from side to side. Switch sides.
Adjustments
AnklesStudents often complain of ankle pain when sitting in Ardha Padmasana or variations
in which the ankle is on the ground. To cushion the bones, place a small folded towel under
the foot. Also, if the feet are crossed over the opposite thigh, make sure that the ankles are
not inverted (rolling inward); this positioning places undue stress on the lateral ankle structures. Instruct students to bring the knees more in line with the center or to move out of
the position.
KneesIf much stress is placed on the knees as the adductors relax, place folded blankets,
bolsters, or blocks under the outside of the thighs as a wedge.
SpineIf a student is rounding the back, place a blanket under the hips to lift the pelvis
and lengthen the spine. Place your hand lightly on the spine to cue the student to
sit taller through the spine and chest.
Modifications
Low-back or hip tightness; weakness in all variationsPlace a folded
blanket under the students hips. You can also place the student with his
or her back against a wall for support.
Hip tightnessDepending on the degree of tightness, instruct the student Modification: low back or hip tightness;
weakness.
to keep the legs in the most comfortable and least stressful position.
Kinematics
Many students are so determined to come into either Ardha Padmasana or Padmasana that they place excessive
stress on all of the leg joints, especially the knees. A common error many students make is placing the ankle only
partially across the opposite thigh. If the ankle is not draped over the thigh, the lateral ligaments and tendons become
overstretched. Impress on your students the importance of sitting comfortably and without strain. Also, for students
new to sitting in the full expression of this pose, it is essential to do a thorough warm-up of the hip and thigh muscles.
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Seated Postures
Padmasana
Body segment
Kinematics
Muscles active
Toe extension
Lower leg
Ankle dorsiflexion
Thigh
Knee flexion
Hamstrings (C, I)
Hip flexion
Iliopsoas (C, I)
External rotation
Adductors (E, R)
Sartorius (C, I)
Trunk stability
Scapular adduction
Upper arm
Elbow flexion
Lower arm
Forearm supination
Supinator (R)
Finger flexion
Neck
Torso
Shoulder
Muscles released
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, I = isometric contraction, and R = relaxed.
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Tolasana
Scale Pose
[tohl-AHH-suh-nuh]
Tola is the Sanskrit term for a measurement of mass. Because this pose
resembles the balancing platform of a measuring scale, it is named Tolasana.
In Ashtanga practice, this posture is called Utpluti (oot-PLUHT-tee).
Description
This arm-balance pose is generally used as a transition from one asana
to another. Ideally, it is practiced with the legs in Padmasana (Full Lotus)
and the body lifted off the ground and balanced between the hands. This
asana requires strength, balance, and concentration.
Energetic Focus
First chakra (Muladhara) grounding energy, third chakra
(Manipura) vitalizing energy
Foundational Focus
Root into the metacarpal heads and fingertips in both hands.
Evenly balance the grounding energy in both hands.
Benefits
Cautions
PregnancyDue to the concentrated effort of the lower abdominals, this posture is not recommended beyond
the second trimester.
Extreme weaknessStudents with this condition should practice with modifications to increase strength.
Shoulder or wrist concernsStudents with shoulder or wrist injury should avoid this pose or practice with
modifications.
Verbal Cues
From the variation of Padmasana (Lotus Pose) that best coordinates with your ability, place your hands on the
ground beside your hips. Hug your elbows in toward your rib cage and lightly squeeze your shoulder blades
toward each other to open your chest.
Inhale and lengthen your spine. Widen your fingers and press your hands onto the ground as you focus on
anchoring into your fingertips and the heels of your hands.
Exhale and straighten your elbows while you lift your hips off the ground. Draw your legs inward toward your
lower abdominal area. Distribute your body weight evenly between your hands and feel the strength in your
abdomen aiding your balance.
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Seated Postures
Encourage a slight bend to your elbows to keep from hyperextending the joints. Relax the tops of your shoulders away from your ears and lift the crown of your head toward the sky. As you inhale, feel your chest lift as
you open the fronts of your shoulders. Continue to be aware of the even balance between your hands, and the
power in your abdominal area.
Keep your breathing smooth and controlled.
To exit the posture, exhale and bend your elbows to slowly lower your hips and legs back to the ground. Flex
and loosen your wrists. Uncross your legs, then recross them the opposite way and come back into the position.
Another option for exiting this posture is to extend the legs either forward or backward in order to move directly
into another asana.
Adjustments
ArmsIf the students hands are placed too far away from the hips, balancing will be difficult and the shoulder joints
will be unstable. Instruct the student to place the hands as close to the hips as possible before lifting. Also, students
often collapse into the chest and hunch the shoulders into the ears. Remind them to keep the elbows straight and
near the rib cage. To adjust, kneel behind the student and place your hands on the upper arms. Lightly rotate the
upper arms externally and encourage the student to lengthen the spine.
NeckPlace your hands lightly on top of the students shoulders to encourage length in the neck. Also remind the
student to gaze forward, not down, while lifting the hips off the ground.
Modifications
Arm strengthTo help a student build strength in the arms and shoulders, cue to press
through the arms and lift the hips while the legs remain on the ground. Place a folded
blanket under the hips to shorten the distance to lift.
Abdominal strengthTo help a student build
abdominal strength, instruct the student to
keep thepalms and hips on the ground
and then lift the legs toward the abdomen.
Long torsoIf a students torso is longer
than the arms, the student will tend
to lift from the fingers instead of
the palms, thus placing undue
stress on the finger joints. Place
blocks under the students
hands to lengthen the arms.
Wrist weaknessIf a student
complains of wrist pain,
props are available that
Modification: building abdominal strength.
allow the student to grip
an elevated bar in order
to lift, rather than
bending the joint.
Also, make certain to
counter the hyperextension of the wrists
with some gentle,
Modification: long torso.
easy wrist flexion.
Kinematics
Tolasana is not a pure seated posture; it is generally considered an arm-balancing asana. However, it is a good
transitional posture in the seated category. It can also build strength in the arms, abdominals, and legseven if the legs
are not lifted off the ground. It is a pose that requires coordinated strength and attention throughout the entire body.
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Tolasana
Body segment
Foot and toes
Kinematics
Muscles active
Toe extension
Lower leg
Ankle dorsiflexion
Thigh
Knee flexion
Hamstrings (C, I)
Iliopsoas (C, I)
Adductors (E, I)
Sartorius (C, I)
Hip stability
Pelvic stability
Flexion
Trunk stability
Scapular adduction
Upper arm
Elbow extension
Elbow stability
Lower arm
Finger abduction
Torso
Shoulder
Neck
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, and I = isometric contraction.
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Seated Postures
Hanumanasana
Forward-Split Pose
[huh-noo-maahn-AAH-suh-nuh]
In Hindu mythology, Hanuman was a powerful god of service and
the son of Vayu, the god of wind or breath. Heis a magical monkey
characterized by both mental and physical strength. The epitome of
service, he helped rescue Sita, the wife of Lord Rama by making great
flying leaps across the seas to fulfill his duty.
Description
This asana is a tribute to Hanumans giant leapa forward split.
Hanumanasana is another posture that many students may find
quite challenging when they first try it.
With practice, however, it provides very
beneficial flexibility in the hamstrings
and hip flexors. When one is able to
practice Hanumanasana comfortably,
the pose can be deepened by a slight
backbend.
Energetic Focus
First chakra (Muladhara) grounding energy, second chakra (Svadhisthana) creative energy, fourth chakra (Anahata)
heart-opening energy, seventh chakra (Sahasrara) divine energy
Foundational Focus
Root into the sit bone of the forward leg and the top of the thigh of the back leg. Anchor into the back of the heel of
the forward leg and the top of the foot and thigh of the back leg. Evenly balance the grounding energy in both legs.
Benefits
Caution
Hamstring or groin injuryProceed with modifications.
Verbal Cues
Begin in a kneeling lunge (a position in the classical Sun Salutation) with
your right leg forward. Slide your left leg back and lower your front thigh
toward the ground. Your hands remain on the ground.
Square your shoulders so that they align directly
over your pelvis. Inhale and move your
pelvis toward your right heel and lift your rib
cage so that your spine is as long as possible.
Preparation for Hanumanasana.
215
Breathe deeply into any area in which you feel resistance and relax, or back away slightly. Gaze softly forward.
Secure your hands on the ground as you slowly slide your right heel forward. Exhale and straighten your right
leg as much as is comfortable. Go to the first point of resistance and breathe here. Your pelvis should remain
in a fairly neutral position.
Find the place where you feel balanced between your legs and remain there as you breathe deeply. Allow
your muscles to relax with each exhalation. Lift your rib cage away from your hips
as you inhale.
If you can do so comfortably and without strain, lower your hips all the way to
the ground. Inhale and raise your arms overhead if you feel grounded in the hips.
Stay here and soften your breath.
If you cannot bring your hips to the ground comfortably, focus on keeping
your hips and shoulders in alignment.
To exit this posture, use your arms and abdominal muscles to eliminate the
possibility of straining your low back or groin. Move slowly and press your
hands into the ground while lifting your hips. Bend your right knee and move
your body back into the lunge. Switch legs and prepare to practice on the
opposite side.
Adjustments
HipsIf a students hips are out of alignment where the front hip
rotates forward, squat or kneel to the side of the forward leg
and place your hands on the sides of the pelvis. Very gently
draw the front of the flexed hip back and press the back of
the extended hip forward.
Adjustment: balance.
BalanceIf a student has difficulty balancing in the posture
with the arms overhead, stand to the students side and lightly
hold onto the arms as a means of support.
Modifications
Tight hamstrings or hip flexorsIf either of these muscle groups is tight, the student will be unable to comfortably lower the hips to the ground, and may require
blankets under the hips or back knee for more support. Another modification is to
place blocks under the students hands to keep the upper body weight from overly
stretching the hamstrings and hip flexors. Cue the student to
keep the shoulders relaxed.
Knee discomfortFor some students, the pressure of the back
knee against the ground creates discomfort; to alleviate it,
Modification: tight hamstrings or hip flexors.
place padding under the knee.
Kinematics
As with Padmasana (Lotus Pose), some people can come into this posture naturally and with ease, but most need
to practice modified versions as they increase the range of motion in the joints and flexibility in the hamstrings and
hip flexors.
216
Seated Postures
Kinematics
Muscles active
Muscles released
Toe extension
Ankle dorsiflexion
Gastrocnemius, soleus
Thigh
Knee extension
Quadriceps
Hip flexion
Hamstrings
Hip hyperextension
Torso
Rectus abdominis
Trunk stability
Humeral flexion
External rotation
Scapular adduction
Upper arm
Elbow extension
Lower arm
Forearm supination
Supinator (C, I)
Forearm extension
Anconeus (C, I)
Finger extension
Finger adduction
Shoulder
Neck
C = concentric contraction, E = eccentric contraction, I = isometric contraction, L = left, and R = right (in body segment column) or relaxed (in
muscles active column).
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Bakasana
Crane Pose
[buhk-AAH-suh-nuh]
Baka is Sanskrit for crane (the tall wading bird). Like a tall
and poised crane, Bakasana is a graceful, balancing asana. In
some yoga traditions, this pose is often mistakenly referred to as
Crow Pose. However, despite some physical similarities, Crow Pose,
or Kakasana (KAH-KAH-suh-nuh), is generally
practiced with the elbows completely straight.
Description
Like Tolasana (Scale Pose), Bakasana is
most often categorized as an arm balance
but is frequently used as a transitional
seated pose. In this squatting arm balance,
the arms support the weight of the body as the bent knees rest on the backs
of the upper arms. Once the person is balanced on the hands, the feet are
lifted off the ground. Many students are
naturally somewhat fearful of falling
forward onto the face when they first
practice this asana.
Energetic Focus
First chakra (Muladhara) grounding energy, second chakra (Svadhisthana) creative energy, third chakra (Manipura)
vitalizing energy
Foundational Focus
Root into the metacarpal heads and fingertips in both hands. Anchor the front of the knees (or shins) into the backs
of the upper arms. Evenly balance the grounding energy in both hands.
Benefits
Cautions
Wrist injury or acute carpal tunnel syndromeStudents with wrist concerns should refrain from practicing this
posture.
PregnancyThis posture is not recommended after the second trimester.
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Seated Postures
Verbal Cues
From Malasana (Basic Squat, or Bead Pose), place your hands shoulder-width apart on the ground in front of you.
Fix your gaze on a drishti (focal point) slightly forward of your hands. Spread your fingers apart to create a wider
base of support and anchor into your fingertips.
Lean forward slightly and feel your body weight shift toward your fingers. Engage your inner thigh muscles
(adductors) to draw attention to your lower abdominal region. On an exhalation, firm the abdominal muscles.
Bend your elbows and slowly lift your heels off the ground as you shift your body weight more toward your
hands. Continue to gaze forward toward your drishti. Feel your hips lift upward.
Press your knees or shins against the backs of your upper arms with your knees as close to your underarms
(axillas) as possible. Notice your balance center and imagine your breath moving into and out of this mid-
abdominal space.
Continue to focus on your breath.
As you lean forward, exhale and slowly lift one foot off the ground. If you do not feel comfortably balanced,
slowly lower that foot and lift the other. If you feel balanced, lift both feet slowly off the ground.
Spread the toes to keep the entire body energized. Hover here and breathe slowly and smoothly.
Continue to focus your gaze past your hands. Apply abdominal lock (uddiyana bandha) and
continue to balance for five or six breaths.
To exit the posture, exhale, slowly lower your feet back to the ground, and rest in Malasana or
transition into another pose.
Adjustments
Aiding balanceSquat or stand in a slight lunge behind the student with
your hands on the outsides of the hips; alternately, place a strap into
the creases of the students hips. Lightly aid the students balance
without holding the student up with your strength.
HandsRemind the student to place the hands no more
than shoulder-width apart and to press the hands
firmly into the ground. If the students fingers are not
spread, lightly touch the top of the hand to encourage
expansion.
ElbowsKneel beside the student and place your hands
on the outsides of the upper arms to guide the elbows in
toward the body.
Adjustment: aiding balance.
Modifications
Confidence buildingSome students feel much more confident and less fearful with folded blankets or a pillow
positioned nearby so as to cushion any fall. Also, continue to remind them to keep the gaze forward of the hands.
If a student does fall forward, remind her or him that continuing on after falling builds strength and character in
all aspects of life!
Strength buildingFor students who have difficulty lifting both feet off the ground, place blocks or folded blankets
under the feet so that they begin the pose with the hips in a slightly elevated position. Also, for those recovering
from wrist injury, instruct them to practice putting body weight on the hands while keeping the feet on the ground.
Kinematics
Individuals with tight hips may lift the hips significantly higher than the head as they get into position and often lose
balance more quickly. The more compact a student can make the body in this position, the easier it is to remain
controlled and balanced. This is a very active posture, in which, once the person is in position, most of the muscles
remain in isometric contraction to maintain balance.
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Bakasana
Body segment
Kinematics
Toe extension
Lower leg
Ankle dorsiflexion
Thigh
Sternoclavicular stability
Subclavius (I)
Torso stability
Scapular stability
Upper arm
Lower arm
Finger abduction
Torso
Shoulder
Neck
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Muscles active
9
Supine and
Prone Postures
Alexander Novikov/istock.com
221
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Durga-Go
Cat and Cow Pose
[DUR-guh-go]
Cat and Cow pose has no official Sanskrit translation. Some schools of
yoga use the Sanskrit term Marjaryasana because marjara means cat. The
name Durga-Go was chosen because in Hindu belief, Durga
isa warrior goddess who rode the back of a ferocious
tiger; go is Sanskrit for cow.
Description
Neutral position.
Energetic Focus
Third chakra (Manipura) vitalizing energy, fourth chakra
(Anahata) heart-opening energy
Foundational Focus
Root into the metatarsal heads and fingertips in
both hands. Anchor into the knees and the tops of
both feet.
Benefits
Warms and stretches the spinal musculature.
Provides a safe substitute for other poses, such as Adho Mukha Shvanasana (Downward-Facing Dog), when one is pregnant or unable to
support the body weight with the arms.
Loosens and relaxes the neck, upper back, and
shoulders.
Moves the energy with the breath.
Go (cow) position.
Cautions
Wrist concernsStudents with a wrist concern should practice with modifications.
Neck pain or injuryStudents with neck pain or injury should keep the head aligned with the torso.
Lower back concernsStudents with acute lower back pain or injury should practice with modifications or
move through a smaller range of motion.
Verbal Cues
Begin on your hands and knees. Place your hands under your shoulders and your knees under your hips. Maintain length in your neck and openness in your shoulders. Spread your fingers and soften your elbows slightly.
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Inhale and lengthen your spine. Stretch so that the crown of your head and your tailbone are as far away from
each other as possible. Feel your breath expand through your entire torso. Imagine your back as a tabletop
while keeping a strong torso.
Exhale and tuck your lower pelvis downward as you draw your chin toward your chest. Draw your abdomen
slightly in toward your spine and lift your mid spine toward the sky. Relax the space between your shoulder
blades and feel your lower back stretch. This is the durga position.
Inhale and move your spine back into the tabletop position. Feel your spine lengthen once again. With your
next inhalation, press your hips back slightly as you point your tailbone toward the sky. At the same time, press
your chest forward and up, with your chin slightly lifted. Arch your back as far as feels comfortable to you.
Imagine your collar bones drawing apart as you open your chest and inhale deeply. Feel your abdomen lengthen
and stretch. This is the go position. If your lower back feels uncomfortable, decrease your back arch slightly.
Exhale and release your spine back to the tabletop (neutral) position.
Repeat this cycle two or three times, or more, moving with the breath. Return to the tabletop position. Prepare
for the next posture.
Adjustments
Hands and kneesIf the hands and knees are either too close together or too far apart, the student will have trouble
flattening the back. Cue the student to adjust the distance accordingly.
ElbowsIf the elbows are locked, the student will often internally rotate the upper arms and sink the head into the
shoulders. To adjust, kneel or squat at the students side, lightly grasp the upper arms near the shoulders, and rotate
the elbows toward the rib cage.
ShouldersRemind the student to maintain distance between the ears and shoulders. Gently tap the tops of the
shoulders to cue the student to relax them.
SpineTo help a student achieve flexion in the spine, kneel or squat at the students side and place your hand
lightly on the middle of the back. Encourage the student to press the spine against your hand to lift it. To help the
student hyperextend the spine, place your hand at the mid spine and instruct the student to move the spine away
from your hand.
Breath awarenessWhen in the durga (rounded back) position, place your hand lightly on the mid spine and cue
the student to direct the breath to that area, as if breathing the shoulder blades apart.
Modifications
Feet and anklesIf the student has trouble balancing with the tops of the feet on the ground, instruct the student to
curl the toes under for stability. You may also place a small rolled towel under the students front ankles for comfort.
Wrist painInstead of cueing a student to place the hands on the ground, instruct the student to bend the elbows
and place the forearms on the ground or on top of blocks. Another option is to place a chair in front of the student
and invite her or him to place the forearms on the seat. Ideally, the
chair should be at the students shoulder height.
Variation for lateral movements of the spineCue students
to remain in the same hands-and-knees position with the
spine parallel to the ground, exhale, and squeeze the sameside hip and shoulder together. Instruct students to look over
the shoulder on the side being flexed. Cue students to inhale
and move back to straight spine, then exhale and move to
the other side. Invite them to move rhythmically, with the
breath, just as in the original pose.
Modification: wrist pain.
Kinematics
Hands-and-knees positioning is a transitional position for many other postures. The hands should remain directly
beneath the shoulders and the knees directly under the hips to avoid putting undue shearing stress on the joints. The
elbow joints should remain straight but not hyperextended.
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Durga-Go
Body segment
Kinematics
Muscles active
Toe extension
Lower leg
Thigh
Knee flexion
Hamstrings (C, I)
Hip flexion
Iliopsoas (C, I)
Hip stability
Pelvic stability
Torso stability
Spinal flexion
Sternoclavicular stability
Subclavius (I)
Shoulder (both
phases)
Flexion of humerus
Torso (durga
phase)
Muscles released
Shoulder (go
phase)
Adduction of scapulae
Upper arm
Elbow extension
Lower arm
Forearm pronation
Forearm extension
Anconeus (C, I)
Wrist stability
Finger abduction
Neck (durga
phase)
Neck flexion
Neck hyperextension
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Description
This posture essentially uses the extended-arm positioning of a push-up; it is a transitional movement in the Sun
Salutations (Surya Namaskaras).
Energetic Focus
Third chakra (Manipura) vitalizing energy
Foundational Focus
Root into the metatarsal heads and fingertips in both hands. Anchor the metatarsal heads of both feet. Balance the
grounding energy evenly between the handsand feet.
Benefits
Prepares the body for variations of extended body posturesfor example, Chaturanga Dandasana (Four-Limbs
Staff Pose) and Urdhva Mukha Shvanasana (Upward-Facing Dog).
Builds strength in the shoulders, arms, back, legs, and abdominal muscles.
Builds stability in the shoulders and core musculature.
Cautions
Wrist concernsStudents with wrist injury or pain or carpal tunnel syndrome should use modifications.
Lower-back weaknessStudents who have difficulty holding this pose should practice with modifications.
PregnancyAfter the first trimester, this pose should be practiced with modifications, and generally avoided in
the third trimester.
Verbal Cues
From a low lunge, place your palms on the ground directly under your shoulders. Spread your fingers and press
into your fingertips to lighten the pressure on the heels of your hands.
Inhale and lengthen your spine as you open your shoulders and chest. Hug your upper arms in toward your rib
cage. Soften your elbows slightly to keep them from hyperextending.
Exhale and step your front leg back as you lift your back knee off the ground. Curl your toes under and straighten
your legs. Press back through your heels and imagine touching the back wall.
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Slightly rotate your inner thighs toward each other to energize your legs. In your minds eye, notice that your
ears, shoulders, hips, knees, and ankles are aligned. Gaze down at the ground between your hands, lengthening
the sides of your neck.
Breathe deeply and slowly and apply uddiyana bandha (see chapter 5). On an energetic level, this action helps
maintain energy; on a physical level, it helps support your abdomen and low back.
Imagine pressing the ground away from your chest. This action helps keep your upper back elongated and your
shoulder blades pressed against your spine.
In the Sun Salutations, the body is next lowered toward the ground to continue the vinyasa (flow); the body is
also in position to transition into many other postures.
Adjustments
HeelsMake sure that the heels press back to keep the legs active. Lightly touch the backs of the heels to remind
the student to press backward.
HipsIf a students hips are lifted higher than the shoulders and knees, place your hand lightly, with no pressure,
on the upper pelvis and instruct the student to move the hips away from your hand.
ShouldersIf the shoulders are not aligned over the hands, kneel to one side or in front of the students head. With
your hands on the students upper shoulders, gently realign the students body weight over the hands.
Shoulder bladesIf the students shoulder blades wing out (lift away from the back due to weakness), remind the
student to press more firmly against the ground through the arms. Kneel beside the student, place your hand lightly
between the shoulder blades, and instruct the student to press the body up
against your hand.
NeckCue the student to look down toward the ground without dropping
the head. The ears, shoulders, hips, knees, and ankles should be aligned. If
any of the joints are sinking, gently touch the side of the joint and instruct
the student to lift slightly.
Modifications
Difficulty in finding alignmentStraddle the students
back and bend your knees as you lightly hold the sides
of the students hips and lift slightly to take some of the
body weight.
WeaknessIf the student is unable to maintain a straight
spine in the position, instruct the student to keep the
knees bent and on the ground and to focus on keeping the spine straight from the shoulders to the hips.
Adjustment: shoulders.
Wrist concernsIf the student cannot flex the wrists
or put weight on them, instruct the student to flex the elbows and place the forearms on
the ground or on blocks. Students can also use specialized props to keep the wrist joints
aligned.
Kinematics
This particular asana works best as a preparatory posture to build
the necessary strength in the arms, legs, and abdominal
muscles for performing arm balances. It also helps
develop the necessary range of motion in the shoulders
and chest for performing many other poses. And,
as with any plank, it is a core strengthener
and balancer.
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Lower leg
Thigh
Hip and pelvis
Torso
Shoulder
Kinematics
Muscles active
Toe abduction
Toe hyperextension
Forefoot stability
Ankle stability
Gastrocnemius, soleus, posterior tibialis, flexor digitorum and hallucis longus (I)
Knee extension
Quadriceps (C, I)
Adductors (C, I)
Hip stabilization
Torso stability
Sternoclavicular stability
Subclavius (I)
Flexion of humerus
Scapular stability
Upper arm
Elbow extension
Lower arm
Forearm pronation
Forearm extension
Anconeus (C, I)
Wrist hyperextension
Wrist stability
Hand
and fingers
Finger extension
Finger abduction
Neck
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, and I = isometric contraction.
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Muscles released
Gastrocnemius,
soleus
Rhomboids, mid
trapezius
Chaturanga Dandasana
Four-Limbs Staff Pose
[chuh-tour-RUHN-guh duhn-DAAHsuh-nuh]
Chatur means four in Sanskrit, anga means
limb and danda means staff. In this pose, the four limbs support the straight staff of the spine.
Description
This posture is more challenging than Utthita Chaturanga Dandasana (Plank Pose). Whereas that posehas straight
elbows and is similar to the up phase of a push-up, this pose has bent elbows and is similar to the down phase of
a push-up, with the body hovering slightly above the ground. It is practiced in the Ashtanga Sun Salutations (Surya
Namaskara A and B).
Energetic Focus
Third chakra (Manipura chakra) vitalizing energy
Foundational Focus
Root into the metatarsal heads and fingertips in both hands. Anchor the metatarsal heads of both feet. Balance the
grounding energy evenly between the handsand feet.
Benefits
Strengthens the shoulders, arms, and wrists.
Strengthens the abdominal muscles and massages the organs.
Cautions
Wrist concernsStudents with wrist injury or pain or carpal tunnel syndrome should use modifications.
Lower-back weaknessStudents who have difficulty holding this pose should practice with modifications.
PregnancyThis pose should be practiced with modification past the first trimester.
Verbal Cues
From Utthita Chaturanga Dandasana, with your palms pressed against the ground and aligned with your shoulders, press back through your heels and prepare to slowly bend your elbows.
Exhale and slowly lower your body toward the ground. Keep your upper arms close to your rib cage and your
shoulders away from your ears. Lower your chest toward the ground and hover a few inches (centimeters)
above it; the exact distance will vary from person to person. Go to where you feel you are most comfortably
challenged and can still breathe smoothly.
Squeeze your upper arms in toward your ribs and lengthen your neck so that your ears are fartheraway from
your shoulders. Continue to gaze at a spot between your hands.
To exit the pose, lower to the ground and prepare to transition into another posture.
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Adjustments
ElbowsIf the students elbows point away from the body, kneel to one side and place your hands on the persons
upper arms near the shoulders. Gently move the arms in toward the rib cage.
HipsAlign the students body so that the hips are neither too high nor too low in relation to the shoulders and knees.
If the hips are too low, straddle the students back and bend your knees as you hold the sides of the hips and lift
slightly. If the students hips are lifted too high, place your hand lightly on the upper pelvis and instruct the student
to move the hips away from your hand.
Modifications
Strength buildingInstead of allowing the student to struggle to hold the pose, instruct the student to bring the knees
to the ground and focus on lowering the chest to the ground slowly and in proper alignment.
Wrist concernsIf the student cannot flex the wrists or put weight on them, instruct the student to flex the elbows
and place the forearms on the ground or on blocks.
Kinematics
To maintain stability in the shoulders in this pose, the elbows should be placed close to the body. This placement
maintains the proper alignment of the humerus (upper arm bone) in the shoulder socket while the joint bears body
weight.
Chaturanga Dandasana
Body segment
Foot and toes
Lower leg
Thigh
Hip and pelvis
Torso
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Kinematics
Muscles active
Toe abduction
Toe hyperextension
Forefoot stability
Ankle stability
Ankle dorsiflexion
Knee extension
Quadriceps (C, I)
Adductors (C, I)
Hip extension
Hip stabilization
Torso stability
Muscles released
Gastrocnemius, soleus
Body segment
Shoulder
Kinematics
Muscles active
Sternoclavicular stability
Subclavius (I)
Scapular stability
Upper arm
Lower arm
Forearm pronation
Finger extension
Finger abduction
Neck
Muscles released
Pectoralis major
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Zen Asana
Transitional Pose
[zehn AAH-suh-nuh]
The name Zen was chosen for this pose
because it is not really a pose; instead, it
is usually practiced either as part of, or
as a transitional movement during, the
Classical Sun Salutation. In a sense, then,
it does and yet does not exist; therefore, although a name in Sanskrit might not be found, it is appropriately named
Zen Asana. This transitional positioning is both valuable and important, because it places weight on the sternum
(breastbone) and helps develop flexibility and coordination in the joints.
Description
Zen Asana is a prone pose in which the toes, knees, hands, chest, and chin touch the ground. The hips and low back
are lifted and reach away from the waist, whereas the elbows are flexed and aligned close to the ribs.
Energetic Focus
Fourth chakra (Anahata) heart-opening energy
Foundational Focus
Root into the knees and the tops of the feet. Anchor through the chest and evenly inboth hands.
Benefits
Although seldom practiced outside of the Classical Sun Salutation, this position provides the following benefits:
Strengthens the sternum.
Promotes alignment, stability, and flexibility in the spine and shoulders.
Prepares the body for backbends and other weight-bearing arm poses.
Creates expansion in the neck and low back.
Provides a good substitute pose for modifications, as well as a bedrock pose for healthy spinal extension in
Urdhva Mukha Shvanasana (Upward-Facing Dog) and Bhujangasana (Cobra Pose), which it often precedes in
practice.
Cautions
Lower-back concernsStudents with lower-back injury or pain should modify or skip this pose.
Wrist or shoulder concernsModification should be used by students with shoulder or wrist injury or pain or
carpal tunnel syndrome.
Lower-back weaknessStudents who have difficulty holding this pose should practice with modifications.
PregnancyThis pose should be avoided after the first trimester, and with modifications in the second and third
trimesters.
Verbal Cues
From Utthita Chaturanga Dandasana (Plank Pose), exhale as you bend your knees and bring them to the ground.
As your knees near the ground, slowly begin to bend your elbows and bring your chest and chin to the ground
as well.
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Keep your elbows drawn in and close to your ribs. Your hips will be lifted, and your sit bones will face the sky.
Allow your chest to sink into the earth as you roll your collarbones apart. Breathe deeply into your chest. Relax
your shoulders away from your ears.
Press your sit bones up and back as far as you comfortably can, encouraging space in your low back.
Let the inhalation open space throughout your body, especially in your spine and chest. Allow a deeper release
into your body with each exhalation.
Transition into Bhujangasana (Cobra) or Balasana (Childs Pose).
Adjustments
Hips and kneesSome students struggle with the torso positioning in this posture and find themselves basically
flat on the ground. The main reason for this discomfort is that they move the chest forward and often lack the arm
strength to lower the chest straight down. To adjust, if the knees are not bent and the hips are not raised, straddle or
semi-squat above or beside the student, placing your hands to the sides of the pelvis. Instruct the student to bend
the knees as you slowly guide the hips to move up and back.
Low backTo support and create space in the students low back, kneel next to the student and place your hand on
the base of the spine. Use your palmwith your fingers pointing toward, yet not touching, the students tailboneto
gently press the pelvis up and away from the waist.
ChestEncourage students to rest the sternum on the ground. If a student seems tense in the upper spine, kneel
beside the student and place your hand on the mid back. Remind the student to breathe and let the spine sink away
from your hand. Take care not to press down on the students back. With each breath, simply let your hand get a
little heavier while the student further relaxes the spine.
Arms and shouldersIf a students elbows splay and the shoulders are drawn up by the ears, kneel or squat to the
side and lightly grasp the upper arms. Gently move the students arms closer to the ribs. To relax the shoulders from
the ears, place your hands on top of the fronts of the students shoulders and gently draw the shoulders back and
away from the ears.
NeckThe adjustment described for arms and shoulders can also create more space in the back of the neck because
moving the students shoulders down, away from the ears, creates an opening across the front of the chest. If the
students arms are in a good position but the neck is cramped or tense, kneel beside the student and use your hands
to encourage the shoulders away from the ears. To help the student elongate the neck a little more actively, gently
touch the crown of the students head and instruct the student to push your finger farther up with each inhalation.
Modifications
PregnancyDuring the first half of pregnancy, many women feel comfortable lowering themselves into this pose,
especially if they have been practicing yoga consistently throughout the pregnancy. If not, it is best to replace Zen
Asana with Durga-Go (Cat and Cow Pose). For a woman in her first trimester who feels comfortable, place a pillow
or blankets under her abdomen for support. This pose may be a little difficult for postpartum women, especially
if they are breastfeeding. If the student does not wish to replace the pose, instruct her to keep a folded blanket or
pillow under her chest.
Low-back concernsIf a student is uncomfortable in this posture because the low back feels compromised, replace
it with Balasana (Childs Pose) and cue the student to spread the knees wider apart so that the chest and chin sink
toward the ground as the student releases the spine.
Kinematics
The key is to get into this posture with awareness and control. If students can lower slowly while eccentrically
contracting the triceps and actively working the posterior shoulder muscles, then they will settle appropriately into
the posture. Cue students to bring the knees to the ground before the body is halfway down in order to avoid having to
use the back muscles for support; instruct them to focus on using proper upper-body mechanics. Generally, a student
who has good low-back and core structure support in this positioning can more easily perform other variations of
plank (such as Chaturanga Dandasana, or Four-Limbs Staff Pose) and backbends (such as Urdhva Mukha Shvanasana,
or Upward-Facing Dog).
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Zen Asana
Body segment
Foot and toes
Kinematics
Muscles active
Toe spreading
Toe hyperextension
Lower leg
Ankle dorsiflexion
Thigh
Knee flexion
Hamstrings (E, I)
Gastrocnemius, soleus
Adductors (C, I)
Hip flexion
Gluteus maximus
Torso
Torso stability
Rectus abdominis
Sternoclavicular stability
Subclavius (I)
Adduction of scapulae
Upper arm
Elbow flexion
Lower arm
Forearm pronation
Elbow forearm
Anconeus (C, I)
Wrist hyperextension
Wrist stability
Finger extension
Finger abduction
Shoulder
Neck
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Muscles released
Vasishthasana
Side Plank Pose
[vuhs-eesht-AAH-suh-nuh]
Vasishtha is Sanskrit for most excellent.
It is also the name of a well-known
sage associated with good fortune,
strength, and dignity. Holding this posture
requires strength and increases poise and
confidence.
Description
Vasishthasana is a side plank pose most often
practiced with the body balanced on the side of one
foot and the palm of the hand on the same side. In
another variation, the top leg is lifted above the
leg on the ground, rather than being stacked on
top of it, and the big toe of the lifted leg is grasped
by the non-weight-bearing hand.
Energetic Focus
Third chakra (Manipura) vitalizing energy, fourth chakra (Anahata) heart-opening energy
Foundational Focus
Root into the metacarpal heads and fingertips of the weight-bearing hand. Anchor through the outer edge of the
lower foot.
Benefits
Cautions
Wrist concernsStudents with wrist concerns should practice with modifications.
WeaknessThis asana should not be practiced by students recovering from serious illness or injury.
PregnancyAfter the first trimester, practice with modifications.
Verbal Cues
From Utthita Chaturanga Dandasana (Plank Pose), shift your body weight onto your right hand. Make sure that
your shoulder aligns over your wrist and that your fingers point away from your body. Press into your fingertips.
Rotate the front of your body away from the ground so that your left hip and shoulder are stacked over your
right hip and shoulder. Place your left hand on your left hip. Your body weight is supported on your right hand
and the outside of your right foot. Feel the energy in your legs.
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Adjustments
Legs and hipsThe legs should be straight and active in this
Adjustment: shoulders.
posture, with the hips lifted and aligned with the knees and
shoulders. If the hips sink, then squat or kneel behind the student
and press your hand against the outside of the bottom hip to cue
lifting of the hips.
Low spineIf a students low back is significantly arched (that is,
constituting swayback), kneel behind the student and gently press
your hand or knee into the upper pelvis to encourage length
in the low back.
ShouldersCue students to align the shoulders comfortably.
If the hand is aligned too far forward of the shoulder, the
joint will be unstable. If the hand is placed too close to the
hips, the wrist joint may be strained. To adjust, kneel behind
the student while you place one hand on the lower shoulder and
the other hand on the outside of the top hip.
Modifications
Kinematics
This pose requires a coordinated effort between the strength of the torso and the strength and stability of the weightbearing shoulder and hip. Students need to build strength in both areas so that they do not drop the hips toward the
ground or allow the bottom shoulder to collapse into the side of the head.
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Kinematics
Muscles active
Toe extension
Ankle dorsiflexion
Thigh
Knee extension
Quadriceps (C, I)
Adductors (C, I)
Hip stability
Torso
Torso stability
Shoulder
Sternoclavicular stability
Subclavius (I)
Scapular adduction
Upper arm
Elbow extension
Forearm pronation
Forearm extension
Anconeus (C, I)
Forearm supination
Supinator (C, I)
Finger extension
Finger abduction
Finger extension
Finger adduction
Neck (R)
Sternocleidomastoid (C, I)
Neck (L)
Muscles released
Sternocleidomastoid
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, I = isometric contraction, L = left, and R = right.
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Purvottanasana
Reverse Plank, or Intense East-Side Stretch
[poohr-VOHT-taahn-AAH-suh-nuh]
Purva means east and relates to the front of the body. Uttana
means intense. This posture stretches the front of the body
intensely.
Description
Purvottanasana is a supine or reversed
plank pose in which the hands
press into the ground behind
the back as the front of the
body is lifted. This asana
is practiced as one of the
five major exercises in
Tibetan yoga.
Energetic Focus
Third chakra (Manipura) vitalizing energy, fourth chakra (Anahata) heart-opening energy
Foundational Focus
Root evenly into the metacarpal heads and fingertips. Anchor into the backs of the heels. Balance the grounding
energy evenly between the handsand feet.
Benefits
Cautions
Extreme neck weaknessDo not allow students with a neck concern to hyperextend the neck so that the head
drops below the shoulders. Instruct them to practice modifications if they experience discomfort.
Shoulder or wrist concernsStudents who have acute pain or injury in the shoulder or wrist should practice
with modifications or avoid the pose.
Verbal Cues
Begin in Dandasana (Staff Pose) with your palms on the ground beside your hips. Move your hands 6 to 8 inches
(15 to 20 centimeters) behind your hips and shoulder-width apart. Point your fingers either toward or away from
your body, depending on which feels most comfortable to your shoulders and wrists.
Spread your fingers and press through your arms to expand your chest. Imagine your collarbones moving apart
with each inhalation. Breathe deeply, lengthening your spine.
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Exhale and lift your hips and legs off the ground, bringing your body weight onto your arms. Press the soles of
your feet into the ground. Feel the length of your body increase with each breath.
Keep your arms perpendicular to the ground, with a little softness in your elbows to deter hyperextension. If
your shoulders and chest are open and the level of your chest is above your shoulders, exhale and slowly relax
your neck so that the top of your head points toward the ground behind you. Focus on keeping length in the
back of your neck. Allow your throat to stretch gently; however, if you feel discomfort, slowly draw your chin
back in toward your chest.
Continue to focus on your breath.
To exit the posture, exhale and bend your elbows to slowly lower your hips to the ground. Keep your neck
relaxed. As your hips touch the ground, slowly roll up your spine from the bottom to the top, moving back into
an upright position. Inhale and slowly lift your head upright. Prepare for the next pose.
Adjustments
FeetIf the students toes are almost touching the ground, gently place your fingers on the top of the foot to help the
student ground. Do not press forcefully. However, if the student is susceptible to cramping in the feet
or calves, invite her or him to keep the ankles flexed.
HipsAssist the student in lifting the hips by kneeling to the side and placing your hands on either side
of the students hips. You may also straddle the students knees and squat slightly as you place your
hands on the outside of the students hips and lift. Another method is to use the same body position,
wrap a strap behind the students pelvis, and lean back to help the student raise the pelvis until it is
aligned between the shoulders and knees. With either method, be mindful of your body position.
Shoulders and chestRemind the student to keep the chest lifted. You can lightly tap the chest
while instructing the student to push through the arms and move
the chest toward the sky. You may also kneel or squat behind
the student, place your hand between the students shoulder
blades, and cue the student to move away from your hand.
NeckMake certain that the student places the neck in a comfortable position. If the student feels strain caused by the hyperextension, instruct the student to keep the ears aligned with the
shoulders and to look straight ahead, or to press the chin into
the chest. If the student has difficulty lifting the head, kneel
to his or her side with your hand on the back of the head and
gently guide the head back into alignment.
Adjustment: hips.
Modifications
Weakness or discomfortInstruct the student to bend the knees, keeping the feet flat on the ground. As the student
lifts the hips, the body will be in a tabletop position, which reduces the workload by redistributing the center of mass.
Tight ankles or crampingInstruct the student to dorsiflex the ankles (draw the toes toward the knees). Doing so
helps keep the calves and arches from cramping.
Weak or tight shouldersInstruct the student to rotate the shoulders externally so that the fingers point away from
the body rather than pointing toward the feet. If the student is unable to lift the chest higher than the shoulders,
then instruct the student to lower the chin toward the chest. Encourage the student to focus on lifting the chest to
eventually touch the chin. See the Kinematics section for the reasons that this modification is important.
Kinematics
Students who sag in the shoulders and chest tend to overcompensate for the weakness by hyperextending the neck to
such a degree that they pinch the neck rather than maintaining length throughout the spine. This overcompensation
tends to decrease circulation and expansion in the region, which in turn leads to tension and can injure the vertebrae
and supporting structures, rather than increasing the circulation and creating more length and strength.
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Purvottanasana
Body segment
Kinematics
Muscles active
Lower leg
Plantar flexion
Thigh
Knee extension
Quadriceps (C, I)
Torso
Trunk stability
Rectus abdominis
Hyperextension
Humerus hyperextension
Shoulder
Hyperextension, stability
Upper arm
Elbow extension
Lower arm
Forearm pronation
Wrist hyperextension
Finger extension
Finger abduction
Neck hyperextension
Sternocleidomastoid, scalenes
(E, I)
Neck
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Muscles released
Sternocleidomastoid
Bhujangasana
Cobra Pose
[bhoo-juhn-GAAH-suh-nuh]
Bhujanga is Sanskrit for serpent or snake. This pose is often translated
in the West as Cobra because the chest is lifted
in the same way that a cobra raises its head.
Description
Bhujangasana is a prone backbending
posture with numerous variations. In
the postures simplest form, the chest is lifted off the ground and the arms are at the sides. This posture is part of the
Classical Sun Salutation. A deeper variation brings the head and feet together.
Energetic Focus
Fourth chakra (Anahata) heart-opening energy
Foundational Focus
Root evenly into the metacarpal heads and fingertips. Anchor into the front pelvis and upper thighs.
Benefits
Cautions
PregnancyWomen past the first trimester should use a substitute posture.
Acute back pain or injuryStudents with back discomfort or injury should avoid this pose.
Wrist pain or carpal tunnel syndromeStudents with wrist concerns should practice with modification.
Verbal Cues
Begin from a prone position, resting your chin or forehead on the ground. Inhale and bring your hands under
your shoulders. Relax the tops of your feet and your front thighs against the ground. Point your fingers forward
and hug your upper arms into your sides as you exhale. Breathe softly, feeling the connection of your belly
with the ground.
Spread your fingers and as you exhale lightly press into your fingertips as you continue to draw your upper
arms towards your rib cage. Inhale, opening space between your shoulder blades and softening your shoulders.
Imagine your spine lengthening with each breath.
Press the front of your pelvis into the ground and activate the muscles in your legs slightly by rolling your front
thighs slightly toward each other. Exhale and begin to press the tops of your toes lightly against the ground.
Keep the back of the hips (gluteus maximus) relatively relaxed so that the lift in the torso comes primarily from
the back muscles.
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Keep your hands rooted into the ground, inhale, and press down and back into your palms to extend your
chest forward. Visualize sliding your chest and rib cage forward. Feel your chest lift naturally away from the
ground. Keep your neck long and lift through the crown of your head. Anchor your front thighs into the ground
and straighten your elbows only to a point where your low back feels comfortable. Keep your hips and thighs
on the ground.
As you inhale, feel your spine and abdomen lengthen; as you exhale, feel your shoulders relax down away
from your ears. Be aware of your mid-back muscles helping to lift your chest.
Continue to focus on your breath.
If it feels best to keep your abdomen on the ground to ease your low back, notice your torso slowly rise as you
inhale deeply and lower as you exhale. If you can comfortably lift your abdomen off the ground with no strain
in your low back, expand your front torso and chest with each inhalation.
To exit the position, exhale and slowly lower your abdomen and chest back to the ground from the bottom
of your torso to the top. Counter Bhujangasana with Balasana (Childs Pose) or Adho Mukha Shvanasana
(Downward-Facing Dog).
Adjustments
FeetThe top of the feet should be flat against the ground. If the students toes are curled
under, lightly brush the backs of the heels and instruct the student to relax the tops of the
feet on the ground.
LegsThe legs should remain active in this position, stretching down away from the
hips. To cue the student to activate the muscles, gently tap the backs of the legs.
HipsIf the students hips are off the ground, lightly touch the low back and
remind the student to press the hips toward the ground.
Low backIf a student has trouble lengthening through the back, kneel to
the side and place your hand lightly on the upper sacrum. Encourage
the student to press the pelvis away from the head.
ElbowsIf the students elbows point away from the body,
you can kneel to the side, grasp the upper arms just
above the elbows, and gently press the outsides of the
Adjustment: elbows.
arms toward the body.
ShouldersMake sure that the students shoulders do not lift toward the ears. Kneel to the students side and lightly
place your hands on top of the shoulders. Press down gently to cue the student to create more space between the
ears and shoulders and to position the head so that the ears remain aligned with the shoulders.
Modifications
Tight backAsk the student to slide the elbows wider
apart than the shoulders and to rest on the forearms for
support. Instruct the student to use the arms for support
instead of the back muscles and to focus on pressing the
chest forward rather than lifting.
PregnancyFrom the second trimester on, pressure
on the abdomen is generally uncomfortable and
contraindicated. Therefore, instead of Bhujangasana, Modification: tight back.
pregnant women should substitute Durga-Go (Cat
and Cow Pose).
Kinematics
The McKenzie press-up used in physical therapy is a variation of Bhujangasana. The McKenzie version is a passive
spinal arch in which the arms press the spine into a gentle backbend to increase the range of motion. Bhujangasana
is a much more active pose, in which the erector spinae muscles help lift the chest and arch the back, thus building
strength and increasing the range of motion in the spine.
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Bhujangasana
Body segment
Foot and toes
Kinematics
Muscles active
Muscles released
Toe abduction
Toe hyperextension
Lower leg
Thigh
Knee extension
Quadriceps (C, I)
Leg adduction
Adductors (C, I)
Hip hyperextension
Hamstrings (C, I)
Torso
Spinal hyperextension
Rectus abdominis
Torso stability
Sternoclavicular stability
Subclavius (I)
Scapular stability
Adduction of scapulae
Upper arm
Elbow flexion
Lower arm
Forearm pronation
Wrist hyperextension
Wrist stability
Finger extension
Finger abduction
Neck extension
Shoulder
Neck
Pectoralis major
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Description
This posture resembles Bhujangasana (Cobra Pose) but differs in that the entire body
is lifted off the ground and supported on the palms and
the top of the feet. As a result, the spinal extension
is deeper in this pose, and more strength is
needed to maintain the openness in the chest
and shoulders.
Energetic Focus
Second chakra (Svadhisthana) creative energy, third chakra (Manipura) vitalizing energy, fourth chakra (Anahata)
heart-opening energy
Foundational Focus
Root evenly into the metacarpal heads and fingertips. Anchor into the tops of the feet. Balance the grounding energy
evenly between the handsand feet.
Benefits
Cautions
PregnancyWomen past the first trimester should use a substitute posture, such as Durga-Go (Cat and Cow Pose).
Low-back pain or injuryStudents with this type of condition should use Bhujangasana as a substitute pose.
WristsIf a student has a history of wrist concerns or complains of wrist pain, use a prop or modify the pose.
Verbal Cues
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From a prone position, with your chin or forehead resting on the groundor from Chaturanga Dandasana
(Four-Limbs Staff Pose)stretch your legs away from your hips and chest. Press back through your hands so
that they align closer to your waist, spread your fingers, and press into your fingertips.
Inhale and press the tops of your feet down as you begin to raise your chest and shoulders off the ground. Feel
the energy of your arms shift your chest forward.
Straighten your arms and direct the crown of your head toward the sky. As you continue to extend your elbows,
press your pelvis forward, raising your hips and legs off the ground. Feel the strength and energy in your legs
moving up through your chest.
Soften your elbows slightly and keep your upper arms drawn into your sides. With each inhalation, lift your heart
toward the sky. Elongate your neck and tilt your chin slightly upward, keeping length in the back of your neck.
Continue to focus on your breath.
Roll the front of your shoulders open by drawing your shoulder blades slightly closer together. Preserve as much
length as possible through your low back and imagine that space expanding in all directions with each breath.
To exit this position, bend your elbows and slowly lower your body back to the ground; alternatively, move
into Adho Mukha Shvanasana (Downward-Facing Dog).
Adjustments
FeetRemind the student not to curl the toes under but to flatten the tops of the feet on the ground. Lightly press
the bottoms of the heels forward.
LegsThe legs should remain close together, active, and lifted off the ground. If the students hips, knees, and shins
are touching the ground, straddle the students legs and squat or kneel above the calves.
Place your hands or a strap under the thighs just above the knees and lift. Instruct the
student to contract the leg muscles to help support the weight. Be mindful of your
own mechanics!
PelvisIf the belly sags, instruct the student to contract the abdominal muscles
while you squat behind and place your hands on the sides of the rib cage or on
the outer hips. Guide the torso gently upward and slightly back toward you to
help create more space in the low back.
HandsRemind students to align the hands under the shoulders and to spread
the fingers. To encourage students to widen the fingers, lightly touch the tops of
the hands.
ChestThe chest should be positioned in front of the arms. To adjust, squat or kneel
to one side of the student and place one hand between the
shoulder blades. Encourage the student to press forward
and up through the chest, away from your hand.
NeckIf the students shoulders are hunched up
Adjustment: chest.
toward the ears, cue the student to lower the
shoulders and then lengthen the neck and tilt the
chin slightly toward the sky. To encourage more length through the back of the neck, stand to the side and place
one palm against the base of the students skull with your fingers pointed toward the spine.
Modifications
Extreme weaknessTo build strength, instruct students to practice Bhujangasana before attempting
this pose.
Strength buildingAllow the student to keep the lower legs on the ground and work on lengthening
the spine. Cue the student to engage the leg muscles.
Tight anklesSome students have difficulty plantar-flexing the ankles (that is, pointing the toes and
stretching the top ankle). For these students, place a small, rolled-up towel under the fronts
of the ankles to provide some relief when anchoring into the feet.
Tight hip flexors or low backPlace blankets or a bolster under
the students thighs. Encourage the student to anchor through
the feet by pressing the hips and upper thighs down while
lengthening the spine upward.
Modifications: tight ankles.
Kinematics
Many students who are new to yoga confuse this posture with Bhujangasana. As a result, they extend the arms fully
but keep the legs and hips on the grounda position that generally creates too much hyperextension in the lumbar
spine. Suggest that these students come down to Bhujangasana and work on gradually lengthening the spine.
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Kinematics
Muscles active
Lower leg
Thigh
Knee extension
Quadriceps (C, I)
Hip stability
Torso stability
Spinal hyperextension
Arm stability
Adduction of scapulae
Upper arm
Elbow extension
Lower arm
Forearm pronation
Elbow extension
Anconeus (C, I)
Wrist hyperextension
Wrist stability
Finger extension
Finger abduction
Torso
Shoulder
Neck
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, and I = isometric contraction.
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Muscles released
Iliopsoas (I)
Sternocleidomastoid, scalenes
Shalabhasana
Locust Pose
[shuh-luhb-HAAHsuh-nuh]
Shalabha is Sanskrit for
locust or grasshopper.
This posture is said to resemble a locust as it rests on the ground with the legs higher than the front of the body.
Description
In Shalabhasana, the body is prone and the legs are lifted off the ground. The posture has two main variations, both
of which strengthen the back of the body.
Energetic Focus
Second chakra (Svadhisthana) creative energy, third chakra (Manipura) vitalizing energy
Foundational Focus
Root into the front of the pelvis. Anchor into the upper abdomen.
Benefits
Strengthens the low spine and the posterior hip and thigh muscles.
Stretches the abdominal cavity.
Stimulates the kidneys.
Opens the shoulders and chest.
Stimulates circulation in the abdomen and chest.
Cautions
PregnancyBecause the belly is on the ground, this posture should not be practiced after the first trimester of
pregnancy.
Low-back pain or injuryStudents with this type of condition should either practice this pose one leg at a time
or avoid the pose.
Verbal Cues
From a prone position with your chin or forehead resting on the ground, reach your feet toward the wall behind
you. Rest your arms at your sides with your palms facing down.
Inhale and imagine the crown of your head and your toes moving farther away from each other as you lengthen
your sides. Reach your hands back toward your feet and feel a lengthening in the sides of your neck and your
upper shoulders.
Inhale and raise your head, chest, knees, and feet slightly off the ground. Imagine the length of your body
increasing as you inhale: feet and head moving even farther apart. Your abdomen and front pelvis remain
rooted on the ground.
As you continue to breathe, press your chest forward and stretch your feet away from your body. Spread your
toes to more fully energize your legs. Feel your front body lift and lengthen slowly as you breathe in deeply. If
it is comfortable to do so, lift your legs slightly higher while keeping length in your low spine.
Continue to focus on your breathing.
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As you breathe, feel the muscles throughout the back half of your body working to maintain the lift in your legs
and torso. Keep your ears aligned with your shoulders and expand through your chest.
To exit the position, exhale and slowly lower your chest, head, and legs back to the ground. Bend your knees
and slightly rock your feet from side to side to relax your low back. Counter with Balasana (Childs Pose) or
Adho Mukha Shvanasana (Downward-Facing Dog).
Adjustments
FeetIf the student does not actively engage the feet, tap the balls of the feet to cue the student to stretch out and
spread through the ends of the toes.
LegsThe knees should be extended and the hips slightly hyperextended. Remind the student to contract the muscles
of the hips and legs and stretch the feet away from the hips. Kneel behind the students feet, placing your hands
under the ankles, and slightly lift the legs as you draw the toes toward you.
ShouldersKneel beside the student, and place your hands on the upper arms near the shoulders. Rotate the students
shoulders externally (toward the spine), and remind the student to lengthen the spine.
Modifications
Strength buildingInstruct students to practice Ardha Shalabhasana (Half-Locust). The chin remains on the ground,
and the legs are lifted one at a time.
Deeper variationCue students to start in a prone position while
keeping the chin on the ground. Instruct them to place the hands
and forearms under the fronts of the hips and thighs for support. As they
inhale, instruct them to lift one or both legs into the air as
high as is comfortably challenging.
Modification: deeper variation.
Kinematics
The degree of hyperextension in the hips and spine is dependent on the strength of the students spinal and hip
extensor muscles, as well as the flexibility of the oppositional abdominal and hip flexor muscles. It is important to
cue students to maintain length in the lower back.
Shalabhasana
Body segment
Foot and toes
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Kinematics
Muscles active
Muscles released
Toe abduction
Toe flexion
Lower leg
Thigh
Knee extension
Quadriceps (C, I)
Hip hyperextension
Torso
Spinal hyperextension
Torso stability
Body segment
Shoulder
Kinematics
Muscles active
Arm hyperextension
External rotation
Scapular adduction
Upper arm
Elbow extension
Lower arm
Forearm supination
Supinator (C, I)
Arm extension
Anconeus (C, I)
Wrist extension
Finger extension
Finger adduction
Neck
Muscles released
Pectoralis major, anterior deltoid
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Dhanurasana
Bow Pose
[dhuh-noor-AAH-suh-nuh]
In Sanskrit, dhanu means bow, as in a
bow and arrow. In this pose, the torso
represents the bow, and the arms signify
the action of the bowstring by pulling the
head and feet closer together.
Description
Dhanurasana is a moderate to deep
backbend. The knees are bent, and the
arms reach back toward the lifted feet.
Energetic Focus
Third chakra (Manipura) vitalizing energy, fourth chakra (Anahata) heart-opening energy
Foundational Focus
Root into the front of the pelvis and abdomen. Anchor through the fronts of the shins, where the hands grasp the ankles.
Benefits
Cautions
PregnancyThis pose is not recommended for women after the first trimester.
Acute low-back injury, high blood pressure, or heart concernsStudents with any of these health concerns are
not advised to practice this pose.
Shoulder concernsStudents with shoulder injury or pain should practice with modifications.
Verbal Cues
From a prone position, with the chin or forehead resting on the ground, position your legs so that your knees
are slightly wider apart than your hips. Exhale and bend your knees so that your lower legs are perpendicular
to the ground.
Inhale and reach your hands back toward your feet while slowly lifting your chest off the ground. Dorsiflex
your ankles (point your toes toward your knees) and wrap your hands around the outsides of your ankles or
the tops of your feet. Anchor the front of your pelvis into the ground and lift your chest forward and upward
to lengthen your abdomen. By pressing your chest slightly forward, you open space in your low back as well.
Inhale and draw your shoulder blades toward each other to open the front of your shoulders and chest.
Spread your toes to energize your feet and legs. As you exhale, press your feet away from your body. As you
do this, you will feel your chest lift and open more fully.
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Adjustments
FeetIf the students toes are not pointed down toward the knees, lightly tap the feet to cue the student to activate
them more.
KneesThe knees should be slightly farther than hip-width apart. If the students knees are too close together, kneel
or squat to the side and lightly place your hands on the insides of the knees. Apply enough pressure to cue the
student to widen the legs. Also, the knees should not be flexed more than 90 degrees. If they are, generally the
elbows are flexed as well. Lightly touch the backs of the students heels and cue the
student to extend the knees slightly so that the arms straighten. This adjustment keeps
the chest open.
ShouldersIf a student has difficulty lifting through the
front of the chest, kneel to the side with your hands on
the fronts of the shoulders and rotate the shoulders externally (toward the spine) as you gently lift the students
upper torso.
Modifications
Strength and flexibility buildingInstruct students to first practice Ardha Dhanurasana
(Half-Bow Pose) by lifting one leg at a time
Modification: strength building.
while keeping the torso on the ground. This
modification helps build strength and flexibility
gradually in the legs and low spine. As students build strength over
time, they can begin lifting both legs at the same time, then move
on to lifting the torso as well.
Tight shouldersIf the student cannot reach back to the feet comfortably, place one end of a strap in each hand and wrap it around the
fronts of the ankles.
Deepening of the shoulder stretchInstruct students that instead of
placing the palms around the outside of the ankles or feet, they
can place the palms against the arches of the feet and align the
thumbs with the big toes. This position actively increases the
external rotation of the shoulders.
Modification: deepening the shoulder stretch.
Kinematics
Because the full body weight is borne by the abdominal cavity in Dhanurasana, individuals who are new to practicing
the posture may find that the heart rate increases due to the pressure exerted on deep blood vessels such as the vena
cava. If this effect causes discomfort, suggest that the affected student exit the pose and practice lying on her or his side.
Students who can easily grasp the ankles can lift the thighs off the ground more effectively by contracting the
quadriceps concentrically, as if straightening the legs, than by using a solely concentric contraction of the hip extensors. The two sets of opposing muscles work together to create the bow position that gives the posture its name. In
addition, the wider positioning of the feet in relation to the hips helps the student avoid placing undue stress and
strain on the sacrum.
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Dhanurasana
Body segment
Kinematics
Muscles active
Toe extension
Lower leg
Gastrocnemius, soleus
Thigh
Knee flexion
Hamstrings (C, I)
Quadriceps
Spinal hyperextension
Torso
Torso stability
Humerus hyperextension
External rotation
Scapular adduction
Upper arm
Elbow extension
Lower arm
Forearm pronation
Elbow extension
Anconeus (C, I)
Wrist extension
Finger flexion
Finger adduction
Neck hyperextension
Shoulder
Neck
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Muscles released
Rectus abdominis
Setu Bandhasana
Bridge Pose
[sey-TOO buhn-DHAAH-suh-nuh]
Setu is a Sanskrit term for bridge or dam, and
bandha means lock. The shape of the body in
this pose resembles a bridge.
Description
Setu Bandhasana is a relatively
easy backbending asana in
which the head, the neck, and the top edge of the shoulders remain on the ground, while the knees are flexed and
the feet are flat on the ground. The resulting body shape resembles a bridge, and because the neck and chin press
together (jalandhara bandha), energy is held in, much like water controlled by a dam.
Energetic Focus
Third chakra (Manipura) vitalizing energy, fourth chakra (Anahata) heart-opening energy, fifth chakra (Vishuddha)
purifying energy
Foundational Focus
Root evenly into both heels. Anchor into the shoulder blades and the backs of the arms.
Benefits
Caution
Neck pillowsThe use of neck pillows should be avoided in this posture, as they do not allow for the proper
range of motion in the back of the neck.
Neck concernsStudents with acute neck pain or injury should avoid this pose.
PregnancyThis pose should not be practiced after the second trimester.
Verbal Cues
From a supine position, bend your knees and bring your heels toward your hips. Place your feet hip-width apart
and parallel with each other. Bring your arms to your sides and slightly reach your hands toward your heels.
Rest your shoulder blades comfortably against the ground.
Slightly tilt your lower pelvis so that your sit bones point toward the backs of your knees. Lengthen your low
back slightly. Anchor your shoulder blades into the ground, and lengthen the back of your neck. Without moving
your legs, feel your inner thigh muscles activate as if they were pressing together.
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Inhale to energize your body. Exhale and slowly peel your pelvis and lower spine off the ground. Feel your
vertebrae lift, one by one, off the ground as the lifting action moves up toward your neck.
Press the fronts of your hips and your abdomen toward the sky. Imagine your tailbone reaching to touch the
back of your knees. Feel your chest draw in toward your chin.
As you exhale, press your kneecaps forward, away from your body, and notice a lengthening in your front thighs.
As your chest moves closer to your chin, breathe into the stretch in your abdomen and in the back of your neck.
If possible, interlace your fingers under your back. Squeeze your elbows and shoulder blades together, lifting
your chest even higher.
Continue to focus on your breath.
With each inhalation, feel your chest and ribs open more fully. On each exhalation, press your feet more firmly
against the ground.
To exit the position, unclasp your fingers and bring your arms back to your sides. Exhale and slowly lower
your spine back to the ground, one vertebra at a time, from the top to the bottom. Rest your spine against the
ground and allow all of your muscles to relax. Lift your knees into your chest and rock gently from side to side.
Adjustments
FeetThe feet should be hip-width apart and parallel to each other. If the toes turn in or out, gently tap the outsides
of the students feet to cue the student to realign the feet.
KneesIf the student rolls the legs out laterally from the body, kneel in front of the knees and place your hands on
the outsides of the students lower thighs. Lightly move the knees closer to parallel.
Hips and low backIf the hips are not lifted higher than the chest and knees, place a strap around the students
pelvis at the sacral level. Stand in a slight lunge facing
the students knees and place your front foot
between the students feet. As you hold onto
the ends of the strap, lean back slightly while
straightening your front leg and gently lift the students hips toward you. Move slowly and check
in with the student regarding comfort.
ChestIf the chest sinks between the shoulders,
place a strap around the students upper torso
under the scapulae. Hold the ends of the strap
in your hands and sit or semi-squat a few inches
(centimeters) away from the students head. Lean
back and lift the students chest and rib cage
Adjustment: chest.
toward you.
Modifications
Early pregnancy or weaknessPlace folded blankets under the students low back and hips. You also can place a
block under the sacrum for the student to rest on. These modifications allow the abdomen and chest to stretch
without the effort.
Low-back discomfortIf the student has slight tightness in the lumbar area, instruct the student to lift the heels off
the ground in order to relieve some of the muscular activity in the back. Also, remind students to press the inner
thighs toward each other so that the legs do not splay outward.
Pose deepeningInstruct the student to draw the heels closer to the hips and grasp the ankles. This modification
increases the stretch through the thighs and allows for a greater arch
throughout the length of the spine.
Deeper supported positioningIn this variation,
place a block under the students upper pelvis
(the block must not rest on the lumbar spine)
as in the pregnancy modification. Instruct the
Modification: deeper supported positioning.
student to extend one leg, keeping the heel on
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the ground. Invite the student to relax the leg and, if the student is comfortable in the lower back, to extend the other
leg. If discomfort is felt, ask the student to slowly bend the knees again and rest. If the student feels comfortable
with the legs extended, the student may stretch the arms overhead and relax in this position. The low back should
remain comfortable.
Kinematics
Because the neck remains on the ground in this posture, it can be used as a preliminary step in building the necessary
range of motion in the neck and shoulders for Salamba Sarvangasana (Supported Shoulderstand). In the deeper
supported variation of Setu Bandhasana, the lifting of the pelvis allows for a deeper passive psoas stretch. Remind
students not to turn the head once the pelvis is lifted so as not to place strain on the neck.
Setu Bandhasana
Body segment
Foot and toes
Kinematics
Muscles active
Muscles released
Toe abduction
Lower leg
Thigh
Knee flexion
Hamstrings (C, I)
Slight adduction
Adductors (I)
Hip hyperextension
Torso
Spinal hyperextension
Rectus abdominis
Torso stability
Humerus hyperextension
External rotation
Upper arm
Elbow extension
Lower arm
Forearm pronation
Elbow extension
Anconeus (C, I)
Finger adduction
Finger flexion
Sternocleidomastoid, scalenes,
hyoids (C, I)
Shoulder
Neck
Quadriceps
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Urdhva Dhanurasana
Upward Bow Pose
[oohr-dhuh-vuh dhuh-noor-AAH-suh-nuh]
In Sanskrit, urdhva means upward or backward,
and dhanu means bow (like a bow and arrow).
Thus the name signifies an upward bow, and
the posture is sometimes called Urdhva Mukha
Dhanurasana (Upward-Facing Bow). Another
much-used name for this position is Chakrasana
[chuk-RAAH-suh-nuh]. Chakra means wheel
and, as discussed in chapter 5, is the name for
the bodys energy centers. The shape of the
body in Urdhva Dhanurasana can be said
to resemble the drawn string of a
bow or the roundness of a wheel;
generally, however, Chakrasana
indicates a backward somersault,
which is used in some vinyasa flow
practices.
Description
Urdhva Dhanurasana is a full backbend in which the hands and feet support the body and the abdomen faces toward
the sky. The pose may also be classified as an inversion.
Energetic Focus
Third chakra (Manipura) vitalizing energy, fourth chakra (Anahata) heart-opening energy, fifth chakra (Vishuddha)
purifying energy
Foundational Focus
Root into the heels and metatarsal heads of both feet. Anchor into the metacarpal heads and fingertips of both hands.
Balance the grounding energy evenly between the handsand feet.
Benefits
Cautions
Shoulder or wrist concernsStudents with any of these concerns should practice with modifications or avoid
this pose.
Glaucoma or high blood pressureStudents with either of these conditions are advised against practicing this pose.
Low-back injuryStudents with this condition should avoid this pose.
256
Verbal Cues
From a supine position, bend your knees and bring your heels as close to your hips as is comfortable. Bend
your elbows and lift your upper arms off the ground. Place your palms flat on the ground near the top of your
shoulders with your fingers pointing toward your body. Exhale and gently hug your elbows toward each other
so that your arms are parallel to each other.
Spread your fingers and press into your fingertips. Slightly rotate your thighs internally and feel the strength
and grounding in your legs.
Exhale and begin to press your feet and hands firmly against the ground.
As in Setu Bandhasana (Bridge Pose), press firmly into the heels and lift the hips and back off the ground. Continue to hug the inner thighs toward each other and the elbows toward each other.
Inhale to open your chest and lengthen your low back. As you exhale again, slowly straighten your arms while
lifting your head and upper torso off the ground. Maintain the alignment in your elbows, drawing them in closer
toward the midline of your body.
Continue to press strongly, yet without strain, through your arms and heels. Lift your lower abdomen toward the
sky. Feel as if your spinal and posterior hip muscles are gently lifting your spine upward away from the ground.
Continue to focus on your breath.
Feel your spine lengthen and maintain equal balance between your feet and hands.
To exit the posture, exhale and slowly bend your knees and elbows, lowering your shoulders and hips back
to the ground. Inhale and exhale deeply to relax your spine. Let your knees rock gently from side to
side, massaging your lower back.
Adjustments
FeetMake certain that the students feet are hip-width apart and parallel to each other. If the
toes point out, squat in front of the student and gently nudge the feet into alignment so that
the toes point forward. Remind the student to keep the feet active and press
through the heels.
KneesThe knees should remain somewhat flexed. If the students knees
point laterally from the body, lightly place your hands on the outer
thighs and move the students legs closer to parallel. Continue to cue
the student to press inward with the inner thighs.
Hips and low backIf the hips are not lifted, place a strap around the
students hips at the sacral level. Stand facing the students knees in a
slight lunge with your front foot between the students feet. As you hold
onto the ends of the strap, lean back, straightening your front leg, and
Adjustment: hips and low back.
gently lift the students hips toward you.
Mid and upper spine and chestThe chest should be lifted and positioned opposite the lower
legs. If the chest sinks down between the shoulders, place a strap around the students scapulae
(shoulder blades). Stand facing the students head and begin in a lunge position,
holding the ends of the strap in your hands. Lean back slightly and lift the
students chest and rib cage forward. Use caution with this adjustment
so as not to take the student off balance.
ShouldersUse extreme caution when adjusting a students
shoulders in Urdhva Dhanurasana! The shoulders should be
rotated externally. However, because the students body is
upside down and facing away from you, confusion can arise
about the direction in which you should attempt to roll
the upper arms. Face the students head and place your
hands on the upper arms, near the shoulders, with your
thumbs closest to the head. Rotate the students arms
Adjustment: shoulders. Slowly rotate the arms in the direcso that your thumbs move toward you and the students tion of the arrow.
257
elbows move toward the students body. Moving the arms in the opposite direction can injure the students shoulders. If you have any doubts about making this adjustment, do not do it!
NeckDo not touch the students neck in this posture. Verbally cue the student to relax the neck and to keep length
between the ears and shoulders.
Modifications
Arm weakness or tightnessPosition the student in Setu Bandhasana (Bridge Pose) with the pelvis on a block. Instruct
the student to place the hands in position for Urdhva Dhanurasana and press into the hands while maintaining
elbow alignment. To focus more energy into pressing through the arms, a strap can be placed around the upper
arms, just above the elbows, to keep the arms together.
Weak or tight wristsPlace two blocks diagonally against a wall; be sure to place the blocks on a mat so that they
do not slide. Instruct the student to start in Setu Bandhasana, with the head facing the blocks and the hands on
the front of the blocks with the fingers facing down. On an inhalation, the student straightens the arms as much
as is comfortable. With this modification, the angle of the wrist is much more forgiving for those who have with
weakness and tightness in the joint. If the elbows rotate outward, a strap can be wrapped around the upper arms
above the elbows.
Limited spinal range of motion and significant weaknessHave the student lie with the back over an exercise ball
or a blanketed chair with the feet and hands touching the ground. This prop supports the spine and lengthens the
torso. (See chapter 11 Restorative Postures.)
Posture deepeningA student can deepen the posture by entering the asana from a standing position. To build confidence, position the student with his or her back to a wall that is about as far away as the students hands and feet
are from each other in the full expression of this pose. Instruct the student to reach the hands overhead and behind
and walk the hands down the wall toward the ground. Make certain that the toes point directly forward and the
thighs rotate inward slightly as they lower the upper body down toward the ground. Moving into the pose from a
standing position also builds strength in the abdominal muscles.
Kinematics
The closer the hands are to the feet, the more challenging the posture is. To remain comfortable in this pose, the
student needs a certain range of motion through the torso. One also needs external rotation in the shoulder joint in
order to retain joint stability. As in all backbending poses, if the thighs rotate slightly internally then the lower spine
and sacrum are not compressed.
Muscles active
Dorsal interossei, abductor digiti
minimi brevis, abductor hallucis
(I)
Lower leg
Thigh
Knee flexion
Adductors (C, I)
Hip hyperextension
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Kinematics
Toe abduction
Muscles released
Quadriceps
Iliopsoas, rectus femoris
Body segment
Torso
Kinematics
Muscles active
Muscles released
Spinal hyperextension
Torso stability
Sternoclavicular stability
Subclavius (I)
External rotation
Scapular stability
Scapular adduction
Upper arm
Lower arm
Forearm pronation
Forearm extension
Anconeus (C, I)
Wrist hyperextension
Finger abduction
Neck hyperextension
Shoulder
Neck
Rectus abdominis
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Description
Eka Pada Rajakapotasana is addressed here in the form of two
variations and one modified alternative. The version practiced
most commonly is referred to as Baby Pigeon, which is more
of a prone posture that comes after a deep lunge.
The outside of the front leg is placed with the knee
flexed and resting against the ground, and the trailing
leg is extended straight back with the front of the leg
on the ground. The torso is folded forward over the
bent knee.
The second variation begins in the same position as Baby Pigeon; however, instead of folding forward over the
front leg, the practitioner keeps the torso upright and arches back slightly while the head and hands reach toward
the back foot. This variation is generally called Eka Pada Rajakapotasana (One-Legged Royal Pigeon).
Energetic Focus
Second chakra (Svadhisthana) creative energy, fourth chakra (Anahata) heart-opening energy
Foundational Focus
Root through the sit bone and the outer edge of the flexed leg. Anchor into the front thigh of the back leg. Balance
the grounding energy evenly in both legs.
Benefits
Cautions
Knee or hip injuryStudents with an acute knee or hip concern should avoid this posture.
Sacroiliac concernsStudents with sacroiliac injury or instability should proceed with modifications or avoid
this pose.
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Verbal Cues
Variation 1: Baby Pigeon
Starting with your weight on your hands and knees, inhale and lengthen your spine. Imagine moving the crown
of your head and your sit bones as far from each other as possible.
Exhale and step your right foot forward, coming into a low lunge with your hands on the ground. Slide your right
foot across to the outside of your left hand, then slowly lower your right knee to the outside of your right hand.
If you feel discomfort in your hip or knee as you lower your leg, practice the rest of the pose with modifications.
Slide your left leg behind you and lower your pelvis toward the ground. Feel the front of your left thigh elongate.
Breathe softly into that space. Press into your hands and lift your lower rib cage away from
your hips as you open space in your low back.
Inhale and stretch your chest and head toward the sky. Roll the fronts of your shoulders
open to expand your chest. As you breathe, imagine your collar bones drawing apart
with each inhalation.
Exhale and begin to slowly walk your hands forward away from your body, lowering
your torso toward the ground. Your hands should be shoulder-width apart, and if it is
comfortable to do so your right knee should be positioned to the outside of your right
shoulder. This positioning helps release your hips without straining your knee joint.
Again, if this positioning is not comfortable, practice with modifications.
Continue stretching your upper body forward, breathing deeply to relax your hip and
spinal muscles.
Take another five or six breaths as you continue to soften your upper body and hips.
To exit this position, press your hands into the ground and slowly walk your hands
back toward your body as you raise your torso. When your hands are under
your shoulders, press down and lift your hips off the ground and move back
onto your hands and knees; alternatively, stretch out your legs in Adho Mukha
Shvanasana (Downward-Facing Dog) before preparing for the opposite side.
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Adjustments
FeetThe top of the foot on the extended leg should be relaxed and resting on the ground. The leg should be aligned
with the hip. If the leg is abducted, squat or kneel to the side of the student and guide the leg inward by gently
pressing the outer hip inward. Lightly tap the foot to encourage relaxation.
Knees and hipsThe extended knee should be square to the ground and not rotating outward. Generally, if the knee
rotates externally, it does so because the opposite hip is tight (see the modifications section for this pose) and the
body leans to that side. To guide the student into alignment, place your hands on the outsides of the hips while
kneeling behind the student. This adjustment usually also realigns the
extended knee. If the student is able to keep the hips grounded but
feels discomfort in the kneecap of that leg, place a folded towel
or cushion under the knee for comfort.
Lumbar spineIf the student slumps into the lower back, cue the
student to lift the rib cage. Kneel beside the student, place your
hands on the outsides of the rib cage, and lift gently to encourage length in the back.
ShouldersRemind the student to maintain soft shoulders and
keep space in the neck below the ears. Place your hands
gently on the fronts of the shoulders to cue relaxation and
expansion in the chest and neck.
Modifications
Modification: tight hips.
Kinematics
Many people have overly tight external hip rotators and therefore find it difficult to sit comfortably in Eka Pada
Rajakapotasana. The asana can be modified with a bolster or folded blankets placed under the flexed hip; otherwise,
the student risks injuring the knee. The risk is even greater if the student places the weight of the upper body on the
flexed thigh.
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The following table illustrates the kinematics of the full expression of the pose. Due to the extreme hyperextension
in the spine in the deepest expression of the pose, it should be modified for students whose hips are even moderately
tight. If the outer hip on the bent leg and the front thigh of the back leg do not rest comfortably on the ground, then
the tightness in the hips and extreme hyperextension in the spine may lead to instability or injury over time.
Kinematics
Muscles active
Muscles released
Toe extension
Thigh (R)
Knee flexion
Thigh (L)
Knee flexion
Hamstrings (C, I)
Hip flexion
Iliopsoas (C, I)
Femoral abduction
Hip hyperextension
Iliopsoas, quadriceps
Torso
Spinal hyperextension
Rectus abdominis
Torso stability
Humerus flexion
Scapular stability
Scapular adduction
Upper arm
Elbow flexion
Lower arm
Wrist flexion
Finger flexion
Neck
Neck hyperextension
Shoulder
Adductors, gracilis
Triceps brachii
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, I = isometric contraction, L = left, and R = right (in body segment column) or relaxed (in
muscles active column).
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Ushtrasana
Camel Pose
[oosh-TRAAH-suh-nuh]
Ushtra is Sanskrit for camel. In this pose, the arch of the body represents
the hump of a camels back, and the bend in the legs resembles those of a
camels rising from the ground.
Description
Ushtrasana is a kneeling backbend. The openness in the hips and shoulders is
a good precursor to more demanding backbends.
Energetic Focus
Third chakra (Manipura) vitalizing energy, fourth chakra (Anahata)
heart-opening energy
Foundational Focus
Root into the tops of the feet and the shins. Anchor the hands onto the backs of the heels or onto a prop.
Benefits
Cautions
Back or neck concernsStudents with back or neck difficulty should practice with modification.
High blood pressureStudents with this condition are advised to use modification.
Verbal Cues
Starting in a kneeling position, align your knees hip-width apart. Curl your toes under so that your heels are
lifted. Slightly rotate your thighs inward to stabilize your hips.
Reach behind you and place the heel of your hands on the top of your pelvis. Exhale and draw your elbows
and shoulder blades closer together. Feel your chest expand. Press your hands against the top of your pelvis to
move your hips slightly forward. Your thighs should remain mostly perpendicular to the ground.
Inhale and lift your ribs and chest as you press your pelvis forward a little more. Imagine that a hand placed
between your shoulder blades is gently pressing in and up to lift your chest.
Reach your right hand down toward your right heel and rest your palm there. Take a breath, then slowly reach
your left hand to your left heel. Your thumbs should point away from your body. Breathe in deeply and rotate
the fronts of your shoulders away from your chest.
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Adjustments
FeetRemind students to begin with the toes curled under and
the heels lifted. If, when a student brings the tops of the feet to
the ground, the toes point outward, gently brush the outsides of
the feet to encourage the student to realign the toes.
Knees and thighsIf the student begins with the knees wider
than hip-width apart, cue the student to move the knees
closer together before moving into the posture. In addition,
remind students to rotate the thighs internally in order to
keep the back of the pelvis open. As a reminder, gently
brush the outsides of the thighs.
HipsThe hips should remain aligned directly over the Adjustment: hips.
knees; however, as students reach for the feet, they often neglect to press the pelvis forward. To
adjust, stand or kneel beside the student and place your closest palm on the students
upper pelvis. Move the torso slightly forward and upward while moving the pelvis
into alignment over the knees. Another option is to stand in front of the student in
a semi-lunge, place a strap around the pelvis, and use the strap to gently draw
the student toward you.
SpineIf the students low spine is collapsing, kneel to the side, place your
hand on the low back, and instruct the student to move the body away from
your hand.
ShouldersThe shoulders should be rotated externally and be relaxed away
from the ears. To adjust, instruct the student to press firmly through the arms
for length. To aid in external rotation, stand or kneel behind the student and
place your hands on the shoulders with your thumbs closest to you. Rotate
the students arms so that the shoulder blades come closer together.
ChestThe chest should be higher than the level of the shoulders.
To adjust, stand beside the student and place your hand between
the shoulder blades, then instruct the student to lift away from
Adjustment: shoulders.
your hand.
Modifications
Neck discomfortIf a student is not comfortable with lowering the head back, instruct the student to tuck the chin
into the chest. This modification should be used for those with high blood pressure.
265
Tight hip flexorsIf the student has difficulty bringing the hands to the feet without dropping the hips
back, cue the student to place the hands on the back of the pelvis and squeeze the elbows and
shoulder blades inward while moving the pelvis forward. For additional support and leverage,
place blocks under the students hands and cue the student to press firmly into the blocks.
These modifications help the student build flexibility in the quadriceps and psoas.
Upper spine weakness and tight chestA student may need assistance to lift the upper
spine and rib cage. Sit behind the student as he or she kneels and place the ball of
one foot lightly between the students shoulder blades. Clasp the wrists in your hands
and instruct the student to grasp your wrists. While the student inhales, gently press
your foot forward against the back while holding the arms. As the student exhales,
instruct her or him to move the pelvis forward and relax the shoulders and neck. This
action is a Thai yoga therapy technique used to expand the students chest and
shoulders while the instructor supports the weight.
Abdominal weaknessAssist the student in exiting the posture. Standing behind
the student in a semi-squat, place your hands between the shoulder blades Modification: tight hip flexors.
with your fingers pointing down. As the student inhales, gently press upward on
the back to help the student lift upright. Another variation is to stand in a slight lunge in front of the student. Cue
the student to reach the right arm forward and clasp your right arm, above the elbow, while you clasp the students
arm. Straighten your legs and lean back slightly to lift the student upright.
Kinematics
With the toes hyperextended, the arch of the foot is stretched as the body weight is moved over the heels. Some
students find such positioning fairly uncomfortable at first; encourage them to practice this positioning in order to
benefit the structures of the feet.
266
Ushtrasana
Body segment
Foot and toes
Kinematics
Muscles active
Muscles released
Toe hyperextension
Foot stability
Lower leg
Thigh
Hamstrings (C, I)
Quadriceps
Hip and
pelvis
Hip stability
Stability
Torso stability
Spinal stability
Adduction of scapulae
Upper arm
Lower arm
Forearm supination
Supinator (C, I)
Wrist hyperextension
Hand and
fingers
Finger flexion
Flexor digiti minimi brevis, interossei palmaris, flexor pollicis brevis (C, I)
Neck
Neck hyperextension
Torso
Shoulder
Sternocleidomastoid, scalenes
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, and I = isometric contraction.
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Supta Virasana
Reclining Hero Pose
[SOOP-tuh veer-AAH-suh-nuh]
In Sanskrit, supta means reclining or
lying down and vira means hero,
chief, warrior, or champion. In
Latin, virilis means man. In both the
Mahabharata (a Hindu epic) and the
legend ofKing Arthur, a mans secret
strength, power, and virility reside
symbolically in the thighs.
Description
Supta Virasana is a supine posture in which the knees are bent and the lower legs tucked under or to the outside of
the thighs. This pose provides an excellent stretch for the quadriceps.
Energetic Focus
First chakra (Muladhara) grounding energy, second chakra (Svadhisthana) creative energy, third chakra (Manipura)
vitalizing energy, fourth chakra (Anahata) heart-opening energy
Foundational Focus
Root into the back of the pelvis and the inner thighs. Anchor into the shoulder blades and upper arms.
Benefits
Cautions
This pose should be introduced only if students are able to sit comfortably with the buttocks on the ground in
the seated version (Virasana). If a student is uncomfortable in the pose, it may be practiced with modifications.
Serious knee or back concernsStudents with knee replacement should avoid this asana. Those with back
concerns should practice with modifications.
PregnancyDue to hormone-induced laxity in the tendons and ligaments during pregnancy, the reclining version
of Virasana should not be practiced past the first trimester.
268
Verbal Cues
From a kneeling position, with the shins and the fronts of the ankles against the ground, slowly lower your
hips toward your heels. As you lower, fold forward slightly from your hips and reach behind to grasp your
inner calves. Gently roll your calf muscles away from the midline of your body to provide a more open space
between your legs. Lower your hips slowly to the ground.
Make certain that your toes point straight back or slightly inward. As your hips settle, align your shoulders over
your hips. Breathe smoothly, making sure that the position is comfortable for your knee joints.
Inhale, lifting your chest, and extend your arms behind you. Place your hands on the ground in front of your
toes. Inhale and press down firmly through your arms to lengthen your torso and low back.
Exhale and slowly bend one elbow at a time to bring your forearms to the ground. As you breathe, continue
to lengthen your rib cage away from your hips. Lower your chin to your chest if doing so feels comfortable.
Soften your buttocks and thighs.
On the next inhalation, slowly extend your arms, one at a time, to the sides of your legs, lowering your back a
little closer to the ground. Your breath should be smooth and steady. All the while, ensure that your knee joints
and lower back do not feel compromised.
If you are comfortable, lower your shoulders and head to the ground. Listen to your body and be sure to avoid
any strain in your knees or back. Breathe relaxation through the fronts of your thighs and softness and length
into your lower back.
Continue to focus on your breath.
If you are comfortable with your entire back and head resting on the ground, reach your arms overhead and
interlace your fingers. Press your palms away from your head and feel the elongation of your entire torso.
To exit this posture, bring your elbows in to the sides of your waist. Exhale and engage your abdominal muscles
while you press your elbows down to lift your shoulders off the ground. Draw your chin into your chest. Press
your hands into the ground and slowly straighten one arm at a time. Leading from your chest, slowly lift your
torso upright, from the bottom to the top, and raise your head last. Stretch and shake out your legs.
Adjustments
AnklesIf the student cannot comfortably rest the tops of the feet on the ground, place a small cushion or rolled-up
towel under the ankles. Kneel behind the student and gently rotate the feet so that the toes point straight back or
slightly inward.
KneesBefore the student lowers the hips to the ground, be sure that the knees are no farther than hip-width apart.
If the knees splay, wrap a strap around the lower thighs to keep the knees together
or place a rolled towel between the knees and instruct the student
to press into the towel. Another adjustment is to kneel facing the
student, place your hands on the mid thighs, and rotate the
muscles internally to help keep the knees aligned and relaxed.
If the students knees lift slightly from the ground, and the person
would like more stretch in the thighs, place a weighted sandbag
or other weighted prop on the lower thighs to increase stretch
Adjustment: knees.
in the quadriceps and iliopsoas.
Low backIf the students back is considerably arched while reclining, first cue the student to exit and then reenter
the pose with focus on elongating the spine. If this action does not help, kneel in front of the students knees and
lightly secure the legs. As the spine lowers to the ground again, cue the student to reach the shoulder blades away
from the hips in order to encourage more length in the torso.
ChestThe chest should remain lifted, not collapsed. Lightly touch the students upper sternum with one finger and
instruct the student to push upward into your finger.
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Modifications
Building flexibility and awarenessInstruct the student
to practice what is called Ardha Supta Virasana(Half-
Reclining Hero Pose). In this variation, only one knee is
flexed; the opposite leg stays extended forward. Practice
on each side, unless one knee is compromised.
Modification: building flexibility and awareness; tight hip
Tightness in the feet, ankles, or kneesPlace blankets or a
flexors.
block under the students hips to support the body weight
while taking pressure off the feet, ankles, and knees. Some students may require additional propping to elevate the
entire torso; in this instance, the support should extend from the hips to the back of the head.
Overly arched lumbar spinePlace blankets under the students hips and shoulders to encourage the low back to relax.
Tight hip flexorsIf the student is unable to rest the torso on the ground without the knees lifting off the ground,
place blankets under the shoulders to raise the students chest and encourage the legs to relax.
Kinematics
The focus of this asana is to increase stability and flexibility in the knee joint. And while it may appear to be
contraindicated for people with knee pain, when practiced with modifications and props, it can provide a therapeutic
lengthening of the quadriceps. However, those with acute knee pain or diagnosed joint injury should refrain from
practicing this pose.
Supta Virasana
Body segment
Kinematics
Muscles active
Toe extension
Lower leg
Ankle inversion
Knee flexion
Quadriceps (E, R)
Thigh
Torso
Trunk stability
Rectus abdominis
Shoulder
External rotation
Pectoralis major
Upper arm
Elbow extension
Lower arm
Forearm pronation
Elbow extension
Anconeus (C, I)
Finger adduction
Finger flexion
Sternocleidomastoid, scalenes,
hyoids (C, I)
Neck
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Muscles released
Matsyasana
Fish Pose
[muht-see-YAHH-suh-nuh]
Matsya is a Sanskrit term meaning fish.
This asana is dedicated to Matsya, the fish
incarnation of Vishnu, who saved the first
man (Manu) and the seven sages from
a great flood.
Description
Matsyasana is a supine backbending posture in which the legs, hips, and crown of the head remain on the ground
while the chest and ribs are lifted. Traditionally, Matsyasana is practiced with the legs in Padmasana (Lotus Pose). In
another, more challenging variation, the arms and legs are extended and lifted off the ground.
Energetic Focus
Fourth chakra (Anahata) heart-opening energy, fifth chakra (Vishuddha) purifying energy, sixth chakra (Ajna) perceptive
energy, seventh chakra (Sahasrara) divine energy
Foundational Focus
Root into the back of the pelvis. Anchor onto the top of the head.
Benefits
Cautions
High blood pressure or migraineStudents with high blood pressure or migraine should refrain from practicing
this pose.
InsomniaStudents who suffer from insomnia should not practice this posture immediately before trying to sleep.
Neck issuesStudents with neck injury should refrain from practicing this pose.
Low back painStudents with pain the lower back musculature should practice with modifications. Those with
acute low back pain or disc injury should refrain from practicing this pose.
Verbal Cues
If the student is comfortable practicing Padmasana, begin with the legs in that position, reclining with the spine and
head resting on the ground. If not, follow the instructions from a straight-leg or bent-knee position.
Lie supine, with your legs extended and your arms at your sides. Exhale and internally rotate your thighs. As
you inhale, bend your elbows and press the backs of your upper arms down into the ground.
271
On the next inhalation, lift your back and shoulders off the ground, supported by your arms. Lengthen your neck,
then arch your head back to rest the crown of your head on the ground. Continue to elongate your neck on all
sides as you breathe deeply. Notice the bridge that your torso forms from your pelvis to the crown of your head.
If your spine and neck are comfortable in this position, place your palms together over the center of your chest
in Anjali Mudra (Prayer Pose). Feel your energy from your heart expand from this space. Continue to elongate
through your neck.
Continue to focus on your breath.
Feel your chest continue to lift and lengthen with each breath. Focus on using your spinal muscles to support
your upper body; imagine them lifting your entire torso up from the ground. The weight on your head and
through your neck should feel comfortable.
To exit the position, bring your arms back to your sides. Exhale, and uncross or straighten your legs. Once again,
press into the backs of your arms and lift your head from the ground. Draw your chin slowly in toward your
chest as you exhale and gently bring the back of your head to the ground. Lower the rest of your torso to the
ground slowly. This pose is often used as a counterpose for Salamba Sarvangasana (Supported Shoulderstand).
Adjustments
HipsThe hips should remain on the ground throughout the pose. If the student presses against the ground and lifts
the hips (which happens often when the pose is practiced
with the knees bent), instruct the student to anchor
into the back of the pelvis in order to keep the
hips rooted. To assist, kneel beside the student
and lightly place your hands on the lower
thighs or, if the legs are bent, on the knees.
This subtle reminder helps the student
focus on securing the hips to the ground.
ChestIf the chest or rib cage collapses,
kneel above the students head, place
your hands behind the shoulder
blades, and cue the student to lift the
Adjustment: chest.
back away from your hands.
HeadThe students head should touch the ground with the crownnot with the back of the head. Instruct the
student to press down strongly with the arms in order to create more lift in the chest and to hyperextend the neck
until the crown rests on the ground. The chest adjustment is also appropriate for realigning the head, as well.
Modifications
DiscomfortIf a student is uncomfortable in Padmasana, cue the student to bring the legs into Baddha Konasana
(Bound Angle Pose), which helps open the hips. Some students may also find it more comfortable to simply bend
the knees with the feet flat on the ground.
StrainingIf a students face is strained or red, or if the breath is labored, place the student in a less demanding asana,
such as Setu Bandhasana (Bridge Pose).
Neck or low-back painPlace folded blankets or
bolsters under the students shoulders to relieve
the back muscles.
Posture deepeningIf students are comfortable, cue
them to deepen the pose by lifting the legs and arms
off the ground while maintaining the rest of the pose. You
may need to help a student hold the limbs in this position.
To do so, kneel or squat by the students feet and place
your hands under the heels for light support.
Modification: deepening the posture.
272
Kinematics
In order to eliminate the possibility of straining the neck muscles, the crown of the head, not the back of the head,
should rest on the ground.
Matsyasana
Body segment
Kinematics
Muscles active
Toe flexion
Lower leg
Plantar flexion
Thigh
Knee extension
Quadriceps (C, I)
Hip flexion
Torso
Trunk stability
Spinal hyperextension
Scapular adduction
Humerus hyperextension
Upper arm
Elbow flexion
Lower arm
Forearm pronation
Neck
Sternocleidomastoid, scalenes
(E, I)
Neck stability
Shoulder
Muscles released
Rectus abdominis
273
Supta Padangusthasana
Reclining Hand-to-Toe Pose
[SOOP-tuh paah-daahngoost-AHH-suh-nuh]
In Sanskrit, supta means reclining,
pada means foot, and angustha means
big toe.
Description
Supta Padangusthasana is a supine
position in which one leg is flexed
at the hip and the big toe of the
same-side foot is typically grasped
by the same-side hand. This
is often used as a transitional
asana to move from the more
active phase of a session into more relaxing and restorative poses near the end.
Energetic Focus
First chakra (Muladhara) grounding energy, second chakra (Svadhisthana) creative energy
Foundational Focus
Root into the back of the pelvis and the back of the heel of the grounded leg. Anchor the hand or a strap around the
lifted leg.
Benefits
Lengthens the hamstrings and hips without any strain on the back.
Stretches the calves and arches.
Stimulates the reproductive organs.
Relaxes the spine.
Aids digestion.
Caution
PregnancyInstruct pregnant women to lie on the side instead of on the back and to flex the top leg toward the
chest.
Verbal Cues
From a supine position, with your arms at your sides and your legs straight, press firmly into your left leg and,
as you exhale, draw your right knee into your chest. Hug the leg in to stretch your low back but keep your
shoulders relaxed.
Inhale and slowly straighten your knee, lifting your right foot toward the sky. The knee should remain as straight
as possible without locking. Be mindful of any discomfort in your low back or hamstrings. If your back feels compromised, bend your left knee and bring your left heel to the ground as close to your sit bones as is comfortable.
274
Adjustments
FeetIf the heel of the lifted leg is not higher than the toes, instruct the student to point the toes down toward the
head more fully. To guide the toes lower, you can gently press down on the ball of the foot.
KneeIf the student bends the knee in an effort to grasp the toes, adjust the hands to a position where the student can
hold on comfortably or offer a strap to wrap around the foot while maintaining as much knee extension as possible.
HipsIf the leg extended on the ground is comfortable but lifts off the ground, kneel beside the student and press
gently on the top of the thigh, near the hip. Do not press near the knee joint. A weighted sandbag can also be
placed at the top of the thigh.
ShouldersThe shoulders should remain relaxed. Especially when the torso is lifted, students have a tendency to
round the shoulders and lift them toward the ears. To adjust, kneel beside the student and gently place your hands
on the tops of the shoulders as a guide to relax and keep space between the ears and shoulders. Cue the student
to elongate the sides of the neck.
NeckRemind the student to keep the ears aligned with the shoulders and not to drop the head back or bring the
chin to the chest while lifting the torso. Kneel beside the student and place your hand lightly on the back of the
head. If the head drops back, instruct the student to move the back of the head away from your hand. If the neck
is flexed, cue the student to press lightly into the back of your hand until the ears are aligned with
the shoulders.
Modifications
Tight hamstringsIf the student is unable to reach the hand to the foot without
bending the knee, wrap a strap around the ball of the foot and place the
loose ends in the students hand. Instruct the student to find the place
where she or he feels comfortably challenged while still extending the
knee as much as possible.
Overly tight spineInstruct the student to bend the knee of the anchoring leg, placing the foot flat on the ground. This modification helps eliminate
strain in the low back.
Spinal weaknessPlace the student in a position where the back
is on the ground and the legs are up against a wall with the hips
and the backs of the legs touching the wall. Instruct the student
to flex one hip more deeply so that the leg moves closer to the
chest while keeping the knee extended. This modification reduces
strain on the back while still allowing the hamstring to stretch.
Modification: spinal weakness.
275
Kinematics
Resting the torso on the ground in the beginning and ending phases of this asana allows the student to focus on
stretching the hamstrings and hips while the spine remains in alignment. With the posterior shoulder muscles pressed
into the ground, one can take a true measure of flexibility in the hamstrings and posterior hips; in contrast, in seated
and standing forward bends, the range of motion is often distorted by flexion in the torso.
Kinematics
Muscles active
Dorsal interossei, abductor digiti
minimi brevis, abductor hallucis
(C, I)
Toe dorsiflexion
Toe extension
Ankle dorsiflexion
Gastrocnemius, soleus
Ankle dorsiflexion
Gastrocnemius, soleus
Thigh (R)
Knee extension
Thigh (L)
Knee extension
Quadriceps (C, I)
Hip flexion
Torso
Trunk stability
Shoulder (R)
Shoulder flexion
Scapular adduction
Shoulder (L)
Shoulder abduction
Deltoids (C, I)
Elbow extension
Elbow flexion
Forearm supination
Supinator (C, I)
Elbow extension
Anconeus (C, I)
Forearm pronation
Wrist extension
Finger flexion
Finger adduction
Neck
276
Muscles released
Toe abduction
10
Inverted Postures
AleksandarNakic/istock.com
277
278
Inverted Postures
Description
Adho Mukha Shvanasana is practiced with the feet and hands pushing against the ground and the hips piked with
the sit bones lifted high in the air. This posture is technically considered a resting asana, but for many who are just
starting out in yoga it can be quite challenging because it requires considerable strength and flexibility in both the
upper and lower body. The restful, rejuvenating effects of the pose become apparent after continuous practice. This
pose is part of the Sun Salutations (Surya Namaskaras) series. Practicing this asana builds strength and flexibility in
the arms and shoulders, which makes it a foundational pose for arm balances.
Energetic Focus
Fourth chakra (Anahata) heart-opening energy, fifth chakra (Vishuddha) purifying energy, sixth chakra (Ajna) perceptive
energy, seventh chakra (Sahasrara) divine energy
Foundational Focus
Root evenly into the metacarpal heads and fingertips. Anchor into the backs of the heelseven if the heels do not
reach the ground. Balance the grounding energy evenly between the hands and feet.
Benefits
Cautions
Shoulder dislocationIf a student has a tendency toward shoulder dislocation, do not emphasize the external
rotation of the shoulders. Instruct the student to focus on keeping the arms as straight and as comfortable as
possible, perhaps slightly drawing the shoulders nearer to the ears. Also, see the modifications discussion for
ways to build shoulder stability and strength.
Wrist injury or carpal tunnel syndromeStudents with wrist injury or weakness should practice this pose with
modifications.
PregnancyWomen who are new to the pose or past the first trimester of pregnancy should practice with modifications.
279
Verbal Cues
From Bhujangasana (Cobra Pose), align your hands so that they are slightly farther than shoulder-width apart.
Spread your fingers. Inhale to elongate your spine, then curl your toes under. Exhale and straighten your arms
to lift your upper body off the ground. As you raise your hips toward the sky, press them back as far as is comfortable. Reach your heels toward the ground.
Relax your neck. Inhale and imagine your shoulders moving away from your hands.
Press firmly into your fingertips, taking weight out of the heels of your hands. Visualize pushing the earth away
from your body. Feel the strength in your arms.
Gently draw your upper arms in toward your ears. Inhale and rotate the backs of your upper arms slightly
toward the ground. To minimize the possibility of hyperextending your elbows, soften them slightly while still
contracting your upper arm muscles. Feel your shoulders and chest open and your spine lengthen with greater
traction. Imagine more space between your vertebrae with each breath.
Press your thighbones (femurs) back and continue to ground through your heels. It is okay if your heels do not
touch the ground; simply focus on lengthening your legs and lifting your sit bones.
Continue to focus on your breath.
As you breathe in, feel the energy in your hands and arms, as well as the weight of your head providing traction
to your spine. Envision opening more space between your vertebrae.
To exit this position from the Classical Sun Salutation, step one foot forward between your hands, coming into
a lunge.
To exit this position from an Ashtanga Sun Salutation, walk or jump both feet forward between your hands into
Uttanasana (Intense Forward Bend).
Otherwise, flow into another pose. If you need to rest, bend your knees, place them on the ground, and relax
in Balasana (Childs Pose).
Adjustments
HipsStand behind the student in a semi-lunge, with your front foot between
the students legs. Place one hand on the outside of each hip joint. Cue the
student to ground through the hands and inhale while leaning back slightly
and lifting the hips back. The students whole torso should elongate. The
arms will be relieved of some workload and will feel more relaxed. Make
certain that your own body mechanics are sound: bend your knees and
use your body weight, rather than your back strength, to draw the
student back.
SpineIf the students upper spine is rounded, perform the adjustment
described for the hips. You may also stand to the students side and
place a palm lightly between the students shoulder blades with
your fingers pointed toward the hips. Gently press your hand
upward in the direction of the pelvis, thus encouraging the
student to lengthen the spine; however, do not actually slide
your hand, but simply simulate the direction the pelvis should
move to give the student a kinesthetic feel for the motion you Adjustment: hips; spine.
are indicating.
NeckMake sure that the students neck is relaxed. Cue the student to lower the crown of the head toward the
ground. To encourage the student to lower the head, place a hand gently on the back of the neck.
ShouldersEncourage the student to rotate the shoulders externally. Because the student is upside down, it may
be challenging for you to recognize the correct direction in which to adjust. It is crucial that you rotate the arms
280
Inverted Postures
Modifications
Arm, wrist, or shoulder weaknessInstruct the student to bend the
elbows and place the forearms on the ground. This positioning
is more challenging for the shoulder joint but serves as a good
modification for anyone who cannot support the body weight fully
on the hands. This position is often considered a pose in and of
itselfnamely, Dolphin Pose, sometimes translated as Makarasana
(muh-kuh-RAH-suh-nuh). It is a good preparatory pose for Salamba
Sarvangasana (Supported Headstand).
Hip, hamstring, or back tightnessCue the student to bend the knees
slightly while continuing to lift the hips. Suggest that the student
move the feet farther apart, since doing so often helps with balance
and can change the angle of pull in the hamstrings.
Pregnancy, extreme weakness, or tightness in the upper extremities
Place the student facing a wall with the hands at shoulder height.
Instruct the student to position the body at arms-length from the
wall while keeping the hands in place. Next, cue the student to bend
forward from the hip joint and step back so that the feet are under
the hips. Direct the student to push into the wall so that the hips
shift back as far as is comfortable. The spine is now free to suspend, Modification: pregnancy, extreme weakness, or
opening the shoulders and chest, and the head can relax between tightness in upper extremities.
the upper arms. An alternative pose is Durga-Go (Cat and Cow Pose).
FatigueBecause this asana is physically demanding, many students are unable to stay in the position for very long.
Encourage such students to rest in Balasana (Childs Pose).
Kinematics
The arms and legs gain considerable strength from practicing this asana. Weakness in the posterior shoulder muscles
and upper back can combine with tightness in the anterior shoulder muscles and chest to constrict the nerve and
blood vessel plexus that supplies the arms and wrists. Therefore, imbalance in the upper body can be a contributing
factor if a student complains of numbness or pain in the wrists during day-to-day activities. Adho Mukha Shvanasana
is an excellent pose for balancing the shoulders and back and for opening the chest.
281
Kinematics
Muscles active
Muscles released
Lower leg
Ankle dorsiflexion
Gastrocnemius, soleus
Thigh
Knee extension
Quadriceps (C, I)
Hamstrings
Hip flexion
Hip internal rotation and stability Adductors, gluteus medius, gluteus minimus (C, I)
Pelvic stability
Torso
Trunk stability
Shoulder
Joint stability
Subscapularis, supraspinatus
(C, I)
Scapular stability
Sternoclavicular stability
Subclavius (I)
Upper arm
Lower arm
Forearm pronation,
stability
Finger abduction
Neck relaxed
None
Neck
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, and I = isometric contraction.
282
Inverted Postures
Salamba Sarvangasana
Supported Shoulderstand
[saah-LUM-buh sahr-vaahng-AAH-suh-nuh]
In Sanskrit, sa means with, alamba means "support, sarva means all, and anga
means limb. In this pose, almost all of the body weight is supported by the upper body,
specifically the upper spine, upper arms, shoulders, and back of the head. The pose is also
practiced in unsupported variations, such as Niralamba [neer-aah-LUM-buh] Sarvangasana.
Shoulderstand is often considered the queen or mother of all asanas because it is both
active and restorative.
Description
In Salamba Sarvangasana, the shoulders rest directly on the ground, or on a prop. The
upper arms are behind the back in a supportive position, and the hands are positioned
on the back to provide greater lift. The neck is flexed so that the chin and chest are
close together.
Energetic Focus
Third chakra (Manipura) vitalizing energy, fifth chakra (Vishuddha)
purifying energy
Foundational Focus
Root evenly into the backs of the upper arms and the upper shoulders. Anchor
into the back of the head.
Benefits
Soothes the nervous system and the mind, thus relieving stress and mild depression.
Stimulates the thyroid gland.
Aids digestion.
Stretches the shoulders and neck.
May relieve menopausal symptoms.
Reduces fatigue and may help alleviate insomnia in some people.
Beneficial for relieving symptoms of asthma, infertility, and sinusitis.
Cautions
Acute neck or shoulder injuryPractice with modification or substitute another asana.
PregnancyWomen who are new to yoga should not practice this pose after becoming pregnant. Those who
are experienced with the pose may practice it through the second trimester.
Verbal Cues
Lie supine with your torso and shoulders on a folded blanket. Position your neck and head to rest off of the
blanket, on the ground. Bring your arms to your sides and, as you exhale, draw your knees in toward your chest.
Press into your hands, roll your body weight toward your shoulders, and, if you can, lift your hips slightly off
the ground. Keep your hips aligned with your shoulders.
Inhale and anchor into your shoulder blades. As you exhale, press into your arms more energetically and lift
your hips higher while raising more of your spine off the ground.
283
If you feel stable in this position, bring your palms, with your fingers pointed up toward your feet, to your
back as close to your shoulder blades as is comfortable. Inhale and draw your elbows slightly closer together.
Breathe smoothly.
On your next inhalation, straighten your legs and reach your feet toward the sky. Spread your toes and engage
your leg muscles as if you were standing in Tadasana (Mountain Pose). As you elongate your legs, bring your
hips into alignment over your shoulders as much as possible. As your hips and legs align, you will feel your
chest move in closer to your chin.
With each inhalation, open your chest and shoulders more so that your spine continues to lift. Anchor through
your upper arms and reach through your toes.
Continue to focus on your breath.
To exit this pose, slowly bend your knees toward your chest. Round your back and gently roll your spine down
onto the ground, one vertebra at a time, keeping your abdominal muscles active to support the movement. Use
your hands and arms as support against the ground so that you do not tense or lift your neck.
Another option is to bend from your hips, then slowly lower your feet to the ground into Halasana (Plow Pose).
Matsyasana (Fish Pose) is often used as a counter pose.
Adjustments
ChestMany students can lift the legs but cannot easily straighten the spine
or align the hips. As they build flexibility and strength, they should practice
a variation of the pose (see the modifications discussion). If a students chest
is collapsing (that is, if the upper back is rounding), stand to the side and hold
onto the ankles with your hands. If the student is stable, you may also stand
in front of the heels. You may also place your lower leg against the students
spine to offer more support. Once the student feels stable, slowly release
your grasp and step away.
ElbowsTo help straighten the spine, the elbows should be as close together
as possible. You can assist by holding onto the legs as described for the
chest adjustment and cueing the student to squeeze the elbows
closer together. You can also kneel to the side of the student and,
as the student lifts the legs, gently guide the elbows together by
pressing lightly on the outsides of the upper arms.
Modifications
Adjustment: chest.
Difficulty with lifting the torsoPlace a slightly higher stack of folded blankets under the students shoulders so that the back of the head still touches the ground and the shoulders rest on
the blankets. This modification positions the shoulders higher and helps stretch the neck more
effectively. Some styles of hatha yoga teach this variation only.
Drifting elbowsIf the students elbows splay, the foundation is compromised. To help the student
maintain alignment, wrap a strap around the upper arms just above the elbows.
Balance concernsIf the student has difficulty balancing the body while lengthening the spine,
place folded blankets on the ground near a wall so that the students torso rests on the blankets
and the backs of the legs are against the wall. The back of the head should rest on the
ground. Instruct the student to place the feet flat against the wall and walk up it
so that the body weight is placed at the top of the shoulders. When comfortable,
the student can move the legs away from the wall and practice balancing, either
Modification: drifting elbows.
on one leg at a time or on both at the same time.
284
Inverted Postures
Assistance with propsIf a student has difficulty lifting the legs directly from the
ground, cue the student to come into an assisted Setu Bandhasana (Bridge Pose)
and raise the legs off the ground while resting the pelvis on the block. Once comfortable, the student can lift the pelvis off the block and move more fully into the
pose. Make certain to remove the block before the student exits the pose.
Kinematics
Salamba Sarvangasana is an excellent pose to gently loosen the neck and shoulder
joints. In addition, because of the gentle pressure on the thyroid gland, this asana
helps enhance the function of the gland and may help lower blood pressure.
Salamba Sarvangasana
Body segment
Kinematics
Muscles active
Muscles released
Toe extension
Lower leg
Plantar flexion
Thigh
Knee extension
Quadriceps (C, I)
Femur adduction
Adductors (C, I)
Hip extension
Hip stability
Iliopsoas (I)
Torso stability
Posterior deltoid, triceps brachii, Pectoralis major and minor, antelatissimus dorsi, teres major (C, I) rior deltoid, serratus anterior
External rotation
Elbow flexion
Arm stability
Supinator (I)
Wrist hyperextension
Finger extension
Finger abduction
Sternocleidomastoid, scalenes,
hyoids (C, I)
Torso
Shoulder
Upper arm
Lower arm
Neck
285
Pincha Mayurasana
Peacock Feather Pose
[PIN-chuh may-oohr-AAH-suh-nuh]
In Sanskrit, pincha means feather, and mayura means peacock. The asana resembles a peacock
with its tail feathers lifted and spread before its mating dance.
Description
This arm balance strongly uses the same shoulder-stabilizing muscles used in Salamba Shirshasana
(Supported Headstand); here, however, the head and neck do not support any body weight. Students
often progress from Pincha Mayurasana into the more physically demanding Vrschikasana [vrISHICK-AAH-suh-nuh] (Scorpion Pose).In that pose, the arm balance remains the same, but the
hips hyperextend, the knees flex, and the feet sink closer to the back of the head.
Energetic Focus
Third chakra (Manipura) vitalizing energy, Fourth chakra (Anahata) heart-opening energy, fifth chakra
(Vishuddha) purifying energy, sixth chakra (Ajna) perceptive energy, seventh chakra (Sahasrara) divine
energy
Foundational Focus
Root into the elbows and forearms. Anchor into the hands.
Benefits
Strengthens and stabilizes the shoulders and the mid and upper back.
Maintains shoulder flexibility.
Strengthens the low spine.
Stretches and tones the abdominal muscles.
Energizes the body and mind.
Increases circulation, concentration, and balance.
Caution
Neck, shoulder, or back injuryStudents with acute injury in any of these areas should refrain from practicing
this pose.
Verbal Cues
From Adho Mukha Shvanasana (Downward-Facing Dog), bring your forearms to the ground. Place your palms
flat against the ground and align them with your shoulders. Spread your fingers to widen your base of support.
Maintain the alignment of your elbows with your shoulders. Feel your hands and arms root into the support
of the ground.
Inhale and press firmly down through your elbows. Shift your body weight back slightly more toward your
shoulders while also pressing the center of your chest back toward your legs. This action lifts and expands your
chest and activates the muscles needed to help you balance.
Slightly hyperextend your neck so that you focus your gaze on a drishti (gazing point) in front of your hands.
Keep your breath smooth and steady.
Remain focused on your drishti point as you begin to walk your feet forward slightly. As your torso moves forward, keep your shoulders in line with your elbows. To help with this alignment, press your chest toward your
286
Inverted Postures
legs. Continue to press firmly into your forearms and keep your upper arms perpendicular
to the ground. Maintain length in the front and back of your neck.
Exhale and slowly raise one leg and then the other, pressing into your arms for leverage. Try not
to kick your legs up; raise them in a controlled manner to maintain your balance. When both
legs are raised, reach your toes toward the sky and feel your torso stretch from your shoulders
to your hips. Spread your toes to help maintain energy in your legs.
Continue to focus on your breath.
If you feel comfortable in Pincha Mayurasana and would like
to move into Vrschikasana, continue to breathe smoothly
and press firmly through your forearms. On an exhalation,
slowly bend your knees and press your chest toward the
line of your gaze, as if you were going to reach your heart
out beyond your hands. Maintain length in your neck.
Exhale and arch your back slightly so that your feet
move closer to your head. Feel your abdomen and front
thighs elongate and open while continuing to support your
Entering Pincha Mayurasana.
balance. Maintain length in your low back and keep your
throat open as you continue to focus on your drishti.
To exit this position, exhale and flex your hips. Lower
your feet slowly back to the ground. Fold your body
into Balasana (Childs Pose) and relax.
Vrschikasana.
Adjustments
ElbowsMake sure the students elbows are shoulder-width apart and not splayed. Before the
student begins to balance, kneel to the side and gently guide the elbows toward each other
with your hands; alternatively, wrap a strap around the upper arms just above the elbows. If a
student struggles with arm placement, place a block against the wall and instruct the student to
place the hands to the outside of the block and align the elbows at the same distance (see the
modifications discussion).
Head and neckRemind the student to maintain head position in order to preserve balance and
stability in the shoulders. Kneel beside the student, place one hand behind the
back of the head, and cue the student to move the head toward your hand.
SpottingStand to the students side. As the legs lift, use your forearms to act
as a block in front of and behind the lower thighs, so that the legs do not
drop to the other side of the body. Ideally, you act not as a crutch but as a
training wheel. It is best not to hold the legs up; instead of supporting the
pose for a student, help the student find and then independently maintain
her or his own balance. To help a student attain more length in the torso,
stand to one side and lightly wrap your hands around the ankle, lifting slightly.
Again, try not to provide too much of the students balance. Always stand to
Adjustment: spotting.
the side of a student! Otherwise, there is a large possibility that the student
will come crashing down onto your body.
Modifications
Balance concernsIn contrast to Salamba Shirshasana, it is most appropriate
to practice Pincha Mayurasana using the wall as a supportive prop.
Difficulty in maintaining arm positionPlace a block against the
wall, or, if the student has adequate balance, away from the wall,
and instruct the student to kneel facing the wall with the thumbs
Modification: balance
pressed against the near surface of the block and the index fingers
concerns; difficulty mainon the sides. Cue the student to press firmly into the block and hug taining arm positioning.
the elbows toward each other while practicing the leg lifting.
287
Kinematics
If the student positions the elbows farther than shoulder-width apart, the foundation of the asana is compromised.
Consider that if a structure is balanced on stilts positioned farther apart than the width of the buildings base, the
building collapses through the middle; a body on an unstable base does the same. This alignment is also important
for protecting the shoulder joints from possible injury.
Pincha Mayurasana
Body segment
Kinematics
Muscles active
Toe extension
Lower leg
Plantar flexion
Thigh
Knee flexion
Quadriceps (E, I)
Quadriceps
Hip extension
Iliopsoas
Hip stability
Iliopsoas (E, I)
Spinal stability
Stability
Joint stability
Subscapularis (I)
Scapular depression
Subclavius (I)
Scapular stability
Elbow flexion
Forearm pronation
Elbow stability
Finger abduction
Neck hyperextension
Torso
Shoulder
Upper arm
Lower arm
Neck
288
Muscles released
Latissimus dorsi
Sternocleidomastoid
Inverted Postures
Description
Adho Mukha Vrkshasana is a basic handstandthat is, an arm balancein which the hands are
placed on the ground and the rest of the body straight up in the air. This asana can be practiced
against a wall by students who are new to the pose or feel fearful of it. Once a student succeeds in
that version of the pose, she or he should practice without the aid of a wall.
Energetic Focus
Sixth chakra (Ajna) perceptive energy, seventh chakra (Sahasrara) divine energy
Foundational Focus
Root into the metacarpal heads and fingertips. Anchor into the balancing energy within your
abdomen.
Benefits
Caution
PregnancyWomen who are new to yoga should not practice this pose after
becoming pregnant. Those who are experienced with the pose may practice it
through the second trimester.
Verbal Cues
Note: The cues for this asana are designed for students who are new to the pose
and possess adequate shoulder strength and flexibility but may worry about trying
the pose without the reassurance of a wall for support. Some students may wish
to practice without the aid of a wall, which is totally acceptable.
Stand facing a wall at a distance of two to four feet (roughly one-half
to one meter). Exhale and fold forward from your hips, placing your
hands flat on the ground one to three feet (no more than a meter)
from the wall. Make certain that your hands are shoulder-width
apart. Spread your fingers wide and press into your fingertips.
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Keep your arms straight as you look toward the ground in front of your hands, focusing your gaze on a spot
between your hands and the wall. Take a deep breath in and imagine energy from the ground moving up from
your hands into your entire body.
Exhale and slowly lift your legs one at a time. If your feet land on the wall, feel free to connect into your heels
and use the wall as a prop. Take a couple of breaths and anchor into your hands.
If you feel comfortable in this position, experiment by slowly bringing one heel away from
the wall. Press up through your toes, energizing your legs by squeezing the inner thighs
together. If you feel balanced, slowly take your other heel off the wall. Find the edge of
your balance by using the wall as a sort of training wheel.
Use your hands to help direct the movement of your body. Bring your ankles in line with
your hips as your balance moves more fully onto your hands. Continue to press your
thighs together and press the front of your ribcage back toward your spine. This action
will keep the abdominals engaged and help maintain alignment and balance.
Continue to focus on your breath
Continue to focus your gaze toward the wall and spread your toes. Imagine reaching
your feet into the sky.
Your breath should be as smooth and deep as possible. If you feel you are straining
to maintain the position, slowly take your feet back to the ground.
To exit, slowly lower your legs back to the ground one at a time. Come to the
ground into Balasana (Childs Pose) to rest.
Adjustments
Hand alignmentMake certain that the students hands are shoulder-width apart.
As in Pincha Mayurasana (Peacock Feather Pose), the arms in Adho Mukha Vrkshasana act like stilts under a house. The hands and shoulders must remain aligned
to support the weight of the body and prevent injury in the supporting joints.
Assistance or spottingStand to the side of the student and use your hands or
Adjustment: assistance or spotting.
the inside of your forearm as a leg-stop so that the student does not fall over
backward. Do not hold the students legs up; if you do, the student will not sense
when the body is properly aligned and balanced.
Low backIf the low back arches significantly, stand beside the student, place your hand
between the knees or calves, and direct the student to squeeze your hand. As in Pincha
Mayurasana (Peacock Feather Pose), always stand to the side of the student for your own
protection. Tell the student to imagine that the hands are pushing the ground away and that
the energy from the ground is moving through the body toward the toes.
Modifications
Difficulty with maintaining balanceInstruct the student to keep the heels resting against
the wall and to focus on gaining the strength and stability needed in the shoulders and
spine to maintain balance. As the student feels more comfortable, cue to take one leg, then
the other, away from the wall.
Variations of exitIf the student is steady in the pose and no longer relies on a wall for
support, then instead of bending the hips and lowering the legs to the ground in front of
the body, the student can slowly arch the back and lower the legs behind into a backbend.
This variation applies only if the student practices away from the wall and has the strength
and flexibility to move in such a manner.
Kinematics
Maintaining the elongated hyperextension in the neck helps preserve the openness in the
upper chest and also helps keep the legs from dropping forward.
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Modification: difficulty
with maintaining balance.
Inverted Postures
Kinematics
Muscles active
Toe extension
Lower leg
Plantar flexion
Thigh
Knee extension
Quadriceps (C, I)
Hip extension
Hamstrings (C, I)
Hip stability
Iliopsoas (C, I)
Hip adduction
Adductors (C, I)
Torso stability
Joint stability
Subscapularis (I)
Subclavius (I)
Scapular stability
Upper arm
Arm stability
Lower arm
Forearm pronation
Forearm extension
Anconeus (C, I)
Wrist stability
Neck extension
Torso
Shoulder
Neck
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Salamba Shirshasana
Supported Headstand
[saah-LUM-buh sheer-SHAAH-suh-nuh]
Salamba means with support, and shirsha means head in Sanskrit. This pose is a headstand supported
by the strength of the arms.
Description
Shirshasana is considered the king of asanas and therefore is one of the most important poses in many
styles of hatha yoga. This supported version puts the least stress on the head and neck because the
majority of the body weight is supported by the forearms and shoulders. The crown of the head is
cradled between the hands, and the back of the head rests against the interlaced fingers. Numerous
headstand variations exist, and this is the best version for building the strength and stamina needed
to accomplish all of the others.
Energetic Focus
Sixth chakra (Ajna) perceptive energy, seventh chakra (Sahasrara) divine energy
Foundational Focus
Root into the elbows and forearms. Anchor onto the crown of the head and the supporting hands.
Benefits
Increases stamina and strength in the shoulders, neck, abdominals, and upper spine
and helps prevent bone degeneration in these areas.
Creates good posture.
Improves circulation.
Massages the lungs and builds resistance to illness.
Stimulates the pineal gland.
Increases energy and body heat.
Increases concentration and balance as it stimulates the pressure points at the Sahasrara chakra (crown of the
head).
Caution
PregnancyWomen who are new to yoga should not practice this pose after becoming pregnant. Those who are
experienced with the pose may practice it through the second trimester.
Verbal Cues
Explain to students that they may lose balance when practicing Salamba Shirshasana and that the fall is not nearly
as painful or frightening as they might imagine, especially if they simply allow the body to relax on the way down.
If a student does begin to fall, cue him or her to immediately tuck the chin to the chest. The most importantalbeit
most difficultthing to do is relax! Before beginning, ask students to make sufficient space between one another
and to clear the area completely of props and other gear.
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Inverted Postures
From a hands-and-knees position, bring your forearms to the ground in front of your knees. Align your elbows
with your shoulders and loosely interlace your fingers. Place the backs of your little finger and ring finger
against the ground. Release your thumbs so that they do not touch each other but instead rest on your index
fingers. Inhale deeply.
Exhale and draw your chin closer to your chest and lean your torso slightly forward to place the crown of
your head in your palms. Press into your forearms to lengthen your neck so that your shoulders do not hunch
toward your ears.
Inhale and lift your knees off the ground, bringing your hips into the air. Your body positioning now resembles
Adho Mukha Shvanasana (Downward-Facing Dog), with your forearms on the ground. This is a position called
Dolphin Pose, or Makarasana. Pause here for a few breaths and create length in your spine, moving your chest
and rib cage away from your arms. See preparatory position 1, Makarasana.
Lift your heels off the ground and begin to slowly walk your feet toward your face. Maintain
space in your spine, feeling your hips move toward alignment over your shoulders.
Continue to focus on your breath.
When your hips are stacked over your shoulders, bend one knee and draw it
to your chest. Continue to breathe deeply, pressing firmly into your forearms.
As you do so, you may feel your opposite foot naturally begin to hover off the
ground. Gradually, as you are comfortable doing so, bring your other knee
toward your chest. Keep both knees bent and balance here, hugging your
knees into your chest and pressing the inner thighs closer together.
See preparatory position 2.
If you can remain comfortably balanced with your knees into your
chest for five or six breaths, you are ready to extend your legs. (For
most students, this progress will come after a number of consistent
Prepatory position 1, Makarasana.
practice sessions. Once a student has sufficient strength, she or he
may enter the position by slowly raising and straightening both legs simultaneously.)
Exhale and very slowly straighten your legs one at a time. Move slowly and refrain
from kicking your legs up; doing so will throw off your balance. Stretch your
toes up toward the sky. Be sure to move slowly and purposefully to maintain
your balance.
As you breathe in this position, focus on aligning your body in an upside-down
Tadasana. Roll your thighs in toward each other slightly. Straighten your spine
with each inhalation. Press firmly through your elbows to bring strength and
stability to your shoulders.
Continue to focus on your breath.
To exit this posture, exhale and slowly bring your legs down to the ground
with as much control as possible. Fold yourself into Balasana (Childs
Preparatory position 2.
Pose) and rest.
Adjustments
Again, emphasize the importance of moving slowly. Control comes from building strength and coordination in the
muscles and using them to lift the legs rather than using momentum, which generally takes the student out of alignment.
ElbowsMake sure that the students elbows are shoulder-width apart and not splayed. If necessary, before the student
begins to balance, kneel to the side and gently press the elbows toward each other. Some students may welcome
a strap wrapped around the upper arms just above the elbows to help maintain alignment. Other students will find
the strap distracting.
SpineIf the back starts to round as the student brings the feet toward the face while raising the legs, instruct the
student to stop in that position. Stand in a semi-squat or kneel beside the student, place your hand on the rounded
spine, and instruct the student to move the spine away from your hand. Cue the student to lengthen the entire torso
with each breath.
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Chest and ribsIf the students chest and ribs flair out and the lower back hyperextends, stand beside
the student and place your closest forearm in front of the thighs for support. Place your other hand
around the backs of the ankles and instruct the student to press more firmly into the arms while
reaching the toes to the sky. Gently guide the feet upward while encouraging the thighs to move
into alignment. Move subtly so as not to disturb the students balance. Cue the student to press the
ribcage toward the spine, and to engage the abdominal muscles to aid in alignment.
Initial balance assistanceStand to the side of the student in a semi-squat position for your own
comfort and safety. As the student brings one or both of the knees into the chest, use your forearm
to stop the student from rolling over. When you feel that the student is balanced on her or his
arms, slowly remove your arm.
Straight-leg balance assistanceStand to the students side and use the inside of your arm as a legstop so that the student does not lose balance and roll onto the back. Do not hold the legs; if you
do, the student cannot get a feel for proper alignment and balance. This assistance is simply to help
the student recognize when the legs are perpendicular to the ground.
Strength buildingTo aid the students alignment and strength, stand to the side, place your
hand between the knees, and cue the student to squeeze your hand while lifting it toward
the sky. This adjustment teaches the student to lengthen and lift more actively in the posture.
Modifications
Adjustment: chest
and ribs.
Students who are determined yet slightly fearfulIf a student is truly building the strength for the balance but
feels disappointed in not yet being able to balance in the posture, place the students back against a wall. Use
this modification sparingly, so that students do not become dependent on the wall for the balance. As the student
gains confidence, move him or her away from the wall and place one or two folded blankets to the back side for
cushioning in case of a fall.
Tight shouldersIf the student has difficulty keeping the elbows aligned, a strap can be wrapped around the upper
arms to keep the elbows from moving apart. This should be done in the preliminary stages of building the strength
and flexibility for this posture.
Upper-body strength buildingAs the student builds strength in the upper body, balance may be achieved by bringing the knees into the chest and focusing on the balance in the arms. If the student loses balance, the forward roll
comes naturally.
Extreme weaknessInstruct the student to practice Adho Mukha Shvanasana (Downward-Facing Dog) to build the
needed arm and core strength.
Kinematics
It is common for people new to Salamba Shirshasana to practice with the back against a wall. Unfortunately, it is
highly possible to become dependent on the support provided by the wall and therefore never build the muscular
coordination and balance needed to practice without the wall. With patience and practice, however, the student
can learn to enter and exit this asana way from the wall, which not only builds muscle strength and endurance but
also helps eliminate the fear felt by many students when they first attempt the asana. In addition, proper alignment
reduces the intensity of isometric contraction in the torso and legs, thus making the pose more relaxing.
This is an excellent asana for building and maintaining vertebral strength in the neck. Some may argue that the
neck is not designed to carry the load of the body; however, in many cultures throughout the world, people carry
heavy loads balanced on the head. Proper postural alignment keeps the load balanced and strengthens the vertebrae
and surrounding musculature. Moreover, because the majority of the body weight is borne by the arms in this pose,
only a small percentage of weight is supported by the neck. If a student indicates soreness in the neck rather than in
the arms, it is best for that student to practice modified versions of the pose in order to build strength in these joints
and reduce pressure in the neck.
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Inverted Postures
Salamba Shirshasana
Body segment
Kinematics
Muscles active
Toe extension
Lower leg
Plantar flexion
Thigh
Knee extension
Quadriceps (C, I)
Femur adduction
Adductors (C, I)
Hip extension
Hip stability
Iliopsoas (I)
Torso
Torso stability
Subclavius (I)
Scapular stability
Upper arm
Lower arm
Forearm pronation
Wrist stability
Finger flexion
Finger adduction
Shoulder
Neck
Muscles released
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Halasana
Plow Pose
[huhl-AAH-suh-nuh]
Hala is the Sanskrit word for plow. In Halasana, the shape of the body
resembles that of a traditional plow utilized to till the earth; the
legs represent the handles and the rest of the
body the blade.
Description
In this asana, as in Salamba Sarvangasana
(Supported Shoulderstand), the top of the
shoulders and the back of the head are the roots. For the greatest benefit, the spine should be held as straight as
possible, but it can be rounded in some variations. The hips are flexed, and the legs are outstretched as the feet rest
on the ground behind the head.
Energetic Focus
Fourth chakra (Anahata) heart-opening energy, fifth chakra (Vishuddha) purifying energy
Foundational Focus
Root into the upper shoulders and the backs of the arms. Anchor into the tops of the feet.
Benefits
Cautions
Asthma and high blood pressurePractice Halasana with the legs supported by a prop, such as a chair.
PregnancyStudents who are experienced with this pose may continue to practice it late into pregnancy by
using props for support. However, it is contraindicated to begin initial practice of the pose when pregnant.
Back pain or other concernStudents with a history of back pain or discomfort should practice this pose with
modifications.
Verbal Cues
From Salamba Sarvangasana, exhale and slowly lower one foot toward the ground beyond your head. On your
next exhalation, lower your other leg in the same manner. Maintain length in both legs. If you are experienced
in the pose and feel completely comfortable and strong, lower both legs at the same time.
Keep your torso perpendicular to the ground and press strongly through your legs, as if you were standing in
Tadasana (Mountain Pose). Feel your inner thighs roll toward each other to keep your legs energized.
With your toes resting on the ground, press into your upper arms and lift the bottom of your pelvis toward the
ceiling. Continue to support the length of your back with your hands. Breathe slowly and smoothly.
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Inverted Postures
If you feel comfortable in your low back, release your hands from your back and straighten your arms behind
you. To deepen the stretch in the chest and front shoulders, clasp your hands and draw your elbows closer
together. Feel this action roll the fronts of your shoulders open, expanding your chest.
Draw your chest toward your chin into jalandhara bandha (throat lock). Feel your energy relax in the neck and
throat.
Continue to focus on your breath.
To exit this pose, unclasp your hands, if clasped, and press your palms into the ground. Keep your shoulders
and neck completely relaxed as the back of your head remains on the ground. Move and breathe slowly.
Bend your knees and bring them closer to your chest. Gently begin to roll your spine back to the ground while
you use the leverage in your arms to help keep your shoulders and head resting against the ground.
Pause when your hips first contact the ground and take a couple of breaths. Imagine your whole body sinking
softly into the ground underneath you.
Bring your feet the rest of the way to the ground and stretch your legs out. Take a breath or two and prepare for
a counterpose or for Shavasana (Corpse Pose).
Adjustments
Neck and shouldersMake sure that the students chest does not collapse into the chin, which is common when
the upper back is weak or the shoulders and neck are tight. Allow the student to use props (see the modifications
discussion). However, do not allow the student place a pillow or other prop under the head; doing so compromises
the neck by allowing it to overstretch or strain. To help the student maintain a long torso, kneel to the side and place
your farthest foot near the shoulder blades. Align your inner thigh and calf along the length of the spine and cue
the student to stretch the spine away from your leg.
Hips and spineIf the low back is rounded and the hips are positioned too far forward or too far back (rather than
aligned with the shoulders), kneel beside the student as in the neck-and-shoulder adjustment, and guide the student
to move the hips more into alignment. You can also use a pole, or even a broomstick, to illustrate length in the spine.
Modifications
Tight hips or backIf the student has difficulty
lowering the feet to the ground, place a block, a
stack of blankets, or a chair near a wall. Instruct
the student to lie on the ground with the top of the
head facing the wall and the prop and move into
the pose according to the regular cues. Once the
legs are lowered, they will rest on the prop rather
than on the ground. The exact distance between the
prop and the wall depends on the students height
(taller students are farther away).
Weak or tight shoulders and backTo aid the student and increase comfort, provide extra support
Modification: tight hips or back.
by placinga folded blanket under the shoulders,
as in Salamba Sarvangasana. You can also wrap a strap around the upper arms, above the elbows, to help keep the
arms shoulder-width apart and stretch the chest and shoulders.
Kinematics
Students often allow the back to round in order to stretch the entire spine. For many people, this feels great! However,
do not allow the student to remain in this position for more than a breath or two; the misalignmenthaving the hips
placed posterior to the shoulders and headputs undue strain on the neck and upper-back vertebrae over time.
Some students will feel comfortable dorsiflexing the ankles and extending the toes so that the sole-side of the toes
are on the ground. Others will prefer to plantarflex the ankles and flex the toes, as if they were "on pointe." This is
an individual preference. The kinematics table below illustrates muscular activity in both positions.
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Halasana
Body segment
Kinematics
Muscles active
Toe hyperextension
Toe flexion
Lower leg
Ankle dorsiflexion
Gastrocnemius, soleus
Ankle plantarflexion
Knee extension
Quadriceps (C, I)
Femur adduction
Adductors (C, I)
Hip flexion
Pelvic stability
Trunk stability
Arm hyperextension
External rotation
Scapular adduction
Upper arm
Elbow extension
Lower arm
Forearm pronation
Elbow extension
Anconeus (C, I)
Finger adduction
Finger flexion
Sternocleidomastoid, scalenes,
hyoids (C, I)
Thigh
Hip and pelvis
Torso
Shoulder
Neck
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Muscles released
11
Restorative
Postures
Dean Mitchell/istock.com
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300
Restorative Postures
Balasana
Childs Pose
[buhl-AAH-suh-nuh]
Bala is the Sanskrit word for child. Balasana
resembles the fetal position in the womb. This
asana is very restorative and
calming and evokes a feeling of
safety and security.
Description
Balasana is a kneeling, prone position where the shins rest on the ground and the belly and chest lie on the thighs.
The arms may be extended over the head and resting on the ground (often called Ancient Prayer Pose), or wrapped
around the outside of the body with the hands resting beside the ankles. This pose calms the body and replaces energy
after vigorous, challenging postures. It should be practiced as a counterpose after intense backbends and inversions.
Energetic Focus
Second chakra (Svadhisthana) creative energy, third chakra (Manipura) vitalizing energy, sixth chakra (Ajna) perceptive
energy
Foundational Focus
Root into the shins and the tops of the feet. Anchor lightly onto the forehead or the palms.
Benefits
Restores energy.
Stretches and releases the low back.
Relaxes the neck and shoulders.
Stimulates digestion.
Cautions
Knee painPractice with modifications or practice in a supine position with the knees drawn in toward the chest.
Intestinal discomfortThe pressure placed on the abdomen in this pose can exacerbate intestinal distress, so
students should avoid this pose until the discomfort passes.
Verbal Cues
From a kneeling position, sink your hips down toward your heels. Feel the front of your thighs elongate as you
soften your hips.
Exhale and slowly fold forward from your hips. Relax your upper body downward so that your torso rests on,
or between, your thighs and your head rests on the ground or on a soft prop under your forehead.
Exhale and bring your hands back by your feet; alternatively, if it is more comfortable for your neck and shoulders, extend your arms over your head in Ancient Prayer Pose. In either position, feel your shoulders sink toward
the ground as you relax your neck.
If your arms are stretched overhead, breathe deeply and feel your side ribs expand. If your hands are beside by
your feet, allow the backs of your shoulders to soften so that your chest melts toward the ground. Take deep,
slow breaths.
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With each inhalation, feel your shoulder blades move apart. As you exhale, allow your front body to sink
completely toward the ground. Draw your tailbone gently down toward your heels to lengthen and stretch
your lower back.
Continue to focus on your breath.
As you relax more deeply, adjust your hips and legs so that you are as comfortable as possible. You may want
to widen the space between your knees for comfort. Imagine the entire front of your body descending into the
support of the ground.
Slow down and deepen your breath, feeling its softness. Imagine each breath opening your rib cage and lengthening your spine. Relax your neck and shoulders more and more.
To exit this position, place your palms on the ground under your shoulders. As you inhale, slowly press through
your arms and lift your torso upright.
Adjustments
FeetThe feet should be relaxed; however, if a student experiences discomfort in
the feet or ankles, instruct the student to curl the toes under. If this is not comfortable, place a small rolled towel or blanket under the fronts of the ankle
joints. If the students toes are pointed outward, kneel behind the student and
gently rotate the feet so that the toes are aligned straight back or slightly inward.
KneesTo help the student relax more deeply, cue the student to move the
knees a little farther than hip-width apart. This positioning opens the hip
joints and often makes the student more comfortable, especially if he or
she has a larger belly.
SpineIf the students lower back is not convex (rounded), kneel to the side
and place your hand (the one closest to the students hips) flat against
the pelvis with your fingers pointing away from the students head.
Place your other hand between the shoulder blades with your fingers
Adjustment: spine; breath.
pointing toward the students head. Press down only enough
to feel some traction in your hands. Keep your hands in the
same spot but move them in a motion away from each other
as the student exhales. This action lengthens the spine and is
generally comforting to the student. Never push straight down
on the spine! Another option is to stand behind the students
hips, facing away, and sit very lightly on the students pelvis. Make
certain that you connect at the pelvisnot higher, which
would be on the low spine. Use this adjustment only if
the student is free of knee concerns. In addition, this
adjustment is best practiced in small-group or private
sessions because it takes time and attention away from
the rest of the class. When using either of these adjustments, ask
if the student is comfortable with the amount of pressure
you are providing.
ShouldersIf the students shoulders press up into the
Adjustment: spine.
ears, kneel at the students side and place your hands
lightly on top of the shoulders. As the student exhales, gently press the shoulders away from the ears and cue the
student to elongate the neck. The student may need to lift the head slightly in order to reposition.
BreathTo help the students breathing, kneel to the side and place one hand on the mid pelvis and the other between
the shoulder blades, as in the spine adjustment. Instruct the student to breathe deeply into the hand at the pelvis
and then move the breath up the spine into the hand at the shoulders. Ask the student to exhale in the opposite
direction, from the shoulders down to the pelvis.
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Restorative Postures
Modifications
Tight hips and kneesIf the student is not comfortable with the knees fully flexed, place a rolled towel, blanket, or
small bolster between the hamstrings and calves. It is fine if the student simply lifts the hips up away from the heels,
but this generally does not allow the student to fully relax into the pose.
Tight low backIf the students lower back does not round into a relaxing curve, place a folded towel between the
upper thighs and belly. For some students, this modification allows the back to curve gently. If it does not bring a
curve to the back, roll a blanket and place it under the knees. This modification lifts the front body
slightly as it raises the fronts of the knees, which allows the pelvis to drop toward the
ground.
Ancient Prayer PoseSome students are more comfortable with the arms
outstretched overhead rather than by the sides.
Tight shouldersIf a student has difficulty relaxing the
shoulders, instruct the student to stretch the hands
overhead in Ancient Prayer Pose and externally rotate
Modification: Ancient Prayer Pose with shoulder external
the upper arms so that the backs of the hands rest on
rotation.
the ground.
Kinematics
Balasana is essentially a resting and restorative posture that stretches the fronts of the shins and ankles, the front
thighs, the hips, and the spinal musculature. With the arms resting alongside the body, the shoulder blades gently
relax away from each other as the student focuses on deepening the breath. Because this is a passive pose, all the
muscles should be relaxed. The muscles indicated in the following chart are those that are additionally stretched
when practicing this pose.
Balasana
Body segment
Kinematics
Muscles released
Plantar flexion
Lower leg
Knee flexion
Quadriceps
Thigh
Hip flexion
Hamstrings
Torso
Slightly flexed
Erector spinae
Shoulders
Overhead extension
Upper arm
Lower arm
Extended
Relaxed
Neck
Forward flexion
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
When properly positioned in this asana, the entire body is relaxed; therefore, no muscle contractions are listed.
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Pavanamuktasana
Purifying, or Wind Relieving Pose
[puh-VAH-nuh-mookt-AAH-suh-nuh]
In Sanskrit, pavana means purifying, and mukta
means liberating or freeing. Pavana is also
the name of the god of wind (and the father of
the monkey god Hanuman). This pose, true to its
name, does indeed help stimulate the digestive
system while gently stretching the low back.
Description
Pavanamuktasana is a supine asana that, when
practiced with both legs drawn into the chest
simultaneously, resembles a flipped-over version of Balasana. This pose gently stretches the low back as it calms.
Energetic Focus
Second chakra (Svadhisthana) creative energy, third chakra (Manipura) vitalizing energy
Foundational Focus
Root into the upper pelvis and spine. Anchor lightly onto the shins or the backs of the thighs with the hands.
Benefits
Cautions
Neck concernsStudents with neck concerns should practice with modification.
Extreme intestinal discomfortThe pressure placed on the abdomen in this pose can exacerbate intestinal
distress, so students with this condition should avoid this pose until the discomfort passes.
Abdominal surgery or herniationStudents who have a hernia or are healing from abdominal surgery should
refrain from practicing this pose.
PregnancyAfter the second trimester, this pose should be practiced with modification.
Verbal Cues
From a supine position, with your knees bent and your feet flat on the ground, breathe deeply and, as you
exhale, bend your right knee and draw it in toward your right shoulder.
Bring your right hand to the front of your right shin and, using your arm, gently pull your leg as close to your
shoulder as is comfortable. Move with gentle ease. Inhale and settle in a relaxed manner onto your back.
As you exhale, draw your left knee in toward your left shoulder. Place your left hand onto your shin to help
move your leg in closer to your body.
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Restorative Postures
Inhale deeply and feel the back of your pelvis root into the ground. Tuck your chin toward your chest and keep
your chest open.
On your next exhalation, feel your navel rooting down toward your spine. Allow your breath and the flexion of
your abdomen to lift the back of your head and your shoulders off the ground. As you breathe, feel your belly
and thighs pressing gently together.
Use the strength of your biceps (upper arm) to hold your legs in place. Keep your shoulders relaxed and away
from your ears. If you notice tension in your chest or shoulders as you try to hug your legs closer, wrap a strap
around your shins for more ease.
Continue to focus on your breath.
If it is comfortable to do so, allow your body to rock gently from side to side. Feel the massaging action in your
pelvis and low back. After a few breaths, bring your body into stillness and continue to breathe deeply.
To exit this pose, slowly lower your head and shoulders back to the ground and release your shins. Bring your
arms to your sides and, as you exhale, lower your right foot back to the ground. On your next exhalation, bring
your left foot down. Relax in this position for a few more breaths.
Adjustments
KneesIf the students knees splay, kneel to one side and place your hands lightly on the outsides of the mid thighs.
As the student exhales, gently cue her or him to press the knees closer together and take the thighs away from your
hands. Ask the student to keep the legs parallel to each other.
Arms and kneesIf a student is unable to reach the front of the shins, or if the
pressure on the knees is uncomfortable as the student presses on the shins,
invite the student to hold behind the thighs rather than
on the shins. Some students may wish for an additional stretch in the hips. If they feel comfortable
doing so, they can reach up for the soles of the feet
and draw the bent knees toward the shoulders into
a position called Balasana Ananda (Happy Baby Pose).
NeckIf the student does not tuck the chin toward
the chest, or if the neck is in hyperextension, kneel
behind the students head and place your hand
Adjustment: neck.
lightly on the back of the head. Ask the student to
move the head away from your hand.
ShouldersIf the students shoulders are squeezed up tightly toward the ears,
kneel behind the students head and place your hands lightly on the fronts of
the shoulders. As the student inhales, gently guide the shoulders away from the ears and open the front of the chest.
Modifications
Tightness or weak low backIf the student has weakness
or discomfort in the low back, cue the pose as Ardha
Pavanamuktasana (Half Wind-Relieving Pose), in which
Modification: Half Wind-Relieving Pose.
the student draws in only one leg at a time. Depending
on the students comfort level, the opposite leg may remain anchored flat
against the ground or with the knee bent and the foot close to the pelvis.
Difficulty in reaching the legsIf the student has difficulty reaching the shins
or the back of the thighs, place a strap behind the thighs to help draw the legs
in without strain.
Neck weakness or discomfortIf the student has difficulty
lifting the head, instruct the student to keep the back of the
head on the ground.
Modification: difficulty in reaching the legs.
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Kinematics
Pavanamuktasana is a comforting, restorative pose. The gentle stretching of the low back while the spine is supported
benefits students who have weakness or are rehabilitating after injury. It also strengthens the abdominals, as well as
the upper arms and chest. Students should use the biceps in conjunction with the pectorals to draw the legs in. If
students use only the chest muscles to hold the legs, they typically engage the upper trapezius in order to help hold
the position, which creates tension in the neck and shoulders and defeats the purpose of the pose.
Pavanamuktasana
Body segment
Kinematics
Muscles active
Plantarflexion
Lower legs
Knee flexion
Thigh
Hip flexion
Torso
Shoulders
Flexion
Upper arm
Elbow flexion
Finger flexion
Neck
Flexion
Sternocleidomastoid (C, I)
Gastrocnemius (C)
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Muscles released
Anterior tibialis, extensor digitorum and hallucis longus
Triceps brachii
Restorative Postures
Description
This posture is a modified backbend in
which spinal support is provided by a supportive prop, such as
a fitness ball, chair, or set of folded blankets. As a
result, no further modifications are provided
in the following description.
Energetic Focus
Third chakra (Manipura) vitalizing energy,
fourth chakra (Anahata) heart-opening energy,
fifth chakra (Vishuddha) purifying energy
Foundational Focus
Root through the bottoms of the feet.
Anchor into the support of the prop under the pelvis and back.
Benefits
Is relatively accessible to students with weakness or other physical challenges.
Opens the chest.
Increases flexibility in the spine.
Caution
Back pain or injuryAlthough this is a supported version of a backbend, caution should still be practiced by
students with back or neck injury. Extra time should be allotted in moving into and out of the pose.
Verbal Cues
Cues for a Fitness Ball
Sitting on a fitness ball with your feet flat on the ground and hip-width apart, place your hands on your hips or
against the side of the ballwherever you feel comfortable and balanced.
Walk your feet forward and feel your hips roll slowly forward on the ball. Continue walking forward until your
lower back rests on the ball. On an exhalation, tuck your chin toward your chest and slowly lower your mid
spine onto the ball. Evenly balance between both feet.
Inhale and continue to lower your upper back and head onto the ball. Feel the openness in your throat as the
back of your neck rests in the support provided by the ball. Breathe slowly and smoothly.
If you feel comfortable and balanced, stretch your arms out to your sides or overhead.
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Breathe and feel your shoulders and chest expand and relax.
To exit the position, draw your chin toward your chest and slowly walk your legs backward as the ball rolls
away from your spine and your torso returns to an upright position. Slowly bring your head up last.
Adjustments
SpineThe apex of the support (ball, chair, or blankets) should rest comfortably against the students
back. To help the student roll back against the
support, kneel or squat behind the students
back. If using a ball, place your hands to the
side of the ball and guide the movement as
Adjustment: spine and back.
the student lowers back. Remain here until
the student feels balanced and comfortable. If using a chair or the blankets, simply guide the student backward,
providing as much support as the student needs. If the student is on the ground, place a small bolster under the
lower thigh to further support the lumbar spine.
NeckSome students require support as they lower the head back. To adjust, kneel to the side and place your hand
on the back of the students head. As the student relaxes the neck, provide support until the student feel comfortable.
Some students may also require the use of your hand as a prop when lifting the head as they sit up; if so, place your
hand behind the back of the head and softly support it.
ShouldersMake certain that the students shoulders are relaxed away from the ears and that the chest is open. Kneel
above the students head and softly place your hands on the fronts of the shoulders. Lightly press outward with your
hands to encourage the student to expand the chest and soften the shoulders.
Kinematics
The relative softness of the ball or blankets provides support along the contours of the spine, thus allowing for
relaxation throughout the entire body.
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Restorative Postures
Kinematics
Muscles active
Muscles released
Toe extension
Lower leg
Thigh
Torso
Spinal hyperextension
Shoulder
Anterior tibialis
Quadriceps
Hamstrings (I)
Iliopsoas
Horizontal hyperextension
Upper arm
Elbow extension
Forearm supination
Lower arm
Wrist hyperextension
All
Finger extension
All
Neck
Neck hyperextension
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Jathara Parivartanasana
Belly Twist
[juht-HAR-uh par-ee-VAR-tuhn-AAH-suh-nuh]
Jathara is the Sanskrit word for stomach or belly,
parivartana means to roll or turn around.
Description
In this supine pose, the hips are
flexed and the legs are rotated
to one side. The shoulder blades remain as flat on the
ground as possible and act as an anchor. This asana is
generally used in a finishing sequence at the end of class.
For a restful and restorative posture, as in this example, the knees are bent with one leg crossing over the other. For
a more active yet still restorative pose, the legs remain straight.
Energetic Focus
Third chakra (Manipura) vitalizing energy, fourth chakra (Anahata) heart-opening energy, fifth chakra (Vishuddha)
purifying energy
Foundational Focus
Root through the shoulder blades and the outer arms. Anchor into the hip and the outer leg on the twisting side.
Benefits
Cautions
Hip replacementStudents with a hip replacement should not cross the thighs over the midline of the body;
therefore, they should practice with modification.
Acute spinal concernsStudents with disk injury or spinal pain should practice with modification.
PregnancyStudents past the first trimester should avoid deep supine twists, including this pose, and instead
should practice seated upper back and neck twists.
Verbal Cues
From a supine position, bend your knees and bring your heels as close to your hips as is comfortable, with the
soles of your feet on the ground. Align your hips with your shoulders and settle your shoulder blades comfortably against your rib cage and the ground. Inhale deeply and elongate your spine.
Exhale and cross your right leg over your left leg above the knee. If it feels comfortable, hook the top of your
right foot behind your left calf.
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Restorative Postures
Inhale and reach your arms out to your sides at shoulder height with your palms facing up. Turn your head and
look toward your right hand. Slightly anchor the backs of your hands into the ground.
Inhale deeply and feel your spine lengthen and your chest expand.
Press into your left foot and lift your hips just enough to take some body weight off of your pelvis. As you
exhale, shift your hips so that your pelvis moves slightly to the right. Settle your pelvis back to the ground and
slowly lower your knees to the left side of your body. Rotate as far as is comfortable for you, imagining your
right hip stacking over your left hip. Be mindful of any discomfort in the spine, and back away from the pose
if necessary. If your back feels comfortable, uncross the legs and reach your toes up toward your left hand. If
your right shoulder lifts from the floor, back away from the pose slightly.
Continue to focus on your breath.
With each breath, feel your legs and shoulders anchor softly, yet deeper, into the ground. If your right shoulder blade lifts off the ground, draw your legs back toward the right until both shoulder blades are once again
grounded.
To exit the posture, inhale and slowly bring your knees and head back to center
and rest flat on your back. Uncross your legs and prepare for the other side.
Adjustments
SpineThe spine should not round while rotating. Assist the student in lengthening the spine by kneeling behind the students back and placing one hand
on the front of the closest shoulder. Place your opposite hand on the outside
of the students hip. As the student inhales, gently press your hands away
from each other to lengthen the spine. To help the student deepen the twist,
as the student exhales, slowly and gently press the outside of the top hip
away from you so that the top knee moves closer to the ground.
ShouldersIf the shoulder farthest from the twisted knees is lifting slightly
off the ground, kneel behind the students back and place your closest
hand at the junction of the chest and shoulder and your opposite hand
on the outside of the students hip. Gently press the shoulder blade toward
the ground while anchoring the top hip with your other hand. If the student gives
you permission, use light pressure to press down and away on the hips slightly more
with each exhalation.
NeckIf the students neck is not lengthened, cue for length by lightly
sweeping your fingers against the back of the neck from the base of the
Adjustment: spine; shoulders.
shoulders to the back of the skull.
Modifications
Tight spine or hipsSupport the students knees by placing folded blankets or
a block between the legs and the ground. Another modification
is to instruct the student to begin with the legs up the wall and
then bend the knees so that the soles of the feet are flat against
the wall. With the arms stretched wide, as in the traditional pose,
the student can then slowly walk the feet in an arcing motion
down toward the ground to one side. Cue the student to stop at
the first point of resistance and to rest in that position. If the legs
are not on the ground, place a prop under the leg for support.
Hip pain or hip replacementIf crossing the legs stresses the
top hip, then instruct the student to keep the legs parallel and
press the insides of the legs together while lowering the knees
to the side. Also instruct the student not to lower the knees
completely to the ground. Place blocks or blankets under the
Modification: hip pain or hip replacement.
legs for support.
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Kinematics
The closer the knees are to the shoulders, the deeper the stretch
Modification: deepening the posture.
is in the hips, low back, and shoulders. However, the closer they
are together, the harder it usually is to keep the opposite shoulder relaxed on the ground. This is a good
asana to use for measuring increased flexibility in the spine and chest.
Kinematics
Muscles active
Muscles released
Toe extension
Lower leg
Foot dorsiflexion
Thigh (R and L)
Knee flexion
Hamstrings (C, I, R)
Thigh (R)
Thigh adduction
Adductors (C, I, R)
Hip flexion
Iliopsoas (C, I)
Gluteus maximus
Internal rotation
Torso (R)
Pelvis rotation
Torso (L)
Stability
Shoulder
Adduction of scapulae
Upper arm
Elbow extension
Lower arm
Elbow extension
Anconeus (E, I)
Elbow supination
Supinator (C, I)
Finger extension
Neck (R)
Sternocleidomastoid
Neck (L)
Sternocleidomastoid (C, I, R)
Gastrocnemius, soleus
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, I = isometric contraction, left = left, and R = right (in body segment column) or relaxed
(in muscles active column).
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Restorative Postures
Viparita Karani
Restorative Legs-Up-the-Wall
Pose
[veep-uh-REE-tuh kuh-ruh-nee]
In Sanskrit, Viparita Karani meansin the inverted
or reversed position. Many yoga instructors,
however, simply refer to this asana as the legsup-the-wall pose when using English terms.
Description
In this restful asana, the students torso is supine
on the ground and the legs are stretched up a
wall. Often, a bolster or set of blankets is placed
under the hips to lift the students pelvis higher
than the heart as a modified inversion. This
variation makes the pose more restorative and, for
many, also helps loosen and relax the low back.
If props are not used, then the sacrum is placed
flat against the ground and the ischial tuberosities
(sit bones) are pressed into or near the wall. This
pose is often used as a modified inversion for
menstruating women, in which case the hips are
positioned farther away from the wall.
Energetic Focus
Second chakra (Svadhisthana) creative energy
Foundational Focus
Root through the back of the pelvis. Anchor softly into the shoulder blades and the back of the head.
Benefits
Verbal Cues
If using a mat, place it flat on the ground with the short
edge against a wall.
Lie on the outermost right edge of the mat on your right
side in a fetal position with the soles of your feet pressed
into the wall. Move your hips flat against the wall.
Inhale and slowly roll your body onto your back, walking
your feet off the ground in an arc. You should be lying in
the middle of your mat.
Starting position.
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Exhale as you straighten your legs. Let the backs of your legs and your heels rest against the wall. If the stretch
in the hamstrings feels too intense, move your hips away from the wall slightly. Settle into your shoulder blades
and bring your arms to your sides with your palms facing up.
Completely relax your legs. Allow your toes to soften. With every exhalation, feel your back and hips sink
deeper into the support of the ground.
Breathe here, close your eyes, and relax.
To exit the pose, slowly bend your knees and walk your feet to the ground so that you are resting on your right
side. Take a few slow breaths here. Press your left hand into the ground and gently lift your torso. Take your
time and come completely into a seated position away from the wall.
Adjustments
HipsIf the students hips are slightly lifted off the ground or blanket, and if the student has sufficient flexibility in
the hips, stand to the side of the legs and place your hands or a weighted sandbag on the soles of the students feet.
Press down slowly and gently. This action provides a nice stretch in the hips
and legs and feels very comforting to many students. If a student does not
have sufficient flexibility in the hips, cue the student to move the hips farther
from the wall. You can also increase the height of any prop under the hips.
ShouldersIf the students shoulders are up near the ears and rotated internally, kneel above the students head. Lightly place your hands on the fronts
of the students shoulders and gently press the shoulders away from the ears
and against the ground.
Modifications
Tight hamstringsIf the student has difficulty with fully straightening the
knees, instruct the student to bend the knees slightly or to move the hips
slightly farther from the wall.
Overly tight neckIf a student is so tight in the neck that he or she is unable
to rest the back of the head on the ground, place a small pillow under the
neck and back of the head for support and to allow for deeper relaxation.
Modification: hips.
Kinematics
Bolsters or blankets placed under the hips create more length in the low spine while providing support. In addition,
the increase in the angle between the legs and torso allows students with tight hamstrings to find a comfortable
position while keeping the knees straight.
Viparita Karani
Body segment
Kinematics
Muscles released
Neutral
Lower leg
Neutral
Thigh
Knee extension
Hamstrings, adductors
Hip flexion
Gluteals
Torso
Spinal extension
Shoulder
External rotation
Upper arm
Elbow extension
Lower arm
Wrist extension
Neutral
Neck
Extension
When properly positioned in this asana, the entire body is relaxed; therefore, no muscle contractions are listed.
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Restorative Postures
Shavasana
Corpse Pose
[shuh-VAAH-suh-nuh]
Shava is the Sanskrit word for corpse. In this asana, the body resembles
the stillness and detachment of an unmoving corpse.
Description
This supine pose is the quintessential finishing, resting, and
restorative asana in which the student reclines on the ground with
the arms stretched beside the body. Because the nervous system
is constantly bombarded with stimuli throughout the day and most
people are distracted by unconscious, nonessential, self-limiting
thoughts (known as vritti), the purpose of practicing Shavasana is to
completely release tension from the mind and body and to engage the
parasympathetic nervous system. This shift frees the mind, allowing it
to move into a more meditative state. From the outside, this important
asana may appear extremely simple because it involves no effort
or movement in the body. However, it can be one of the most
challenging asanas because many people find it difficult to quiet
the mind when the body is still.
Energetic Focus
Sixth chakra (Ajna) perceptive energy, seventh chakra (Sahasrara)
divine energy
Foundational Focus
Root softly into the solid support of the ground.
Benefits
Relaxes both the mind and the body after a physically intense asana practice.
Allows for deep healing and relaxation, thus leading to successful meditation.
Removes fatigue.
Helps increase the bodys psychoneuroimmunological abilities (see chapter 5).
Cautions
PregnancyAfter the first trimester, pregnant women should practice this pose either by lying on the left side or
with the head and chest raised so that they are not flat on their backs.
Back injuryStudents with back pain or injury should practice with modification.
Verbal Cues
See appendix A for sample relaxation scripts to help your students become completely relaxed into Shavasana.
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Adjustments
Because adjustments can distracting to some people, it is best to make any necessary modifications to a students
positioning in Shavasana as soon as possible, unless a student specifically asks for assistance.
FeetKneeling down, place your hands lightly around the students ankles and gently roll the students feet externally.
ArmsKneelingabove the students head, place your hands lightly on the front of the shoulders and rotate the arms
externally so that the students palms face upward.
ShouldersKneeling above the students head, place your hands on the shoulders and lightly press down and out
to help the student relax more deeply. Move with the students breath.
NeckTo lengthen the neck, cradle the base of the students skull in your palm
and lightly draw the head away from the shoulders. Some students require
a pillow under the head for support.
Modifications
Spinal discomfortIf the student has discomfort in the
low back, instruct the student to bend the knees and
place a bolster or a number of folded towels under the
knees. If no props are available, instruct the student to
bend the knees and move the feet as wide apart as is
comfortable and to let the knees roll inward so they
touch. This modification allows the student to rest the
legs without using any muscles.
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Restorative Postures
Kinematics
Because all of the muscles are in a relaxed state, the kinematic chart illustrates only the bodys positioning in the pose.
Shavasana
Body segment
Kinematics
Toe extension
Lower leg
Thigh
Knee extension
Torso
Spinal extension
Shoulder
Upper arm
Elbow extension
Lower arm
Forearm supination
Wrist extension
Finger extension
Neck
Neck extension
Because the entire body is relaxed when properly positioned in this asana, no muscle contractions are listed.
Because many people need a bit of guidance to bring their body and mind into full relaxation, appendix A
offers some sample relaxation scripts. You may also view the Belly-to-Universe relaxation video by visiting
the web resource at www.HumanKinetics.com/InstructingHathaYoga.
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Structuring
a Class
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Class Framework
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Warm-up
(engine start-up
and idling)
Workout (flight)
Cool-down (landing)
Finishing poses, twists
and slower movements,
then a seated meditation
or Shavasana
Nadi shodhana or
simple passive and natural belly breathing
Class Framework
planes engine needs to warm up; similarly, the
body needs to be warmed before it can go through
more strenuous poses. The main poses then correspond to the flight itself, and the cool-down
period corresponds to the planes landing, which
is gradual and, like Shavasana (Corpse Pose),
often requires the most skill.
Class Outline
In a yoga class, the basic framework consists of
the following elements: centering of mind and
body, warm-up of body and loosening of physical
tensions, main asanas, cool-down period, and
class closure. With this basic framework, you
can choose your class goals and the activities,
rationales, and objectives through which to meet
them. To put it another way, the asanas and the
pranayama you instruct are activities that you
offer your students in order to meet the chosen
goals. The following bare-bones, class-structure
outline can be applied to almost any style of
hatha yoga.
Centering
Centering is the part of class in which students
begin to prepare mentally for practicea time to
clear the mind of extraneous thoughts and begin
drawing the focus inward. To help your students
move into this mind-set, remind them to turn off
cell phones and other devices, move belongings
away from the practice space, and slowly begin
letting the outside world dissolve. During this
portion of class, atmosphere plays a big role in
directing students to their practice. If you choose
to use music, you can play it softly in the background as students enter the room to help set a
peaceful, calming mood before a word is spoken.
In many hatha traditions, Tadasana (Mountain
Pose) is used to bring the focus of the mind into
the body. By inviting students to focus on breath,
balance, and alignment, you help them begin to
ignore outside distractions and eliminate mental
stresses. Some hatha styles, especially restorative classes, generally begin with students in
a seated position. Others start in Shavasana to
create restfulness and help push away ordinary
distractions. Many instructors also facilitate centering by means of intention setting, chanting, or
motivational readings.
Physical Warm-Up
To prepare the muscles and joints for movement
in any asana practice, the tissues need to be
moved and warmed to a certain degree in order
to avoid injury. The same rationale applies to any
type of physical activity: warmed muscles are
less apt to strain or tear. In addition, when joints
can move more fully and smoothly through their
designed range of motion, students are generally
more able and willing to open themselves and
tune into their energy throughout the class.
Warm-up involves the Sun Salutations. Practiced slowly or rapidly, this series of asanas
increases circulation to the muscles and joints
and allows practitioners to link each movement
with the rhythm of the breath. As presented in
chapter 6, the sequencing of the classical Sun
Salutations, linked to the breath, allows students
to form a deep mental and physical connection
with the truth of how they feel on a physical and
emotional level.
In some styles of hatha yoga, however, teachers
choose either to not implement the Sun Salutations at all or to introduce them later in the class.
This decision is based on a teachers preference
and the style of yoga they instruct. In classes that
do not practice Sun Salutations as a means to
warm the body,the beginning of class generally
focuses on using the breath as a means to warm
the body and on practicing simple, rhythmic joint
movements. In Iyengar hatha yoga, the practice
begins with standing postures, and some teachers
might utilize poses that require strong isometric
energy, such as Utthita Chaturanga Dandasana
(Plank Pose).
Main Practice
The bulk of a class session consists of the main
practice, which is generally the most physically
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Beginning your class with warming poses, such as the Sun Salutations, helps prepare the muscles and joints for the
movements to follow.
Cool-Down
Asanas that are not physically demanding are
quite effective when sequenced near the end
of class as part of the cool-down period. Many
restorative supine poses, as well as pranayama
and eye exercises, are suitable for practice
during this phase because the mind is calm yet
actively attentive and the body is ready to relax
comfortably.
Finishing asanas are either very passivefor
example, Viparita Karani (Restorative Legs-Upthe-Wall Pose), which naturally facilitates the
cooling-off periodor, as in Salamba Shirshasana
(Supported Headstand), require so much energy
and stamina that only a few passive poses are
practiced immediately afterward as a cool-down.
Many seated asanas are soothing when practiced
slowlylowering the heart rate and respiration
while moving the mind into a restful state.
Shavasana (Corpse Pose) is the heart of hatha
yoga. The deep meditative relaxation provided
by this pose opens a space where the body and
Class Framework
mind meld into a restful state and are restored
and recharged. Consciously withdrawing the
senses from the material world and from excessive stimuli gives the nervous system a chance to
recuperate and brings the entirety of the bodily
systems back into balance. On a physical and
energetic levels, this deep relaxation improves
immune system function and allows for increased
fitness. On the mental and emotional levels, willpower increases, as does the tolerance of many of
lifes stressors. In fact, for some people, conscious
relaxation and meditation are often more healing
and fortifying than sleep.
Sometimes students become so relaxed in
Shavasana that they fall asleep. (You may even
hear snoring!) At other times, students fall asleep
in Shavasana because they are so physically and
mentally exhausted. For these students, it may be
appropriate to allow them this snippet of sleep,
as long as they do not distract others.
The purpose of Shavasana, however, is to
remain aware yet detached. When a student
remains attentive but calm in body and mind,
she or he experiences a true, deep, conscious
relaxation. As you hold the peaceful space for
your class while they are in Shavasana, observe
the slow rise and fall of abdomens. In addition,
observe the calmness and tranquility in hands,
feet, and faces, which appear to hold much less
tension than they did when the class began. Often,
students also have a smile or a few words to share
in appreciation of experiencing the journey of
your yoga class.
Class Closure
To finish the class, slowly revive the students,
guide them back to awareness of the body, and
bring them back to a seated position. To draw
students back from the relaxed state, many
instructors use guided imagery. Some also provide an inspirational reading or thought as a way
of closing the class session. In the classic closing
gesture, students are invited to press the palms
together in front of the heart in Anjali Mudra.
Some instructors chant Om and then offer the
salutation Namaste.
By establishing conscious closure for the
class, you enable each student to experience a
smoother transition from the mat to her or his
next destination. Although the important time
spent on the mat has ended, students generally
Lesson Plans
and Class Descriptions
A lesson plan not only provides your class with
structure and definition but also can be quite
useful for educating your students. Depending
upon the overall objectives you set for your class,
you may choose to share additional philosophical
or anatomical information about the asanas, or
about yoga in general. This is also a great way for
your students to get to know you better, and for
you to help build a closer-knit "community" within
the group. In addition, the information included
in a lesson plan helps you stay organized, explain
your class to prospective and current employers, and promote yourself and yoga in general.
Eventually, teaching a class becomes second
nature, but going through the process of writing a
lesson plan at any point during your professional
progress is edifying because it deepens your
understanding of yoga, enhances your teaching
skills, and allows you to promote yourself and the
discipline on a professional level.
One marketing technique used in many yoga
brochures and course listings is that of stating
class goals instead of describing the class itself.
The fact is, however, that all yoga classes share
some wonderful goals. For example, a brochure
might say, Feel renewed and balanced in your
body, mind, and spirit with the nurturing workout of our yoga journey. It sounds great, but it
could refer to the goal of almost any yoga class.
The statement indicates promised benefits rather
than describing the class itself, and it gives the
reader no way of knowing whether the class style
is gentle and passive or active and heated.
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Themes
Starting with a basic lesson plan and specific
guidelines, you can apply various themes and
intensity levels in any given class. One way to do
so is to ask students for their feedback regarding
any area of the body that may require additional
Class Framework
Low Back
Surya Namaskaras (Sun Salutations)
Any standing posture
Side bends, twists, and forward- and backbending postures so that the spine is moved
in six directions
Utthita Trikonasana (Extended Triangle)
Ardha Matsyendrasana (Half Lord of the
Fishes Pose)
Uttanasana (Intense Forward Bend)
Ushtrasana (Camel Pose)
Balasana (Childs Pose)
Abdominals (Core)
Focus on deep abdominal breathing
Drawing the legs forward and backward
during Sun Salutations instead of pushing
off with the feet
Navasana (Boat Pose)
Utthita Chaturanga Dandasana (Plank Pose)
Chaturanga Dandasana (Four-Limbs Staff
Pose)
Vasishthasana (Side Plank Pose)
Purvottanasana (Reverse Plank, or Intense
East-Side Stretch)
Hips
Utthita Trikonasana (Extended Triangle)
Virabhadrasana II (Warrior II) with focus
on frontal plane
Natarajasana (King Dancer)
Dhanurasana (Bow Pose)
Parivrtta Trikonasana (Revolving Triangle
Pose)
Variations of Raja Kapotasana (Royal
Pigeon Pose)
Ushtrasana (Camel Pose)
Baddha Konasana (Bound Angle Pose)
Hamstrings
Calves
Vrkshasana (Tree Pose) and other single-leg
standing poses
Virabhadrasana I (Warrior I)
Adho Mukha Shvanasana (Downward-
Facing Dog) with emphasis on pressing the
heels down to the ground or on placing the
toes of one foot on the heel of the opposite
foot
Parshvottanasana (Intense Side Stretch)
Chest Openers
Bhujangasana (Cobra Pose)
Urdhva Mukha Shvanasana (Upward-
Facing Dog)
Ushtrasana (Camel Pose)
Urdhva Dhanurasana (Upward Bow Pose,
or Full Backbend)
Setu Bandhasana (Bridge Pose)
327
328
Summary
A well-sequenced hatha yoga class is designed
to benefit each of your students on many levels.
Remain mindful of the need for physical and
energetic balance in the sequencing of poses.
Whether you are highly detail orientedor tend to
be spontaneous in your approach to the framework of your classes, you can use the information
presented in this chapter as a guide to help you
map out smooth, logical asana transitions based
on your desired outcomes and those of your students. By clearly outlining the objectives of your
classes in expressive, well-defined language, you
provide prospective students and employers with
a realistic description of what to expect from you
and your classes.
13
Sample Classes
AfricaImages/istock.com
329
See
chapter 6,
pages 77-80
330
2 Surya Namaskara
series, two times for 1
minute each
4 Uttanasana, 1 minute
6 Uttanasana, 1 minute
8 Uttanasana, 1 minute
10 Uttanasana, 1 minute
11 Malasana, 1 minute
Sample Classes
14 Matsyasana, 1 minute
17 Supta Padangusthasana,
left side for 1 minute
18 Jathara Parivartanasana,
legs to left side for 1 minute
19 Jathara Parivartanasana,
legs to right side for 1 minute
16 Supta Padangusthasana,
right side for 1 minute
20Pavanamuktasana,
30 seconds
331
See
chapter 6,
pages 77-80
332
1 Tadasana, 3 minutes
4 Uttanasana, 1 minute
5 Vrkshasana, standing on
right leg for 2 minutes
6 Utthita Trikonasana,
left side for 1.5 minutes
7 Uttanasana, 1 minute
8 Vrkshasana, standing
on left leg for 2 minutes
Sample Classes
10 Parshvottanasana, right
side for 1 minute
11 Uttanasana, 1 minute
12 Virabhadrasana I, left
side for 1 minute
14 Uttanasana, 1 minute
15 Malasana, 1 minute
18 Matsyasana, 1 minute
19 Gomukhasana, right
side for 1 minute
(continued)
333
334
21 Dandasana, 1 minute
22 Paschimottanasana, 2
minutes
23 Purvottanasana, 1 minute
25 Baddha Konasana, 1
minute
26 Upavishtha Konasana,
1.5 minutes
28 Supta Padangusthasana,
left side for 2 minutes
29 Jathara Parivartanasana,
legs to left side for 2 minutes
30 Jathara Parivartanasana,
legs to right side for 2
minutes
31 Shavasana, 14 minutes
Sample Classes
See
Chapter 6,
pages 77-80
1 Tadasana, 3 minutes
5 Uttanasana, 1 minute
9 Uttanasana, 1 minute
11 Virabhadrasana I, right
side for 1 minute
12 Parshvottanasana, right
side for 1 minute
(continued)
335
336
13 Uttanasana, 1 minute
14 Virabhadrasana I, left
side for 1 minute
16 Uttanasana, 1 minute
19 Uttanasana, 1 minute
21 Utthita Parshvakonasana,
right side for 1 minute
22 Uttanasana, 1 minute
23 Malasana, 1 minute
26 Gomukhasana, right
side for 1 minute
28 Dandasana, 1 minute
Sample Classes
29 Paschimottanasana, 2
minutes
30 Purvottanasana, 1 minute
32 Baddha Konasana, 1
minute
34 Salamba Shirshasana, 5
minutes
35 Salamba Sarvangasana, 5
minutes
36 Matsyasana, 1 minute
37 Supta Padangusthasana,
right side for 2 minutes
39 Jathara Parivartanasana,
legs to left side for 2 minutes
40 Jathara Parivartanasana,
legs to right side for 2 minutes
41 Shavasana, 17 minutes
337
338
3 Durga-Go (Cat and Cow Pose); possible gentle warm-up and beneficial for spinal strength (1 to 2 minutes)
5 Balasana (Childs Pose); drawing the legs wider as the pregnancy advances (1 to 2 minutes)
Sample Classes
339
The following example is geared toward a childrens yoga class for ages 6 to 12 years. It is included to give you
an idea of the differences in format and function of a childrens class as compared with an adult hatha class. Due
to the more fluid nature of a childrens class, no time indicators are given for the asanas. This sample is designed
to take about 30 minutes, which is appropriate for younger children. For older kids, class may be extended by 15
to 25 minutes, depending on the students attention spans. If you are interested in teaching classes to children,
please pursue training with a certified childrens yoga training school.
Children may begin practicing yoga at any age because their bodies tend to be flexible and their minds are open
to learning new things. It is valuable to teach children basic breathing and meditation techniques at a young age
because they can then use the techniques to deal with stress and difficult situations as they arise. The key to teaching
yoga to kids is to make it a fun, creative experience for them! For example, because many yoga poses have animal
names, it is easy to incorporate animal sounds into the practice to further engage kids. Childrens yoga classes are
often loud and lively, but everyone loves the quiet shavasana at the end.
340
3 Childs PoseCome
back to the table position and sit back on your
heels. Move your knees
wider apart and walk your
hands forward. Bring your
forehead down to the
ground and let your body
rest. Take a few breaths.
Now breathe in and come
back to the table position.
4 Downward-Facing
DogLift your tail up
high toward the sky.
Stretch your arms and
legs and bark a few times!
Now wag your tail back
and forth and maybe pretend you are walking in
place.
5 Forward FoldLook
between your hands and
walk or jump your feet
up to your hands. Hang
forward and let your arms
relax. Bend your knees a
little if you like.
6 MountainBend your
knees a little and slowly roll
up so that you stand tall,
still, and strong like a mountain. Pretend that your feet
are part of the earth and that
nothing can move you. Keep
breathing in and out through
your nose.
8 Forward FoldReach
your arms out to your
sides like wings and let
your hands float down
toward your feet. Hang
forward and let your arms
relax. Bend your knees a
little if you like.
Sample Classes
9 MonkeyBreathe in
and bring your hands to
your knees. Look forward
with your back long and
straight. Make monkey
sounds, then bring your
hands to the ground again.
You may bend your knees.
10 SurfboardKeep your
hands on the ground and step
your feet back one at a time
into Surfboard (or Plank Pose.)
Make your body one long line
and squeeze your belly button
in! Pretend you are riding
strong and straight on a wave.
12 Downward-Facing DogBring
your chest back to the ground. Lift
your tail up high toward the sky.
Stretch your arms and legs and bark
a few times! Now wag your tail back
and forth and maybe pretend you
are walking in place.
13 Forward FoldLook
at your hands and walk
or jump your feet to your
hands. Hang forward and
let your arms relax. Bend
your knees a little if you
like.
14 MountainBend your
knees a little and slowly roll
up so that you stand tall, still,
and strong like a mountain.
Pretend that your feet are
part of the earth and that
nothing can move you. Keep
breathing in and out through
your nose.
19 Happy BabyLying
down on your back, bend
your knees. Bring your
knees toward your chin and
hold onto your ankles or
feet. Rock back and forth.
Start to giggle and pretend
to be a happy baby.
341
342
Sample Classes
Padmasana (or sitting in any comfortable cross-legged position with easy neck
stretches)
Durga-Go with alternating arm and leg
extended
Supta Padangusthasana
Five breaths resting supine with knees bent
while focusing on belly breaths and hands
resting on the abdomen
Jathara Parivartanasana
10 minutes of Shavasana with a mini guided
progressiverelaxation
343
344
Baddha Konasana
Supta Padangusthasana
Setu Bandhasana
Shavasana
Tadasana
Surya Namaskaras
Vrkshasana
Utthita Trikonasana
Uttanasana (with arm variations)
Prasarita Padottanasana
Virabhadrasana II (side-lunge version)
Utthita Parshvakonasana
Malasana
Janu Shirshasana
Marichyasana A
Paschimottanasana
Durga-Go
Dhanurasana
Supta Padangusthasana
Jathara Parivartanasana
Shavasana (reviewing abdominal breathing with hands on abdomen, mini guided
relaxation)
Sample Classes
part II provide detailed information about how to
present 68 fundamental asanas, including variations, modifications, and a kinematic breakdown
of each.
Part III synthesizes the information presented
throughout the book into a usable, practical
format. For example, the foundational postures
that make up many basic class sessions are presented in examples of appropriate sequencing.
This part of the book also shows you how to teach
your students to go beyond the beginning phases
of awareness in yoga practice and move on to
more evolved and creative levels of practice. It
provides sample goals, activities, rationales, and
objectives. It also provides examples to show you
how to structure a 30-, 60-, or 90-minute class
that includes variations of poses and routines
to challenge and build on the foundational class
structure. In addition, examples of rudimentary
childrens and prenatal yoga classes are included
to give you an idea of the differences in these
specialized styles. And a sample six-week syllabus is provided as a reference and inspiration for
planning your own classes.
Incorporating this information into your teaching repertoire will provide you with the tools to
adapt your lesson plans and class routines to most
yoga teaching assignments, whether in an adult
education facility, a physical education class,
a gym, a yoga studio, or a one-on-one private
session. Table 13.1 brings together the elements
outlined throughout this book as a whole and
illustrates a sample class with sample asanas
presented in sequence. The table lists the physical
and energetic effects of each asana, as well as
considerations for students Ayurvedic constitu-
345
346
Tadasana
Uttanasana
Lunge
Bhujangasana
Adho Mukha
Shvanasana
Utthita
Trikonasana
Shoulders,
upper and
lower legs
Hamstrings,
hips, flanks
Neck, back,
hips
Chest
Hips, chest
Legs, abdomen
Hamstrings,
back
Chest,
trapezius
Whole body
Feet, fronts of
legs
Body area
stretched
and opened
Body area
strengthened
and stabilized
Release
head; rest if
needed.
Anahata,
Visuddha,
Ajna
Find edge of
balance.
Keep hips in
frontal plane,
bottom shoulder relaxed,
ribcage straight,
feet working.
Roll shoulders
open.
Push hands
Move
into ground.
hips up
and back;
lengthen the
spine.
Go over
details.
Press arms
more.
Press back
heel.
Muladhara, Release
Svadisthana, knee out.
Manipura,
Anahata,
Visuddha
Square hips,
lower shoulders, and lift
chest.
More or less
active, no arms,
legs lifted
Kneeling, chair,
wall, progress
to Eka Pada
Rajakapotasana
Variations and
modification
options
Feet width (distance apart),
hand position
(active or
relaxed; overhead or by the
sides)
Adjustments
and instructions
Lift arches and
knees, align
hips, and drop
shoulders.
Motivation
for kapha
Focus on
Lift chest.
breath work.
Suggestion
for pitta
Relax the
belly;
release the
spine.
Use legs.
Reminder
for vata
Muladhara
Chakra
emphasis
Side bends
Neutral and
forward bend
Backward bend
Backward bend
Forward bend
Neutral
Plane and
spinal direction
347
Virabhadrasana II
Malasana
Janu
Shirshasana
10
Shavasana
13
Let body
dissolve or
melt into
breath.
Ajna
Relaxing for
All skeletal
muscles should everything
be in a relaxed,
non-active position.
Visualize
breath as
white healing light.
Take it easy.
Keep arms
in.
Neutral
Neutral
10 to 15+
minutes, twist,
Lotus Pose
Strap, forward
bend
Lift head.
Forward bend,
slight twist
Active or passive foot or
hand position,
bandhas
Keep the ribs
level, lower the
shoulders, and
roll out bent
knees.
Align hips
and navel
toward
straight leg.
Neutral and
forward bend
Neutral
Props, twist,
wall
Wall, seated,
progress to
Utthita Parshvakonasana with
or without arm
support
Neutral
Keep heels
down.
Keep arms
active and
chest open.
Try active
variations.
Keep hips in
frontal plane,
bottom shoulder relaxed,
ribcage straight,
feet working.
Lift arms
with intensity.
Keep knees
apart and
feet parallel.
Press
through
outer feet to
open hips
more.
Try closing
eyes.
Relax neck
and shoulders.
Take it slow.
Manipura,
Anahata,
Visuddha,
Ajna, Sahasrara
Anahata,
Visuddha
Muladhara,
Svadisthana,
Manipura,
Anahata
Muladhara,
Svadisthana
Muladhara,
Manipura
Upper back,
Chest
shoulders, neck,
veins
Triceps,
shoulders
Legs, spine
Back (when
active)
Shoulders
Hips, low
back
Hips, knees
Ankles and
thighs if lowering actively
Ribs
Salamba
Shirshasana
12
11 Gomukhasana
Vrkshasana
Hips, feet
Appendix A
Progressive Relaxation
Breathe deeply into your left foot. Hold your
breath and visualize it filling your entire left
leg. Tense your left leg. Lift it off the ground
slightly. Tense it still more. Exhale and
completely relax your left leg and imagine
it dissolving into your breath as you lower
it softly back to the ground.
[Repeat the preceding instructions for the
right leg.]
Breathe into your left hand. Spread your
palm and fingers open wide. Now make a
fist. Hold your breath in and visualize your
arm filled with your breath. Lift your left
arm and tense it a little more. Exhale and
completely release your left arm and let it
dissolve and become the healing white light
of your breath.
[Repeat the preceding instructions for the
right arm.]
Inhale as fully as you can into your belly
and fill it like a balloon at its fullest capacity. Hold your breath. Exhale through your
mouth and deeply and completely relax.
Now breathe into your rib cage, deeply filling your lungs in all directions. Expand your
lungs and rib cage to their fullest capacity.
Hold the breath. Exhale deeply and completely relax your back and chest.
Star Relaxation
Visualize the rays of a blue (or gold or white)
star flowingin through the crown of your
head. Allow every skin cell, every muscle
cell, and every bone and blood cell in this
area to relax completely.
[Wait a couple of breaths.]
With your next breath flowing in, visualize
the starlight penetrating deeper into the
space behind your eyes and between your
eyebrows.
[Wait a couple of breaths.]
As you breathe in again, continue to visualize the soft starlight moving down and
spreading its light and energy throughout
your whole body.
[If you have sufficient time, talk students
through every joint in the body.]
Belly-to-Universe
Relaxation
Feel your breath rise and fall gently in your
belly. Visualize the breath as a sphere of
white light about the size of a softball. Let
this sphere of white light expand gradually
with each breath.
With your next inhalation, let the sphere
expand to the size of your entire torso.
Expand the healing white light of this sphere
in all directions so that it moves not only
through your body but beyond the boundaries of your body.
349
350
Appendix A
Let your body and breath become one as
you continue to expand this sphere of light
with each breath. Allow the next breath in to
expand the sphere into a bubble surrounding you yet letting your body be completely
one with the breath as you deeply relax.
With every inhalation, feel expansion; with
every exhalation, feel even more deeply
relaxed.
In the next breath, expand the sphere and
your body to the size of the room . . . then
the size of the building . . . then the city . . .
the planet . . . the universe. Feel your whole
body as one with the power and wisdom of
the universe.
[After 5 to 10 minutes, guide students back
by saying something such as:] In the next
few breaths, retaining that sense of expansion and limitlessness, gradually breathe
yourself back into the perfect form of your
rested and recharged body on the ground. In
the next few breaths, begin to gently roll to
one side and come up to a sitting position.
Tibetan Healing-Breath
Relaxation
As your breath comes into your body, visualize and feel it as pure, healing white light.
As the breath exits your body, see it as smoky
grey. Let the breath remove any last bits of
tension, toxins, imbalance, or resistance,
thus allowing you to deeply relax.
As the breath is clearing and purifying your
body, visualize and feel each breath as it
exits your body turning from a smoky gray
to a lighter grey, until finally the exhaled
breath is as clear and pure as the healing
breath you inhale.
Chakra Relaxation
Imagine that you are comfortably sitting or lying
in a comfortablespot on a warm spring or crisp
autumn day. Feel the soft caress of the suns rays
warming your skin. As you bask in the clean,
healing energy, picture yourself breathing in the
rays of the sun, allowing the rays to fill your entire
Appendix A
realization that your truest nature is as vast and
profound as the expansive universe. Continue to
revel in the sapphire awareness. Send gratitude
to your Vishuddha chakra.
Now envision the waves of the sun shifting
from blue to an indigo-violet hue. Invite these
solar impulses to enter your body through a
space just above and between your eyebrows. As
that energy comes into the space of your mind,
open up to a deep, insightful awareness. Meditate
on the intuitive nature of this realization. Allow
351
Appendix B
Yoga Resources
Yoga Periodicals
Integral Yoga Magazine
www.integralyogamagazine.org
Yoga International
www.yogainternational.com
Yoga Journal
www.yogajournal.com
Yogi Timesmagazine
www.yogitimes.com
Information on Sanskrit, Ayurveda, Ashrams,
and Other In-Depth Yoga Programs
American Institute of Vedic Studies
David Frawley
www.vedanet.com
American Sanskrit Institute
www.americansanskrit.com
Asana Names and the Language of Yoga
Sanskrit Sounds
www.SanskritSounds.com
The Ayurvedic Institute
www.ayurveda.com
International Sivananda Yoga Vedanta Centres
www.sivananda.org
Silver Age Yoga
www.silverageyoga.org
Association of Himalayan Yoga Meditation
Societies International (AHYMSIN)
www.ahymsin.org
Traditional Yoga and Meditation of the
Himalayan Masters
www.swamij.com
352
YogaFinder
www.yogafinder.com
Yoga Rascals
www.yogarascals.com
Yoga Associations and Societies
Black Yoga Teachers Alliance
www.blackyogateachersalliance.com
British Wheel of Yoga (BWY)
www.bwy.org.uk
Canadian Yoga Alliance
www.canadianyogicalliance.com
Healthy, Happy, Holy Organization (Kundalini)
www.3ho.org
Himalayan International Institute of Yoga
Science and Philosophy of the USA
www.himalayaninstitute.org
Hong Kong Yoga Association
http://hkyogaassn.com
Integral Yoga Teachers Association (Australia
and other countries)
www.iyta.org.au
International Association of Yoga Therapists
www.iayt.org
Irish Yoga Association
www.iya.ie
Iyengar Yoga Association of the United Kingdom
https://www.iyengaryoga.org.uk
K Pattabhi Jois Ashtanga Yoga Institute
www.kpjayi.org
Kripalu Yoga and Ayurveda Association
www.kripalu.org
Appendix B
North American Studio Alliance
www.namasta.com
Yoga Alliance (U.S.)
www.yogaalliance.org
Yoga Alliance International (YAI) European
Division
http://yogaallianceeurope.net
Yoga Australia
https://www.yogaaustralia.org.au/
Yoga Scotland
http://www.yogascotland.org.uk/
Fitness Industry Trends
Aerobics and Fitness Association of America
American College of Sports Medicine
www.acsm.org
American Council on Exercise
www.acefitness.org
CANFITPRO (Canadian Fitness Professional
Organization)
www.canfitpro.com
IDEA Health & Fitness Association
www.ideafit.com
Yoga Products and Distributors
Barefoot Yoga Company
www.barefootyoga.com
Blue Lotus Yoga Essentials
www.bluelotusyoga.com
Crescent Moon Yoga
www.crescentmoonyoga.com
Gaiam
www.gaiam.com
Hugger Mugger Yoga Products
www.huggermugger.com
Manduka
www.manduka.com
Alter, M.J. 2004. Science of flexibility. 3rd ed. Champaign, IL: Human Kinetics.
Bachman, N. 2005. The language of yoga: Complete
A to Y guide to asana names, Sanskrit Terms, and
Chants. Louisville, CO: Sounds True.
Barbe, W.B., and R.H. Swassing. 1979. Teaching
through modality strengths: Concepts and practices.
Columbus: Zaner-Bloser, Inc.
Basmajian, J.V., and C.J. De Luca. 1985. Muscles alive:
Their functions revealed by electromyography, 5th ed.
Baltimore: Williams & Wilkins.
Bauman, A. 2002. Is yoga enough to keep you fit? Yoga
Journal, SeptemberOctober.
Bender Birch, B. 1995. Power yoga: The total strength
and flexibility workout. New York: Simon & Schuster.
Bonura, K.B. 2013. Pelvic yoga: An integrated program
of pelvic floor exercise to overcome incontinence
and support overall pelvic floor health. CreateSpace
Independent Publishing Platform.
Broad, W. 2012. How yoga can wreck your body. New
York Times, January 5.
. 2012. The science of yoga: The risks and the
rewards. New York: Simon & Schuster.
Christensen, A. 1998. Yoga of the heart: Ten ethical
principles for gaining limitless growth, confidence,
and achievement. New York: Daybreak Books.
Coulter, H.D. 2001. Anatomy of hatha yoga: A manual
for students, teachers, and practitioners. Honesdale,
PA: Body and Breath.
Desikachar, T.K.V., and R.H. Cravens. 2005. Health,
healing, & beyond: Yoga and the living tradition of
Krishnamacharya. New York: North Point Press.
Devi, N.J. 2007. The secret power of yoga: A womans
guide to the heart and spirit of the yoga sutras. New
York: Three Rivers Press.
DiTuro, D., and I. Yang. 2012. Hatha yoga asanas.
Champaign, IL: Human Kinetics.
Dryden, G. and J. Vos. 1999. The learning revolution:
To change the way the world learns. UK: Network
Educational Press Ltd.
Farhi, D. 2006. Teaching yoga: Exploring the teacher
student relationship. Berkeley: Rodmell Press.
Feuerstein, G. 2002. Yoga gems: A treasury of practical and spiritual wisdom from ancient and modern
masters. New York: Bantam Books.
Useful Publications
Fields, J. 2012. Teaching people, not poses: 12 principles for teaching yoga with integrity. Charleston:
CreateSpace Independent Publishing Platform.
Frankel, V.H., and M. Nordin. 1980. Basic biomechanics of the skeletal system. Philadelphia: Lea & Febiger.
Galantino, M.L., R. Galbavy, and L. Quinn. 2008. Therapeutic effects of yoga for children: A systematic review
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Appendix B
of literature. Pediatric Physical Therapy. Spring; 20(1):
6680.
Goldberg, P. 2010. American Veda: From Emerson and
the Beatles to yoga and meditationhow Indian spirituality changed the West. New York: Harmony Books.
Gray, H. 1974. Grays anatomy. Ed. T.P. Pick and R.
Howden. Philadelphia: Running Press.
Hirschl, M.C. 2010. Vital yoga: A sourcebook for students and teachers. Albuquerque: Prajna.
Sengupta, P. 2012. Health impacts of yoga and pranayama: A state-of-the-art review. International Journal
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Long, R. 2005. The key muscles of hatha yoga. Plattsburgh: Bandha Yoga.
Appendix C
Self-Inquiry Questionnaire
Ask yourself the following questions. Write your answers in a notebook or journal so that in the future you
can look back on your responses to see how you may have evolved in your knowledge and applications.
Be honest; no one but you will see your answers. The purpose of asking these questions is to increase
your awarenessnot to be right. Note: Reading chapter 2 will give you a good idea of the relevance
of your answers.
1. Why do you want to teach yoga?
a. money
b. easier on my body than teaching other fitness classes
c. boss told me to
d. to get more yoga workouts
e. other
2. How often do you practice yoga?
a. occasional conference or workshop
b. average of 30 minutes per day or more at home
c. group class at least twice a week
d. video workout every once in a while
e. other
3. What is your motivation for practicing yoga?
a. to meditate better
b. to improve flexibility or strength
c. to look good while I teach
d. to deepen my understanding of the asanas and overall philosophy.
e. other
4. How often do you meditate?
a. have never tried it
b. tried it but could not get into it
c. every once in awhile
d. at least two minutes a day
e. other
5. What would you do if a student cried during or at the end of class?
___________________________________________________________________________________
___________________________________________________________________________________
355
356
Appendix C
6. What would be your response if a student asked to see you socially outside of class?
___________________________________________________________________________________
___________________________________________________________________________________
7. What would you do if a new student whom you had never met rushed into the class 10 or 20
minutes late?
___________________________________________________________________________________
___________________________________________________________________________________
8. True or False:
a. I feel somewhat embarrassed to teach yoga because I do not feel that my body looks good
enough in the poses. _____
b. I feel somewhat guilty because I teach yoga, yet I drink alcohol and/or eat meat. _____
c. If I needed to tell one of my yoga students to refrain from wearing a strong perfume because
it disturbed other students, I would be afraid of creating hurt feelings. _____
d. I do not care what my students think of me. _____
e. It is extremely important to maintain strict order in my classes. _____
f. It is important to me that my students like me. _____
g. I should know every students medical history in order to teach him or her in a safe manner.
_____
h. All students automatically give consent to be physically adjusted by the fact that they are in
my class. _____
9. What are the top qualities that a yoga teacher should have?
___________________________________________________________________________________
___________________________________________________________________________________
From D. Ambrosini, 2016, Instructing hatha yoga, 2nd ed. (Champaign, IL: Human Kinetics).
Appendix D
2. Teaching voice:
a. Volume
b. Tone
c. Pace
d. Clarity of words and direction
e. Ability to soothe
1 2 3 4
1 2 3 4
1 2 3 4
1 2 3 4
1 2 3 4
3. Trust (Did I feel that the instructor knew what she or he was doing and saying,
so that I felt safe during the class?)
1
4. Attention to alignment
7. Creativity (Did the instructor present the postures in a creative manner and
use expressive words to describe, modify, or move students into the poses?)
8. Sense of flow
10. Balance in the overall sequence of asanas (Did the sequence include postures
that moved the body in all directions?)
11. Class structure (Did the class have a warm-up, peak[s], and a cool-down,
and were counterposes presented?)
14. Comments (What were the best parts of the class? The less-than-ideal parts? Write down any
suggestions or comments.)
___________________________________________________________________________________
___________________________________________________________________________________
From D. Ambrosini, 2016, Instructing hatha yoga, 2nd ed. (Champaign, IL: Human Kinetics).
357
Appendix E
General Policies
1. You may purchase a locker from the equipment room. The cost is $8 per semester.
2. You may store your personal items in the exercise room with the understanding that the instructor and the university cannot be responsible for any stolen or lost property.
3. Wear clothes that are nonrestrictive. Street clothes, such as cargo pants or jeans, will restrict
your ability to participate fully.
4. You may bring or borrow a mat and a blanket each day.
Appendix E
Safety Warning
Percent
Grade
100
A+
97.5
95
92.5
90
87.5
B+
85
82.5
80
C+
77.5
High blood pressure may demand that you keep your head above the level of your heart.
Heart concerns may decrease the duration for which you should maintain a static pose.
Glaucoma or detached retina may make inversions (going upside down) dangerous.
Disk concerns in the neck or back may require that you keep your head in a neutral position rather
than releasing it back.
Pregnancy may require that you avoid inversions (going upside down). You may also need to part
your legs during squats and forward bends. Do not place any pressure on your belly!
Special Needs
If you have any special needs or considerations, please see the instructor prior to beginning exercise in
this class. If special needs or considerations arise during the course, notify the instructor immediately.
Adaptations can be made.
From D. Ambrosini, 2016, Instructing hatha yoga, 2nd ed. (Champaign, IL: Human Kinetics. Sample syllabus is reprinted, by permission, from C. Robinson.
359
Appendix F
360
Chapter 2
1. Q: What are the four Cs of teaching yoga?
A: Connection, compassion, confidence,
and commitment
Appendix F
2. Q: What are the three basic learning styles?
A: Visual, auditory, and kinesthetic
3. Q: Which dosha is associated with the
fluidity of air?
A:Vata
4. Q: Which type of student often has trouble
staying motivated?
A: Kapha
5. Q: List two things that students typically
like in a yoga instructor and two things
that they typically dislike.
A:Students like teachers who can motivate
and connect with them. Students dislike
instructors who are focused on themselves or express any negative comments
at all. For more examples, see table 2.1 in
chapter 2.
6. Q: How is the word asana used as an acronym for teaching yoga?
A:A = ahimsa (and ask), S = suggest, A =
align, N = nurture, and A = assess.
7. Q:True or False: There is a very strict code
of ethics that you are legally required to
abide by as a professional yoga teacher.
A: False
8. Q: What aspects of your personal yoga
practice will make you a better teacher?
A: It is all relative. The key is that you are
engaged in a personal yoga practice. For
more information or to gain perspective
about your answer, review the self-inquiry
questionnaire presented in appendix C.
9. Q: Define ahimsa.
A: First and foremost, it is an aspect of the
eightlimbs of yoga; it also means causing
no harm.
Chapter 3
1. Q:Why would yoga practitioners choose to
wear white cotton or other natural fibers?
A:To foster the electromagnetic field surrounding them during practice.
2. Q: Name three indispensable items used
when practicing yoga.
A: Bare feet, comfortable clothing, and a
proper yoga mat.
Chapter 4
1. Q: Identify an epidemic habit in modern
society that contributes to the stress and
high anxiety suffered by many people.
A: Poor breathing
2. Q:How can a student bypass the chatter
in his or her mind and ego?
A: By focusing on the breath
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362
Appendix F
3. Q:___________ can be triggered either negatively through shallow, labored breathing
or positively through smooth, flowing
breaths that stabilize thoughts and allow
relaxation to set in.
A: Emotions
4. Q:Choppy, shallow breathing is associated
with which nervous system?
A:The sympathetic nervous system, which
activates the body for the fight-flight-freeze
response
5. Q: What type of breathing was mentioned
in a National Institutes of Health report
as a way to improve physical endurance?
A: Deep, slow breathing through the nose
6. Q:How many breaths per minute does the
average human take?
A: 16 to 20
7. Q:What are the three most common pranayama techniques taught in asana classes?
A: Deep abdominal, complete yogic, and
ujjayi
8. Q: What is nadi shodhana, and what effect
does it have on the brain hemispheres?
A: Alternate-nostril breathing can activate
and balance both hemispheres of the brain
and therefore increase learning as much
as fivefold.
9. Q:Which is generally better while entering
Uttanasana (Intense Forward Bend)
inhaling or exhaling?
A: Exhaling
Chapter 5
1. Q:Define safe yoga instruction.
A: Safe instruction occurs when any touch
or word from the teacher encourages the
most accurate awareness in students
minds to move energy, muscles, or bones
in ways that do not result in injury.
2. Q:What is a nadi?
A: Nadi is an Ayurvedic term for an energy
channel of the human body. Ayurveda is
a sister science of yoga. The body is full
of these energy channels, which are connected to the chakras. Like the physical
body, nadis are affected during yoga.
Appendix F
a great hands-on adjustment, very gently
hold the sides of the students kneecap and
wiggle it (which can be done only if it is
loose and therefore not lifted), then tap the
students quads.
9. Q:Which muscles in the torso are used to
move into a standing forward bend, and
what type of contraction is used? What
about when entering into a standing
backbend?
A: The spinal muscles, along with the hip
extensors, use an eccentric contraction to
move into a standing forward bend. The
abdominal muscles contract eccentrically
to move into a standing backbend.
10. Q:What type of contraction occurs during
the holding of most asanas?
A: When holding an asana, the muscles
are often actively engaged in an isometric
contraction.
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Appendix G
Anatomical Illustrations
Clavicle
Scapula
Sternum
Humerus
Ribs
Vertebral column
Pelvis
Radius
Ulna
Femur
Patella
Tibia
Fibula
364
Appendix G
Trapezius
Deltoid
Rhomboids
Pectoralis
Biceps
Abdominis
Triceps
Latissimus dorsi
Wrist extensors
Finger flexors
Finger extensors
Gluteus maximus
Hamstrings
Quadriceps
Gastrocnemius
Tibialis anterior
Soleus
Achilles tendon
Semispinalis capitis
Sternocleidomastoid
Splenius capitis
Iliocostalis cervicis
Splenius cervicis
Iliocostalis dorsi
Longissimus dorsi
Levatores costarum
Semispinalis dorsi
Quadratus lumborum
Multifidus
Posterior spine.
Spinalis dorsi
Iliocostalis lumborum
Sacrospinalis
365
366
Appendix G
Quadratus lumborum
Intervertebral disc
Psoas minor
Psoas major
Tensor fascia
lata
Obturator externus
Pectineus
Sartorius
Adductor longus
Obturator
internus
Gracilis
Quadratus femoris
Rectus femoris
Sciatic nerve
Adductor magnus
Vastus medialis
Vastus lateralis
Patella tendon
Glossary
367
368
Glossary
horizontal planePlane passing horizontally through
the body, thus dividing it into upper and lower parts;
also referred to as the transverse plane.
ida [EEE-d-aah]Energy channel, or nadi, that begins
at the left nostril and is considered the channel of
lunar, feminine, cooling energy.
isometric contractionMuscular contraction in
which the muscle fibers remain the same length,
thus creating muscular tension without movement.
IyengarStyle of hatha yoga named after B.K.S.
Iyengar (1918-2014) that emphasizes strict body
alignment and uses props and adjustments for that
purpose.
Jois K., Pattabhi [JOY-ss, puht-TAAH-bee]
Renowned master considered the father of Ashtanga
hatha yoga.
kapha [KUP-huh]Ayurvedic constitutional dosha
of earth and water.
karma [KAR-muh]Action; cause and effect. Karma
yoga is selfless action for the good of others.
kinematicsThe branch of physics describing motion
of a body or segments without reference to mass or
force. In this text, the movement patterns of each
body segment are illustrated in tables presented with
the various asanas.
kinesiologyStudy of (human) movement.
kinestheticsStudy involving sensory understanding
derived from movement.
kosha [KOH-shuh]One of five energetic layers or
sheaths surrounding the body: annamaya, pranamaya, manomaya, vijnanamaya, and anandamaya.
Krishnamacharya, T. [krish-NUH-maahch-AARyuh](1888-1989); renowned mentor and guru of
both B.K.S. Iyengar and Pattabhi Jois.
kriya [kr-EE-yuh]Practices or techniques utilized
in yoga to achieve specific results.
psychoneuroimmunologyStudy of how the relationship between mind and body affects overall
health, most specifically as it relates to the endocrine
system.
Glossary
squaredTerm often used to indicate even alignment.
For example, the phrase square the hips under the
shoulders indicates that the torso should have no
rotation and the upper and lower joints should be in
the sameverticalplane.
supinationOutward (external) rotation. When it
involves a forearm, the thumb points away from the
midline; when it involves a foot (while standing)
the lateral (little-toe) side of the foot presses into
the ground.
Yoga Korunta [koh-ROON-tuh]Ancient text discovered by Krishnamacharya that serves as the basis for
Ashtanga hatha yoga.
369
Diane Ambrosini, MA, is a master yoga teacher and movement science specialist who began a serious study and practice of yoga in 1997. She has participated in numerous yoga
teacher training programs and taught hatha yoga workshops
in the United States and Canada. Diane has also written
numerous articles on yoga and fitness-related topics. She
strives to improve the art and science of teaching yoga and
help others enjoy the benefits of yoga as a lifestyle.
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