When the muse stops talking: how to teach when inspiration doesn’t strike

A yoga teacher and galpal of mine recently emailed me about the proverbial drying of the creative yoga well.

“Last Wed I feel like I taught the WORST yoga class of my life: it was so vanilla, last minute sequencing on my feet (which sometimes I’m good at, but this time I lost the muse), and I felt like I kept saying the same damn thing over and over- just uninspired. I think I need a workshop or something to inspire me again, but saving my pennies. I guess I was wondering if you’ve ever felt that way and/or how you deal with it. I need some stimulation!”

Girl, we have all been there.  Who hasn’t taught the occasional class that feels repetitive or uninspired?

I’ve always found that the solution lies in my own practice.  Usually when I teach a cringe worthy class (at least that’s the way it feels), the root of the problem is my own lack of connection; I don’t feel like I have anything to share authentically from myself.  Investing time to practice and prepare holds the antidote – and doesn’t require spending money on a workshop.  Everyone gets jazzed differently through their yoga teaching:  some people find their soul connection through theming, others through sequencing, others through music.

If your muse doesn’t show up, here’s some tips to help hunt her down.

  • Give yourself an hour to just play physically – not even to do a “yoga practice” per se, but sure, start there and see where it takes you. Then take whatever you discover as an inspirations to share in your class
  • Take 20 minutes to journal on the message you want to share with the world. What lessons have been hard for you? What is a tool that you use when you come up against this challenge? Is there a way that you can share this tool through a physical yoga practice?
  • Open up your favorite inspirational books. Theme a class around your favorite quote.
  • Prepare a sequence to a kick ass, fun peak pose.  Be creative about how you get there.
  • Give yourself an hour to create an awesome music mix (of stuff that you like), then create a dynamic class to go with it.
  • Get back to what YOU need from your yoga practice, then share that gift with your students. Forget all the rote blah blah – speak truthfully from exactly where you are and see where that takes you.
  • And if exactly where you are is in the duldrums, then investigate what tools you can use to move beyond that (not just in yoga, but in life) and share those tools in the practice (like playfulness, or community, or non-judgment). Then everybody wins.
  • And…if all else fails…plan some accessible partner work. That makes almost any class fun. The community energy will feed itself.

 

“How Yoga Can Wreck Your Body”: A Response

The New York Times recently ran an article, “How Yoga Can Wreck Your Body,”that has a rather sensational and silly title and a fairly simple point: doing yoga can cause injuries.  The article, citing the musings of yoga teacher Glenn Black, references the medley of yoga injuries that have been developing through the West over the last ten years.  The article whispers to us in horror: ‘Black has come to believe that “the vast majority of people” should give up yoga altogether. It’s simply too likely to cause harm.’

The response to this: Well, duh.

Of course it can cause injuries.

Hatha Yoga (which includes power, flow, Anusara, “hatha”, and every other physical form of yoga) is a physical, bio-mechanical practice.  Ask any yoga teacher and – if they’re over 30 and being honest – you’re likely to find some sort of medical history.  To share my personal trophies, I’ve torn my hamstring in Prasarita Padottanasana, damaged the meniscus in my knee from too many lotus attempts, and dislocated a rib facet falling out of handstand.  And these days, with the emphasis on “getting” handstand in the middle of the room to be a “real yogi” or pushing through thirty chaturangas in a class to “test your edge”, it’s no wonder that we are limping to the physio and crying to our RMT’s.  But before you gasp in shock and tremble because yoga is supposed to be a cure all, listen up.  Injury and stress is the nature of any repetitive physical endeavor done passionately over time.  I’ve also tweaked my hamstring playing touch football on the beach, damaged my wrist skiing, and hurt my back in Cross Fit.  Golf causes injuries.  Martial Arts causes injuries.  I may be going out on a limb, but I bet you can develop repetitive stress injuries in swimming too.

Anyone who expects yoga to be a panacea for all ills isn’t paying attention.  The author of the article, William Broad, describes his experience: “While doing the extended-side-angle pose, a posture hailed as a cure for many diseases, my back gave way. With it went my belief, naïve in retrospect, that yoga was a source only of healing and never harm.”  William, thank you for the wake up call.  We should all set our naivete aside.  Living on this plane of existence with muscles, bones, tendons, and blood, we are subject to the forces of time and aging.  We move in a world of form and limitation.  Expecting yoga to transcend the nature of this Universe is like expecting dinner to cook itself or time to move backwards.

Does this mean you shouldn’t do yoga?

Absolutely not.

Yoga is revelatory for self-connection.  Yoga wakes you up and asks you to breathe.  Yoga cultivates strength, suppleness, and fluidity. Yoga asks you to commit to your deepest and most passionate self and cultivate a deep inquiry into your life and your place in this world.  Yoga is a tool for helping you to become more fully yourself.   And – when done mindfully and with kick ass alignment – yoga heals.  So yes, do your freakin’ yoga.

But here are some tips:

  • Set aside your naivete that yoga will fix everything.  Physically, it won’t.
  • Listen to your body.  For reals this time.
  • Practice the style of yoga that you need, not just that you like.  If you need more strength and less flexibility, get your ass out of yin.
  • Please, focus on your alignment.  Do less, and do it better.
  • Complement your yoga practice with other sensible physical fare.  You’re not invalidating your yoga by doing your physio exercises, taking a jog, or going to the gym.
  • When you do these other physical activities, leave your Ipod at home.  Really pay attention to what you’re doing, and these activities can be yoga too.
  • Go to yoga class to work on your mind, not just your body.  Take the pressure off your yoga practice to be your workout, and you’ll find that you can actually move move deeply, find more ease, and (crazily enough) your practice will actually advance faster.

Yoga is one of the best things that has happened in my life.  If you’re reading this, my bet is that it’s transformed you, too.  But let’s remember what our yoga is really about: self-revelation, compassion, and a deep connection with the world.   Yoga is a tool for co-creating with the Universe; for nourishing our bodies, minds, and hearts and exploring the wonder of our own expression while we live on this marvelous world.

Do your yoga.

Just do your yoga smart.

Sugarcane in the moonlight: Ardha Chandrachapasana

Who doesn’t like sugarcane in the moonlight?  De-lish.

Photo courtesy of Yoga Journal

But let’s face it, getting into this variation of Half Moon (Ardha Chandrasana) can test your balance, flexibility, and coordination as you reach back and grab your lifted leg.  Never fear, here are some tips that help make this elusive pose more accessible.

Component Parts

First, to approach the pose, we must understand its component parts.  Let’s start with Ardha Chandrasana:

External Rotation of Standing Leg

The key to Half Moon is the strong external rotation of the bottom leg.  (Think about it for a moment: the bottom leg.  Often we get confused and think it’s the lifted leg in rotation, but actually the lifted leg is neutral.)  The strong external rotation of the lower leg is counterbalanced by the drawing in of the lower shin and anchoring of the inner edge of the bottom foot.  Together, these two actions create a diagonal spiral effect that keeps your standing leg stable.   Against the external rotation of the standing thigh, the pelvis can open to the side plane.  If you lose the anchor of external rotation, the standing knee will collapse in, the booty will swing with abandon to the back plane, the the containment of the pose will be lost.

Great poses to teach this external rotation in a non-balancing position: Warrior II (Virabhadrasana II), Triangle (Trikonasana),  Gate (Parighasana), Side Angle (Parsvakonasana).

Hamstrings/ Adductors

The standing leg hamstring must be open, as well as some of the adductors.  Imagine triangle pose on its side, so the back leg is now in the air, and you have Half Moon with a balance added.  Good standing poses for opening the hamstrings: Uttanasana, Triangle (Trikonasana), Wide-legged forward fold (Prasarita Padottanasana), Hanumanasana and Ardha Hanumanasana (splits), Pyramid (Parsvottanasana), and Standing Hand to Foot Pose (Utthita Hasta Padangustasana).

In traditional Half Moon, the torso stays steady in all three plane so that it is like Tadasana, but with the arms wide.  If the neck is comfortable, the gaze anchors to the top hand.

Getting into Ardha Chandrasana

To move into Ardha Chandrasana effectively, you must impress upon your students the imprint of the external rotation of the standing leg so that you can steady the knee appropriately.  Without this rotation, the inner knee will collapse in and the foundation will usually become unsteady.  The knee will torque and the lift that we need out of the standing leg will deflate.  Rooting through the inner edge of the bottom foot while strongly externally rotating the standing leg thigh will create a powerful dual action to steady the lateral lines of the leg.

For this reason, coming to the pose from another externally rotated pose is ideal.  Trikonasana is an obvious choice, but Parsvakonasana (Side Angle) is also effective.  Once you have transferred your weight to the standing leg, pause, and bend the standing leg knee.  With the knee bent, you can clearly discern the efficacy of your external rotation.   Strongly wrap the standing leg buttock under you until the sitting bone actually feels like it’s sliding towards your lifted leg.  When this action is effectively performed, your standing leg knee will again track over the center of your ankle.

Now, maintaining that rotation and lateral engagement, begin to straighten your leg by rooting strongly through the standing leg heel.  Because you’ve entered the pose from Trikonasana or Parsvakonasana, the torso is likely already facing the side.  Maintain the rotation of the bottom leg as you open the pelvis further.  (Rather than turning your chest, first turn your pelvis.)  Where the pelvis leads, the body follows.

In traditional Ardha Chandrasana, the body is essentially in Tadasana with the arms wide, except the bottom leg is strongly externally rotating.

Ardha Chandrachapasana

When we elevate the pose to Ardha Chandrachapasana, we add two elements: the bending of the top leg and a backbend.

Adding a thigh stretch to the upper leg requires balance, coordination, and open hip flexors.  Prepare for the action of this variations in non-balancing poses such as Anjaneyasana (low lunge), Crescent (high lunge), and variations with a thigh stretch.  I recommend doing a low lunge with a thigh stretch where the student reaches back with the ipsilateral hand for the leg, in order to imprint of holding the foot with the same side hand in ACC.  Awkward pigeon with a thigh stretch is also an interesting warm up, as the hip are mimicking some of the actions of ACC: the front leg is externally rotating while the back thigh’s hip flexors are stretching.

Backbending requires thoracic extension, which can be efficiently added to poses like lunges and thigh stretches, and warmed up separately in poses such as Bhujangasana (cobra), sphinx, and Urdhva Mukha Svanasana (Upward Dog).

Putting it Together

To enter the pose from Ardha Chandrasana, the obvious transition is to simply bend the top knee and reach for the top of the foot.  However, this is frequently inaccessible to many students.  Another way in is to bend both knees and actually draw your top knee into your chest.  For most, this makes it easier to find the top foot.  From this contracted position, actively hug towards the core of the body until you are stable.  Then, unfurl the pose by pressing your back knee towards the back of the mat.  The back thigh stays parallel to the floor; watch the tendency to float the knee towards the ceiling, which diminishes the stretch of the front of the thigh.

Like Ardha Chandrasana, the external rotation of the bottom leg is essential.  That rotation is the “brake” that allows the body to then uncurl into a backbend.  Without the hip drawing under, there is little leverage for the body to move back.  With the bottom leg still bent, reaffirm the external rotation of the leg by drawing the hip firmly under and lengthening your tailbone towards the lifted knee.  Now keep that strong action as you begin to draw the shoulder heads and the throat back and open the chest.  The foot and the hand form a reinforcing energetic loop; press the foot strongly into the top hand to further open the heart.  When the body is steady, take the gaze to the ceiling.

Releasing the pose

Coming out of the pose is just important an opportunity as coming into the pose.  Bring your gaze to the floor to create a visual anchor.  Re-establish the steadiness of the bottom leg.  Energetically maintain the bend of the top leg as you release it from your hand and bring the spine back to Tadasana.  Re-connect to the external rotation of the bottom leg as you step back to Trikonasana or Parsvakonasana.

Playtime

Experiment with this pose at the wall.  Place your standing foot parallel to the wall and about 18 inches away (everyone’s distance will be a little different, you’ll adjust if you need to.)   Come into Ardha Chandrasana.  Then bend the top leg and place the top of the foot on the wall behind you.  With this third point of contact, the body will have a chance to settle more so that you can work the actions without worrying so much about balance.  Also, you can explore the actions here without actually holding on the foot.

If possible, reach back to hold onto the top foot. Otherwise, wrap your standing leg hip under, press the top foot into the wall, and begin to explore the opening of the backbend with the top arm simply lifted towards the sky. The connection of the foot to the wall will begin to imprint the actions of the pose into the body.

 

The Elegant Wheel

Photo courtesy of YYoga

Urdhva Dhanurasana (Upward Bow, also known as “Wheel”) is one of the most delicious and expansive of yoga asana, inviting a full opening of the “Eastern,” or front, side of the body.  As in all yoga asana, the stability (sthira) of the back body is essential for supporting the full expansion and sweetness (sukha) of the front body.  Also, Urdhva Dhanurasana calls for a profound opening in the hips and shoulders in order to access the fullest expression of the spine.  Since the body has to put all these parts together effectively, accessing the full expression of this pose can sometimes be elusive.

However, with some preparation and variation, the benefits of this pose can be readily be made available to a wide range of students.

Component Parts

Hips

Finding the full range of motion in the lower body for Urdhva Dhanurasana is more than a matter of spinal flexibility.  For most of us, we can find about 45 degrees of mobility through the spine, and an additional 15 degrees of extension between the hips and the thighs.  What this means is that in order to access the full “bow-ness” of Upward Bow, we must be conscious to open the hips as well as the back.

The muscles to target here are the psoas, iliacus, and rectus femoris (one of the quads).  By effectively opening these muscles, over time the full hip extension of Urdhva Dhanurasana becomes accessible.  While opening the quads can be targeted through thigh stretches (think low lunge, bending the back knee, and drawing the heel towards the buttock), the ilio-psoas needs to be stretched by a differential between the angle of the back thigh and the pelvis.  Crescent and Upright Low lunge are great candidates.  When stretching the psoas, the back leg will often turn out in a clever attempt to avoid the stretch.  Focus on softening the upper inner thigh of the back leg towards the back plane of the body until the thigh is neutral in the socket.  Once space and alignment is created, the anchoring of the tailbone down will create the posterior action needed to begin stretching this important muscle.

Because the psoas attaches all the way up the lumbar spine towards T12, conscious alignment of the hips is one half of the equation.  Note that in the stretch, the lumbar and thoracic spine will want to pull forward in space.  Instead, consciously draw the lower belly and sides of the waist back and up (almost like scooping your belly with an ice cream scoop).  This lifting and scooping action will draw the superior fibers of the psoas away from its insertion on the back thigh.  Like ice cream: delicious.

Shoulders

Urdhva Dhanurasana requires a lot of openness through the shoulders.  Invariable, this is why some of our sturdier male students remain landlocked on the ground.  The arms need the facility to flex fully at the shoulder joint.  External rotation of the upper arm is preferred to help anchor the scapulae firmly on the back.  Prepare the body for this position by focusing on poses that get the arms above the head: crescent, chair.  One of my favorite poses is to do Chair (utkasana) with a block firmly positioned between the hands.  Work on pressing your hands into the block as you externally rotate the upper arms, straighten the arms, and then lift them overhead.  Once you’ve worked in these positions, move the body in weight-bearing positions to open the shoulders in such asana as dolphin and handstand.

Thoracic Spine

Naturally, a backbend ain’t a backbend without the extension of the thoracic spine.  Start small and target the upper back through poses such as cobra and sphinx.  Once the upper back has been educated, then you can move to fully spine extensions such as full cobra and updog.  When working in spinal extension, it is important to maintain the stability of the lower back in order to avoid over-compressing in the lumbar and lower thoracic.  The lower back is the backbendiest place of the spine, and the juncture between the lumbar and thoracic is particularly mobile.  While we do use this mobility when we backbend, we don’t want to overly capitalize on it and neglect the opening that needs to occur in the upper spine.  Create length and stability by maintaining a broadness in the mid and lower back and focus your backbending efforts higher up.  Use the external rotation of the upper arms to facilitate a greater sense of drawing the scapulae into the back.  This will help with your thoracic extension.  (Try it: do a mini standing backbend with your arms externally rotated, then internally rotated – which is easier?)

The pumpkin

The buttocks in backbending can become overly zealous.  My teacher Catherine Munro called this phenomenon the “pumpkin.”  While the glutes work, we want to be careful that they don’t overly engage.  The secondary action of the glutes is to externally rotate the thigh, which can lead to compression through the lower back and inability to lengthen the tailbone.  Use the muscular midline (adductors, internal rotators) to keep the legs neutral even when the glutes engage.

You can teach proper engagement in your backbends, but also in poses such as crescent or 3-legged dog, where the back leg needs to find a slight internal rotation to bring it back to neutral.

Getting up there- Two hand positions

After you warm up your students thoroughly and appropriately, start your students in bridge and confirm the neutral placement of the feet.  The feet – as a distal reflection of the thighs – will attempt to turn out when the glutes engage.  Use midline to keep the legs (and feet) parallel.  As your students lift into bridge, confirm the action of the legs and pelvis in this non-weight bearing position.

From here, they place their hands in position #1: by the ears and close.  The proximity of the hands to the head will give them more muscular access to lifting up.

Once they come onto their heads, widen the hands into hand position #2, which creates a little more space into the shoulder girdle.  While they will have less power to press up, most students appreciate the extra space.  They can also turn their hands out slightly to create even more room.

Now it is time to affirm the lift into the thoracic spine and appropriate action of the shoulders –  before they become weight-bearing through their arms.  Have your students roll towards their hairline to draw their chest forward through their arms as they root the upper arms bones back into their sockets (towards their hips).  This will anchor the scapulae on the back.  From here, they can then press into the hands and feet evenly (watch the feet don’t move – continue to hug the midline) to come up.

There are two variations of Urdhva Dhanurasana. In variation 1, the student works to create an even bow through the whole body, with the pelvis and ribs level.  While this is easier on the shoulders, it’s harder on the wrists as they are at a very acute angle.  In version 2, the student begins to bring their shoulders forward over their wrists (see pic above). Easier on the wrists, but asking for lots of space in the shoulders.  Eventually, you can take version 2, then walk the feet in as is comfortable to tighten the bowstring.  Students should maintain the capacity to feel grounded in the feet (good for standing up eventually from this pose) as well as rooted in the hands (great for shoulder opening).  Here’s a tip from Asthanga teacher Chris Richardson: To keep the lower back long, move everything from the navel through the thighs towards the feet, while the navel through the back spine reaches forward into the hands.  Move both parts of the body away from each other to create spaciousness in the center.

If you have students who are limited through their shoulders, you can have them hold your ankles.  They should place the webbing of their hands into the crease where your leg and foot meet and hold there, rather than wrapping their hands around your lower leg.    (Make sure to keep your feet on the wide side.)  Otherwise their hands will slide down to your feet anyway, giving you a you an unwelcome skin massage.

 

One step at a time

Many times students will forget about the foundation in the excitement of getting up and turn their feet and leg out every which way in an effort to “do the full pose.”   While this may be initially exciting, it is far better to proceed with patience so that the whole body can be integrated in the pose – from the toes to the fingers.  Otherwise, cranky low backs will ensue rather than the adrenal stimulating, expansive awakening that Urdhva Dhanuarasana provides.

The”full expression” of Urdhva Dhanurasana allows you to leverage the action of the arms to open the upper back and chest, your students in bridge are still experiencing the delights of spinal extension.  Over time and patient practice, the body will become more receptive and open to this luxurious expression.  Warm up intelligently, manage your foundation and actions, and allow the pose to unfold from there.

 

 

 

 

 

Headstand: a lesson in patience

Headstand is like the grandpappy of inversions.  Unlike the 5-year old exuberance of handstand, or the slightly more moderated enthusiasm of forearm stand, headstand evokes a deep seated patience and – dare I say – necessary dignity in the practitioner.

Kicking up into headstand is a big ol’ no-no, primarily because the head is rooted into the floor and any instability in the body can translate into torquing of the delicate cervical spine.  Unlike other inversions (where we can willy-nilly get ourselves up there without too much of a problem), handstand requires us to move slowly from a deep connection to our core.   Without momentum, how do we safely get up into the darn thing?

Well, the point is, maybe we won’t.  Maybe not today.  But by calling upon our reserves of patience and a deeply felt commitment to process, we can eventually find our way into a headstand that is light, stable, and sustainable.

Step 1: Set the foundation

If this pose is new to you, practice at the wall until you find your inverted center.  Interlace your hands up to the webbing and tuck your bottom pinky in so that the foundation is flat.  Keep a small space in the center of your hands so that the bones of your arms creates a straight line through your to your knuckles.  Place your elbows directly beneath your shoulders.  Look at your wrists.  See how you can roll them in and out?  Instead, position the wrist so that the inner wrist is stacked directly onto the outer wrist.

Place the top of your head on the floor between your hands and pause to make sure that you are really on the plumb line top of your head.  Your chin should be level with the floor and the natural curve of your cervical spine should be maintained.

Step 2: Cultivate stability

Lift your shoulderblades away from your ears and hug the scapulae onto your back.  Press down firmly into your forearms as you curl your toes under and lift your hips. Press into your forearms to de-weight your head, and make sure that you can lighten the burden on your neck by using the strength of your shoulder girdle.

From here, walk your feet towards your arms, continuing to lift your shoulder blades into the back of your body.  Press down through your forearms and lift your hips high into the air.

Step 3: Taking flight

Pressing into your forearms, draw one knee into your chest.  Hug your knee in towards your face until your hips move past your shoulders and you can de-weight your other toes.  This is not time for jumping.  Practice finding the subtle lifting and gathering of your core that you need to stabilize your center and give your legs freedom.  Often this step is the one requiring the most patience, so take your time so that you can organically find the opening and stability that you need to unearth your feet.

Once you have found lightness in both legs, bring both feet to the wall above you and slide your feet up.  Press down firmly into your forearms so that your neck can continue to be spacious.  Breathe smoothly and calmly.  When you are ready, come out the way that you came in.  Slide your feet down the wall, then very slowly bring one foot at a time back to the floor.

Component Parts:

  • Hamstrings
  • Upper arms: flexion and external rotation
  • Scapular stabilization
  • Core
  • Midline/Neutral legs

When preparing the body for headstand, consider the benefits of some of the following poses:

  • Standing twists (Scapular stabilization; midline/neutral legs)
  • Small backbends (Scapular stabilization; midline/neutral legs)
  • Prasarita Padottanasana (Hamstrings; midline/ neutral legs) with or without a twist
  • Crescent with a backbend (Midline/neutral legs; scapular stabilization; arms)
  • Gomukhasana arms (Flexion and external rotation of upper arm)
  • Dolphin: an excellent preparation and modification of headstand.  Practitioners should practice dolphin until they have enough scapular stability and upper body strength to hold the pose for a minute.

Happy Inverting!

 

Finding the sukha spot – even in parivrtta ardha chandrasana

I realized last week that I was trying too hard to lift my arms.

I was reaching my arms overhead in urdhva hastasana and – I thought – doing a pretty good job.  I was straightening the arms, lifting through the sides of the waist, and (for once) not sticking my ribs at.  Ah-ha, I thought, I’m DOING it!  My teacher comes by and purses her lips at me.  “Relax here, stop working so hard.  Your collarbones are all tight.”  She wiggles my fingers until my collarbones have space to breathe.

Hmmmm, now I seem to be doing much less.  And it feels…better.

How many times have we been struggling with a pose only to realize that the next step involves letting something go rather than adding on more effort?  “Sthira Sukham Asanam” as it says in the yoga sutras, which means “asana is a steady, comfortable seat.”  But somehow we find it much easier to focus on the “steady” part of the equation than the “comfort.”  When we go to yoga class, we are usually trying to be good students.  We want to “do it” right.  And it’s usually easier to “do” something than to “let go” of something.  So we do, do, and do… and hope that we’re on the right path.

It’s time to focus on the other side of the equation.  The comfort side.  The undoing side.  Can we simplify our practice so that we’re doing what we need to?  No more, no less.  Yoga then becomes a process of stripping away, rather than layering on.  We come down to the essential elements of the poses, rather than bogging them down in layers of tension.  Un-do. Simplify.  Do what is necessary, not more.

As a delightful challenge to the process of simplification, this week’s pose is parivrtta ardha chandrasana (revolved half moon).  A profoundly challenging balancing pose, we are asked to basically revolve our Virabhadrasana III (warrior III).  Even here, search for the sukha.  Do what is necessary, not more.

Component Parts:

Neutral legs: The back leg is certainly going to want to externally rotate.  Strongly lift the inner thigh of the extended back leg to the ceiling as you reach through the back heel.  The standing leg hip will want to rotate forward.  Draw the standing leg hip back and firm the inner thighs towards each other.   Find this adductor (inner thigh) action in earlier, more accessible poses like lunges, Virabhadrasana I, Parvottanasana, and Virabhadrasana III.

Thoracic Spine/Twist: For this twist, the thoracic spine must draw strongly into the body.  Keep the upper body open, use the bottom tips of the shoulder blades to dig into the chest and lift the chest open.  Broaden the collarbones.  Good places to find this: cobra, updog, open twists, parivrtta parsvakonasana, parivrtta trikonasana

Core: A strong connection from the inner legs into the center is essential.  The flexies among us will be tempted to twist by collapsing in the lower back.  Instead, lengthen the tailbone to the extended heel and lift the sides of the waist to the ceiling.  From this strength and foundation, then open the chest.  Find this core work in navasana (try it with straight legs, coming from dandasana – just like picking up your right angle and shifting it into another perspective.  It’s a whole new pose!).  A great way to workshop navasana is on your back.  This helps keep the spine long and the lower back drawing into the body (rather than collapsing away and rounding the spine – thanks to our quadratus lumborum for the support!).  Lay on your back about two feet from the wall and bring your heels onto the wall, legs together, like tadasasana.  Lift your chest without hyper extending the lower back.  With legs straight, make your heels light then gently lift them away from the wall until your legs are at ninety degrees.  Then slowly (slowly) lower the heels back to the wall, keeping the chest open, lower back long.  Once we’ve got that, we can try to come into navasana from dandasana with the legs straight.  Lift through the chest, tip back, zip your legs together, and lift your legs.  Keep the chest open and the lower back drawing up and in.  Guaranteed to warm you up.

Hamstrings: Oh yes, the hamstrings must be warmed up.  Uttanasana, parsvottanasana (pyramid), prasarita padottanasana (wide-legged forward fold), virabhadrasana III (warrior III).

Sequencing ideas:

Virasana/Meditation to start.  Teach the neutral legs.  Touch on the lengthening of the side waist, lift of the chest.

Extended cat/cow: neutral legs, reach through heels.  Opening chest without collapsing waist.

Make your way into Surya A’s as a general warm up, with lunges and an open twist

Warrior II to warm up hamstrings

Prasarita Padottanasana (with strap behind to encourage opening of thoracic), hamstrings, neutral

Surya B for neutral alignment in legs – add in parivrtta parsvakonasana with focus on lengthening both sides, rather than C-curve

Parsvottanasana (with strap behind, open chest)

To the wall:

Navasana core exercise (see above.  On back, then from dandasana.  Also an interesting option here to do jathara parivartanasana.)

Supta Hasta Padangustasana with extended foot on wall and using strap (to find alignment in non-weight bearing position)

Utkatastana at wall (to give hamstrings a break)

Utthita Hasta Padangustasana at wall (leg neutral)

Virabhadrasana III with extended leg at wall.  Use blocks under hands.  The openness and lift of the chest is a potent counterbalance to the extended leg.

Parivrtta Ardha Chandrasana with extended leg at wall – TADA!  I love using the wall here, as it encourages length and an accuracy in alignment that is freeing.

Cool down should include some bent leg hip openers to soothe the outer hips and give hamstrings a rest.  Baddha konasana, Ankle to knee, a forward fold in sukhasana would feel great.

“Eka pada Koundin-What?”

Eka Pada Koundinyasana.  It’s one of those poses that you see on the cover of yoga journal, performed by someone smiling peacefully (and seemingly in no state of stress or panic) that makes you go, “Huh?  Riiiiiiiiiight.”  As my boyfriend said with alarm upon seeing this picture to the left, “Jesus!  That is not good!”  (Photo courtesy of Yoga Journal.)  But despite it’s daunting appearance, there are accessible roads into this seemingly impossible position.

Eka Pada Koundinyasana #1 (there are two versions of this pose) is not only an arm balance, it’s also a deep twist.  To warm up the body effectively, we must first imprint our body (especially our upper body) with the alignment necessary to support the pose.

Common misalignments

In a word: hunching.  Coming into this arm balance from a deep twist, we tend to slouch our shoulders forward and collapse in our chests.  In fact, we tend to do this even in more accessible twists.  For example, bring to mind parivrtta parvakonasana (revolved side angle).  (See right, thanks again, yoga journal!)  Usually in order to get our arm to the outside of our leg, we make a big ‘ol C curve in the spine – anything to get that (in this case, left) elbow over there.  Our head and pelvis are no longer lined up, and we shorten the upper side of our torso.  This causes the left shoulder to droop forward, which means that we can’t get that left shoulder blade down and INTO our back to facilitate the twist. We get stuck.

To protect the shoulder joints and create maximum length in the body, we instead need set up for this pose by maintaining even alignment in both sides of the spine.  As we lengthen the spine, the keep the shoulder blades ON the back, so that they act like little shovels  and lift our thoracic spine up and INTO our body.  We maintain a virtual backbend in our upper back.  Our chests lift and our collarbones stay wide.

Then we need to keep this openness through the upper body AS we move into a twist and balance on our hands.  No biggie, right?

Component parts

Upper back/Thoracic: As discussed, this is essential for the pose and for the happiness of the shoulder joint.

Shoulderblade Position: On your back. This goes with upper back.  Upper arms gather in.

Core: Yep, you gotta find a some core stability here  – even while you keep the chest open.  That means we need to engage the deep core muscles like the transverse abdominis rather than the rectus abdominis (those six-pack, or “crunching” muscles).

Legs: Work those legs.  If you want to get airborne, stretch through the legs and feet with great enthusiasm.

And actually, that’s kind of it.  No hamstrings, no great flexibility needed here. Just a brave, open heart and some core engagement.

Sequencing:

This week, I’m sequencing this pose with an intent to work on maintaining the lift and openness of the spine during the twist.

To get everyone imprinted with the right body in the action, I start everyone at the wall with a block.  Standing in tadasana a little aways from the wall, place the block on your shoulderblades so that the block is giving encouragement for the thoracic to draw in and up.  You may have to play with your distance. You want to be far enough away that you don’t have to lean forward, but close enough in that you are upright and getting the feeling of the block lifting your spine up and in.

Then do the same thing, this time with the block in the middle of your buttocks (so the tailbone is lengthening down to your heels).  Imagine the block moving up and into your chest.

Tadasana into Urdhva Hastasana with a block between your hands.  Imagine the other two blocks now: one into your upper back, the other pressing your tailbone down to the floor.  Straighten your arms, stretch your legs, and reach, baby, reach!

Then, use the recall of the two block positions all through class to encourage chest open, long lower back.  Here are some highlighted poses I’ll hit:

Dandasana (seated on block – length and evenness of spine)

Maricyasana III, both sides.  No bind – remember, we want to avoid the rounding of the spine and sliding off of the shoulder blades.  Focus on keeping skull atop pelvis, even length through both sides of waist, and lift in the thoracic.

Sun salutations – again, weaving the focus of the upper back lift throughout.

Low lunge (back knee up)

Low lunge with twist)

Trikonasana (triangle) to focus on even length of both sides of waist

Twisting chair (no C-curve)

Parivrtta Parsvakonsasna – less is more.  Have them keep length in both sides of waist rather than end gaining and getting elbow across at all costs.

Getting into it:

To actually get into the pose, I like YJ’s description below, with a couple of modification possiblities.

As a modification of the pose, Ardha Mastyendrasa with the bottom leg extended.  Work on keeping the lift and openness in spine – all the same actions we’ve been doing all class.

As a variation, put the sitbone of the crossed over leg on top of a block (not everyone can sit on their heels).  Work the twist from there, but don’t bring your hands to the floor.  Instead stay upright.  Explore the constraint of the legs as you lift, open, and twist.

Here’s the YJ exerpt with my notes in blue:

Step by Step

Come into it from a standing position. First bend your knees as if to squat, then take your left knee to the floor. Turn your left foot so it points to the right and sit on the heel. Cross your right foot over your left thigh and place it, sole down, beside your left knee. Your right knee should point toward the ceiling.  (Okay, here’s where I say, place a block underneath your right butt if you can’t sit back on your left heel.  Work the lift and twist from there and be happy.)

To twist, bring your left waist, side ribs, and shoulder around to the right. Place your left upper arm across your right thigh and slide your left outer armpit down the outside of the thigh. Use movements similar to those you used in Parsva Bakasana to maximize your twist and make good contact between your left upper arm and right outer thigh.  (Okay, you may need to do a little rounding here, but as soon as you find the connect, work the same actions you have been.  Get your shoulderblades back on your back, lengthen your chest forward.) Maintaining this contact high on the arm and far to the outside of the thigh is the secret to the pose.

To place your hands on the floor, first straighten your left elbow and put your left palm down (you may need to lean to the right to bring your hand all the way down). To place your right hand, carefully lift both hips without losing the left-arm-to-right-thigh placement, lean even more to the right, and put your right hand on the floor. Your hands should be shoulder width apart, with your middle fingers parallel to each other. Most of your weight will still be on your knees and feet.

Without losing contact between your left arm and your right outer thigh, lift your hips so you can flip your left foot and stand on the ball of the foot, heel up. Next, lift your left knee off the floor so most of your weight is on your feet. Lift your hips a little higher and start shifting your weight to bring your whole torso above and between your hands with its midline parallel to your middle fingers. Leaning your weight slightly forward, bend your left elbow a little, then tilt your head and shoulders a bit toward the floor. This should leverage your right foot up in the air. When your right foot is up, lean your weight farther forward until your left foot becomes light, then lifts up with an exhale. (Keep your shoulderblades ON your back, reach your sternum forward.  No droopy shoulders!)

To finish the pose, straighten both knees simultaneously with an inhale. Lift the left leg until it’s parallel to the floor. Bending your left elbow more, lift your right foot higher, and reach out through the balls of both feet. Adjust the height of your right shoulder so it’s the same as the left. Lift your chest to bring your torso parallel to the floor. Breathing smoothly, hold the pose for 20 seconds or longer (Um, whatever?  Be happy with whatever you do, even if you just get an inkling of taking the weight off your feet), then release both feet to the floor with an exhale. Repeat on the other side for the same length of time.

Have fun, see you in class!

Sankalpa – a New Year’s Meditation

This meditation comes by way of Rachel Zinman, a stunning ISHTA teacher in Australia.
My favorite teacher and Mentor Alan Finger always recommends the Sankalpa Meditation as a great way to start the New Year. He says that a Sankalpa- setting an intention for your self is different to a New Years resolution. A resolution is something we make with our conscious mind where as a Sankalpa is a seed that can’t help but grow in the ground of our unconscious. Just recently Swami Paramahansa Satyananda- one of the great yogis and teachers of our time took Mahasamadhi. His Sankalpa is a touching reminder of how important it is to face everything with an open heart. you can click here to read Satyanandas Sankalpa

Instructions for the Sankalpa meditation:

1. Start with  a few rounds of alternate nostril breaths to withdraw the senses. If you don’t know this technique you can simply close your eyes and observe your breath for a few moments.
2.Visualize writing your intention in your own handwriting on the blue screen of your mind ( let the intention arise with out prejudgement)
3.Chant your intention as a mantra at your third eye,  chant it in the throat, chant it at the heart, the solar plexus, the pubic bone and then root it right down into the pelvic floor.  Imagine your intention has roots and feel them sinking into the earth.
4. next  see your Sankalpa as a plant beginning to grow- you can let go of the word here and sense it more as an energy.
5. feel it as a tender shoot in the area just behind the pubic bone, feel it receiving the warmth of the sun in your solar plexus area and then see it as a beautiful flower blossoming in your heart
And then radiate that beauty up through your throat and into the crown.
6. You can practice this meditation for 40 days. In my own experience its a profound and healing way to start  every year and my intentions always seem to come to fruition!

Getting Quiet in Practice: Halasana

During the holidays, it’s more important than ever to have some quiet time. With all of the distractions – parties, relatives, drama, presents, planning, joy, baggage – it’s easy to get swept away on a holiday rollercoaster!

This week’s pose is halasana (plow). By turning ourselves upside down and folding over, we are literally looking into ourselves. The pose helps us to pull our energy in and become more contained and centered. As in inversion, halasana encourages us to challenge our point of view and get out of sticky patterns. Its (literally!) navel-gazing properties can help us become less reactive and more grounded. How do we want to greet the new year?

Halasana is rather like dandasana – on its head. While many of us do a “soft” halasana that resembles a forward fold, the full expression of the pose more closely resembles a backbend, with the shoulder blades drawing strongly into the back, the hips reaching up into the sky, and the spine perpendicular to the floor rather than rounded.

Component parts:

Arms: extension, external rotation.

Thoracic: drawing in strongly.

Hamstrings: must be warmed up to approach the pose

Neck: cervical spine in flexion

Hips: reaching into the air

Poses for preparation:

Downward Dog: teach the reaching of the hips up toward the ceiling, lifting away from the floor.  Also, this pose will start to warm up the hamstrings, warm up the shoulders (albeit in flexion), and actually looks like halasana – in a different orientation

Backbends with the shoulders in extension: salabhasana, bridge, baby cobra, dhanurasana.  These will start to teach both the essential drawing in of the thoracic spine as well as warm up the extension of the arm at the shoulder.

Forward folds to open the hamstrings: Uttansanasa, Parsvottanasana (with arms in reverse namaste you will also treat extension of the arm), Prasarita Padottanasana B and C (wide-legged forward fold with the hands at the waist or fingers interlaced behind you).

Jalandhara Bandha (chin to chest): practice this in dandasana.  With jalandhara bandha,  you must continue to strongly lift the chest up.  Do not compromise the pose by drooping in the thoracic spine.

Teaching the pose:

I like to teach this pose with the shoulders stacked on foam blocks or on 2-3 neatly folded, thick (Mexican style) blankets.  Just as in shoulderstand, lifting the shoulders onto a support will enable you to lift more strongly through the thoracic spine, as well as protect the cervical spine from flattening. Use more support rather than less when you’re starting.

Try placing the blankets about a leg’s distance away from the wall, with the folded edges toward the center of the room.  Come onto the blankets with your head TOWARD the wall and your shoulders on the blankets/supports.  First press your upper arms down firmly into the support and tuck your shoulder blades underneath you.  Press the outer arms and palms down as you swing your legs over your head and bring them onto the wall at the same height as your hips.  (You may have to play with the distance you are from the wall until you find the right position.)  You will make an L-shape with your body.  Roll your upper arms more deeply underneath your body to facilitate the lifting of the thoracic spine.  Bring your hands to your back, as close to the floor as possible to lift the thoracic spine up and in. Press your arms down to lift the chest up.  Reach your hips straight up to the ceiling.  Press your feet into the wall and your quads to the ceiling in order to lift the hips up higher.  To the extent that is accessible, you may walk your feet down the wall towards the baseboard as far as you can without compromising the vertical lift of the hips.

Smooth out your breath.  Keep pressing your arms down in order to lift your chest and hips up.  Press the back of your head down gently to maintain the gentle curve of the cervical spine.  Breath, and turn your attention inwards.  Embrace the quiet.

To come out, keep pressing your arms down firmly as you bring your hands back to the floor and slowly begin to roll out.  Let your knees bend when your hips hit the floor.

Counterpose:

Move yourself toward the wall until your shoulders are on the floor, giving you a slight backbend.  Take a gentle spinal twist to each side.  Downdog to release the back of the neck.

Variations:

In case of neck injury or high/low blood pressure issues, you can do a modified version by doing viparita karani (legs up the wall) with a block underneath the hips.  Tuck the shoulderblades under you and lift the thoracic spine up and reach through the heels (legs together).  Another alternative is dandasana, or a restorative backbend with a bolster underneath the back and the legs extended out straight.

Bakasana – stoking the inner fire

Bakasana, photo by KSHBakasana is one of those asani that looks impossible until you actually do it.

“You want me to put my knees where and balance on my what?” we think with dismay.

But with just a few steps, you two can begin to find the effortless flight that characterizes this arm balance. And the key lies in finding your core. The gateway to the core? Your inner thighs. Very simply, by using your adductors (the muscles that allow you to squeeze your legs together), you begin to activate your core – namely your transverse abdominis. Once this engagement starts, you are on your way to flight.

Finding the Adductors

To find the adductors, try “scissoring” your legs together in poses such as lunge, virabhadrasana I, parsvottanasana, and other neutral-legged postures. This scissoring action will help “square” your hips, create a sense of buoyancy through the pelvic floor, and add stability to your posture. Another great way to find the adductors is to bring a block between your feet or your inner thighs and squeeze – presto! Instant adductor action.

Here’s a good sequence to help you find your core:

-Place a block on medium width between your thighs and stand in tadasana (it’s okay, your feet will be under your hips)

-Inhale arms up into urdhva hastasana (squeeze the block)

-Exhale uttanasana (squeeze the block)

-Inhale halfway (squeeze the block)

-Exhale uttanasana (squeeze the block)

-Inhale urdhva hastasana/ arms up (squeeze the block)

-Exhale tadasasna (squeeze the block)

You get the idea? You can do a whole sun salutation with the block by jumping (with your knees bent) into down dog and moving through the vinyasa from there. Holding plank or forearm plank with the block between the upper thighs can change the dynamic of the posture by encouraging the activation of the legs and the core. When the legs start working for you, the pose becomes easier on the arms and the wrists.

It’s All in the Shape

The shape of the back in bakasana is similar to that in an arching cat. When many of us start to come into bakasana, we flatten out the spine, which actually makes is more difficult to engage the abdominals. Also, instead of trying to balance the knees in the armpit, instead, clamp the knees onto the outer upper arms. This clamping action allows you to find the inner thighs, which has a trickle up effect to the pelvic floor and abdominals, giving you lift.

Poses to find the rounding of the back aren’t common in yoga, as we tend to work toward a straight spine. However, here are a few that can help:

-The cat part of cat/cow

-Garudasana (Eagle), if you hinge from hips and round the back

-Arching cat in downward dog. To do this, come into downward dog. Extend one leg back. Shift your shoulders over your wrists (a la plank). Draw your knee to your nose, press into your hands, and round your spine toward the ceiling. Stretch the leg back into three-legged dog and repeat a few times.

Doing the Pose

My favorite way of doing bakasana is to start with the feet together on a block.

-Place your feet on the block and widen your knees.

-Place your hands on the floor shoulder distance apart and spread your fingers wide. Claw the fingers into the floor so that you are distributing your weight through the whole hand and not just bearing down through the wrist

-Hunker down and clamp your knees onto your arms as high up as you can. Squeeze. Feel your adductors fire up.

-Look forward

-Begin to shift your weight forward off the block and into your hands

-As you shift, keep your tailbone reaching down so that you your spine is round and not flat, scooping your abdominals up

-Bring one foot off the block, maybe both. If you have both, then squeeze the sides of your feet together, lift your addominals up, and straighten your arms

-Come down by bringing one foot to the block and then the other.

If you felt your adductors firing and your back rounding, then you are on the right path!

Possible Sequence

Bakasana is a great pose for the wintery months, when we feel as if our inner furnace is a bit dimmed.

Cat/Cow (focus on rounding of spine)

Cat/Cow – add leg extension and knee to nose

Extended child’s pose

Downward Dog

Cat/Cow in Downward Dog (students have option to return to easier version on their knees if necessary)

Low lunge (scissor legs and fire adductors)

Forearm plank (do forearm plank rather than plank to preserve the wrists for later)

Repeat on other side

Sun Salutation with block between inner thighs or feet 3-5 times

Utkatasana

Eagle with forward fold to round spine

Surya B (focus on adductors) 1-3 times

Surya B to downward dog, step into lunge, parivrtta parsvakonasana (revolved side angle) – Both sides

Parsvottanasna (Pyramid pose)

Malasana (squat) – squeeze inner thighs in

Navasana (Boat)

Bakasana (as described above)

Table or purvottanasana to release front of body

Upavista Konasana (wide-legged forward fold) to release inner thighs

Baddha Konasana (cobbler’s pose)

Maricyasana C (seated twist)

Pascimottanasna (seated forward fold)

onto back: Reclined Ankle to Knee

Savasana

The King of the Asanas – Headstand

Headstand in MexicoMoving with our fear.

Headstand is an elegant inversion, insisting on patience, presence, and control to be done properly. For many of us, headstand is an opportunity to brush against our fear. Fear of the unknown, of falling, of not being in control. As such, the practice of headstand become an opportunity to practice intimacy with this fear. When we move slowly and with awareness, we can breathe through our fear reflex and assess where we really are. Rather than getting caught up in a fear narrative, we practice slowing down and observing our response. Whether we actually go upside down or not is actually irrelevant! More interesting is developing our capacity for self-observation and spaciousness.

Iyengar writes, “Regular and precise practice of Sirsasana develops the body, disciplines the mind and widens the horizons of the spirit. One becomes balanced and self-reliant in pain and pleasure, loss and gain, shame and fame, and defeat and victory.” -Light on Yoga

Risk factors:
The neck. When we practice sirsasana, it is important that we work gradually to put weight on the head. When we are starting, place very little weight on the head and instead work to support the body through the work and stability of the shoulder girdle. This will prevent the delicate cervical spine from being overloaded.

The lower back: It is easy to “banana” in the lower back and crunch the lumbar spine. We must work to open the shoulders and engage to core to prevent collapse in the low back.

High/low blood pressure: Since we are increasing cranial pressure, it is prudent for students with blood pressure issues to proceed with caution or ask their doctor. Also, students with similar pressure issues such as glaucoma or hiatal hernia should seek advice from their physician before working on headstand.

Component Parts:

The upper arm and lower arm are both in flexion.  The upper arm will be working towards external rotation.  Investigate poses such as Utthita Hastasana (arms raised in tadasana), Adho Mukha Svanasana (Downward Dog), Adho Mukha Vrksasana (Handstand), Vrksasana (Tree with arms raised), and Gomukhasana Arms (cow-faced pose, the top arm).  Dolphin and Forearm Stand Prep are great preps.

Thoracic Spine.  Even though we’re not backbending in sirsasana, the action of the upper back feels like backbending as we draw the shoulderblades deeper into the body.  Backbends and twists are great way to access this action in the upper back.

Core.  To support our body weight and keep the lower back long.  Poses such as plank, forearm plank, Vasisthasana (side plank) are all great educators for the core.

Neutral legs.  Find the connection of the adductors and the neutral position of the legs in lunges, Virabhadrasana I (Warrior I), Utkatasana (fierce/chair pose), and parsovttanasana (pyramid pose)

Warmed-up hamstrings.  To get into headstand requires walking the legs in to the body, which is facilitated by long hamstrings.  Warm up the hamstrings in uttanasana (forward fold), prasarita padottanasana (wide-legged forward fold), parsvottanasana (pyramid pose)

Variations:

Do at wall or in corner.  I highly recommend practicing this pose at the wall until confidence in one’s balance is developed.

Dolphin – prep only (head off floor, legs in Adho Mukha Svanasana).  Raise one leg at a time

Prep (head on or off floor, but feet stay on floor), with block at wall, pressing into shoulderblades to encourage thoracic action (need a friend to help with this one!)

Possible Sequence:

Virasana on a block (neutral legs)

Add utthita hastasana, fingers interlaced (flexion in upper arms) x 2, right and left interlace

Extended child’s pose (arms in flexion).  Work action of thoracic spine

Plank, forearm plank variations (core)

Adho Mukha Svanasana (flexion, hamstrings, neutral)

Lunges (neutral legs)

Lunge with open twist (thoracic)

Surya A (hamstrings, neutral legs, arms in flexion, core) x 5

– last time add parivrtta parsvakonasana (thoracic)

Uttanasana – held (hamstrings)

Trikonasana (hamstrings, possible flexion arm variation)

Vrksasana (balance and arms in flexion)

Utkatasana, holding block (arms flexion)

Parvsottanasana (R/L), with straight back (hamstrings, work thoracic)

Parivrtta Trikonasana (thoracic, hamstrings)

Tadasana with Gomukhasana Arms

–To Wall–

Virabhadrasana III with hands at wall (core, neutral legs, hamstrings)

Virabhadrasana III with back foot on wall (core, neutral legs, hamstrings)

Dolphin (Sirsasana prep)

Sirsasana

Child’s pose

Adho Mukha Svanasana (to release neck)

Variation of Salamba Sarvanghasana (shoulderstand) with block under pelvis and legs in air

Twist

Reclined Ankle to Knee

Savasana

Aum Shanti Meditation – from Alan Finger

Shanti, of course, is the Sanksrit word for peace. (The tradition of reciting “shanti, shanti, shanti” 3 times reflects the trinary nature of existence – – the relationship of peace within yourself, peace between you and others, and peace throughout the universe. Buddhists also refer to the Threefold peace of the body, mind and speech). Aum, or Om, is perhaps the most commonly-known Sanskrit mantra, but it has so many significances an entire newsletter might not address them all! However, a few insights follow…

The simplicity of Aum is married to its complexity and its fundamental importance. It is considered the primary sound of the universe, the essential sound of consciousness or creation. Thus in vibrating our bodies and consciousness to Aum, we are aligning ourselves with the divine essence of the universe!

Written and chanted as A-U-M, the mantra again represents a trinity: that of the energies of creation, sustenance and destruction that together bind the universe together. These are sometimes represented by the Hindu deities Brahma (A = Creation), Vishnu (U = Sustenance) and Shiva (M = Destruction or Transcendance). (See below for a wonderful illustration of this representation!) Other trinities for the A-U-M include body-mind-spirit, or self-personal world-universe… there are many possible concordances.

To deeply experience the power of this simple mantra, sit comfortably in your usual meditation seat. Begin by simply working with A-U-M. As you chant aloud, resonate each sound for several seconds before moving to the next sound: Ah…. Oh…. Mm. Notice where you feel the vibrations of each sound in your body. Sense the “Ahh” emanating from the base of your body, vibrating and cleansing the root and belly. Sense the “Ohh” purifying your heart center and throat. Feel the “Mmm” resonating throughout your face and skull to the crown of your head. Repeat aloud at least six times.

Now, repeat the path of A-U-M, but repeat the mantra sounds silently, and feel the same internal vibrations. As you move to this more subtle layer of sensing the mantra, its purifying abilities move more deeply from the physical into the subtle body, releasing the emotions and burdens of the lower self. As this release occurs, the central channel of consciousness is opened and the jiva, your individual spirit, is freed to reunite with paramatman, the source of divine love and inspiration.

Now allow the A-U-M to combine into Aum, and feel you are receiving the divine light of Paramatman, the universe, through that central channel, from the crown of your head, flowing down into your heart, the seat of your jiva, your unique spirit, and into your body.

As you tune in to your breath, let the inhale carry this light down into the center of your body. Begin to let the exhale release from your heart center. Feel on this release the sound of Shanti, peace. As this cycle of inhale and exhale continues, you draw in the inspiration and unconditional love of the universe, filtering it through your unique essence and sending it back out into the world.

You might direct this powerful vibration of peace anywhere you’re inspired to: from your loved ones, to those in need, to places of conflict anywhere in the world. This simple, powerful practice reconnects you to the love, peace and divine oneness within your own heart and throughout the universe.

Alan Finger

Hum-Sa Kriya – Alan Finger

This meditation was one of the first that I learned from my teacher Alan Finger. It is a beautiful way to calm and still the mind and connect to the energy of your body.

The Hum-Sa Kriya is part of the “Ishta Diksha.”

Diksha, meaning “initiation,” is the physical transference of divine energy directly into the brain, which allows for enlightenment. You become free from the limitations and the conditioning of the mind and are released from unnecessary suffering.
Practiced daily, these techniques will tune your mind into a Higher source of personal power that will educate, inspire, and enliven every moment of your living.

The Hum-Sa Kriya directs consciousness to the spinal column, the central cord of intelligence and awareness, and the central channel of energy in the body. The result of this focus is the creation of an alpha rhythm in the brain. Alpha is the scientific term for the brain state of relaxed alertness and accelerated learning- the mind is peaceful but aware and perceptive of its surroundings. It is known to be incredibly healing and revitalizing to the mind and body.

1. Set a small timer for 18 minutes, but don’t press start just yet. Do at least six rounds of Nadi Shodana Pranayama (alternate nostril breathing).

2. If you can, keep your eyes closed, but press the start button on your timer. Bring your focus back to the breath. Whenever you breathe in, silently visualize and hear the sound “Hum” going up the spine from the base of your tail bone to the space between your eyebrows. And whenever you breathe out, use the sound “Sa” down the spine and try to feel the energy move from the mid-brain down to the base of the spine.
Very important: Do not force the breathing.
On your inhalation, visualize a white ball of light lifting up your spine and into the middle of your brain, and on your exhalation, visualize the ball of light slowly floating down your spine back to the base.

3. Repeat this movement. On the inhalation “Hum” up the spine and on the exhalation. “Sa” down to the base.
This focus and repetition brings you deeper and deeper into the center of consciousness, revealing the true nature who you really are.
You’ll notice that in time, your breath slowly becomes smoother. Eventually pauses will appear, moments in between breaths where there’s just a pause and no need to breathe. This is the point at which a sense of just floating in pure bliss occurs.

4. Stay in this place until the timer sounds. When that happens, gently silence the alarm, and come back to sitting. Let yourself take about six or so full deep breaths. Gently open your eyes. Smile. You’ve taken one more step on the journey to Self.

Namaste.
Alan Finger

Natarajasana

Natarajasana, Pose of the Lord of the Dance, is a complex pose that is deep backbend with the added fun of balance.  As with any backbend, is it essential to fully warm up the thoracic spine and hip flexors as well as integrate core stability for the safety of the lower back.  A myriad of arm variations possible in this pose also allow for shoulder and chest opening.

Risk factors: Falling, low back.

What to warm up:

The hip flexors (front of the thighs).  Low lunge, high lunge, and Virabhadrasana I are great poses for opening the front of the thighs.  Hanumanasana with a bolster and a focus on a sagittally neutral pelvis in order to access the BACK leg.  Instead of treating Hanumanasana as a stretch, instead use it to access and tone the adductors, make the legs neutral, and then open the hip flexors of the back leg.  Ardha Bhekasana can also be used to stretch the quads, particularly when we focus on anchoring the pubic bone as we draw the shin in.

The thoracic (upper back).  Work to open the front of the heart by broadening the collarbones, lifting the sternum, and drawing the shoulders deeply into the body.  Can you work to isolate the drawing in of the upper back while you keep your lower back long?  It’s a little bit of a conundrum, but this is exactly the paradoxical work that backbends require.  Poses such as sphinx, bhujangasana (baby cobra), dhanuarsana (bow), and salabhasana (locust) can refine this work.

The core. To maintain a long lower back, we must use strength through the front of the body to contain the area between the front hip points (the ASIS) and the lower ribcage. Poses such as plank, forearm plank, and navasana (as well as other non-yoga varieties that might be in your repertoire) can bring awareness to this area.

The inner thighs/neutral legs.  The adductors link to the core and help keep our legs neutral when they would otherwise flare into external rotation.  Prepare the legs to remain neutral through engaging the adductors in lunges, Virabhadrasana I and Virabhadrasana III.   By engaging the inner thighs and rolling them slightly to the back body, we widen the sacrum, create length through the back and more room to squeegie the buttocks flesh down the thighs.

The shoulders. Classical Natarajasana has the standing leg arm reaching forward, while the bent leg arm reaches over the head in external rotation and flexion to grasp the foot or big toes.  (Like the upper arm in Gomukhasana.)  While this is quite a feat for most of us dealing with tight shoulders and hip flexors, we can approximate the actions of this pose by using a strap around our bent knee ankle.  Make a Grecian sandal with your strap by wrapping it around your ankle and threading the two ends between the big toes.  Presto, you’ve made your leg longer!  Work the actions of the pose here: draw the inner things to each other, tailbone to the floor, lower back long, upper chest opening.  Breathe and then climb your hand down the strap as the opportunity avails. To prepare for the classical variation, use poses such as Adho Mukha Svanasana (down dog), Utthita Hastasana (hands up in tadasana), Gomukhasana (cow-face pose, arms only), and inversions to open the shoulders.

A great variationof Natarajasana is to reach back with both hands and clasp the foot (like your clasping your hands around the top of the foot).  In this variation, the shoulders are in extension, which creates a delicious opportunity for opening the chest.  Use Prasarita Padottanasana C (wide-legged forward bend with hands clasped behind), Purvottanasana,  Setu Bandha (bridge), and Dhanurasana (bow) to prepare the shoulders for this variation.

Props:  Use a strap as a Grecian sandal to assist in the classical variation (see above).  Use the wall to assist in balancing.

Variation: At Wall.  Start in Virabhadrasana III at the wall, hands at the wall, with one foot under the hip and the other reaching back into the center of the room.  Keeping the lower back long, begin to move into a backbending variation by walking the hands up the wall.  Alternatively, strap the arms above the elbows and bring the forearms on the wall parallel, fingers pointing up.  Option to bend the lifted knee , keeping the thigh open and neutral.  Natarajasana at the wall!

Energetics: Natarajasana is a pose about opening into fear.  We are asked to open our hearts on uncertain ground (on one leg).  Before you begin, relax.  Smooth out the breath.  Grounding the energy and stabilizing the standing leg are crucial pillars.  Once the base has been established, then slowly open the upper back into a backbend.  Less is more at first.  From a stable base, let the breath open the pose from the inside.

Giving Gratitude Legs – Ustrasana

Frequently when we leave yoga class, we’re feeling pretty good. We’re stretched, we’re stronger, our minds are a bit more settled. After all, feeling good in our own bodies is a crucial first step on our hatha yoga path. And if that’s what gets us to the mat, so much the better. But at some point in our practice, we begin to have the terrible inkling that our yoga practice is actually happening all the time. It’s just a little more obvious when we’re in our lulu’s and on our mats.

Our practice is just that: practice for our lives. The point of our practice isn’t to have the perfect downward facing dog – although greater physical health is certainly a side effect of yoga. The real juice of our practice is revealed in very practical and everyday situations. Our practice means having a little extra space to respond when someone pushes our buttons or cuts us off in traffic. It’s having the space to feel upset without lashing back. Or it’s using that feel good energy from our class to give back to our families and friends a bit more fully. While improving urdhva dhanurasana is fun, the real potency of our yoga practice is actually experienced off the mat and in our lives.

In honor of Gratitude Week, I’m inviting everyone to “Give their Gratitude Legs”. Take that gorgeous, expansive generosity that begins to flow in class and deliberately manifest it as something tangible in your life. Bring the energy from your heart chakra and manifest it into your legs and your hands — and take action.

Devote just one hour this week to manifest your gratitude. Spend the extra hour with your kids, research a charity to donate to, or listen to a friend that needs some healing.

After all, if we don’t pay it forward, then who will?

Pose of the Week: Ustrasana

In honor of giving gratitude legs, this week’s pose is Ustrasana. Camel pose requires a deep connection to our core, to our legs, to the earth. Out of this deep strength and connection into our roots, we can open our hearts into gravity and radiate.  The interplay between opening up and grounding down makes ustrasana the perfect pose for manifesting gratitude.

Risk factors:

Because ustrasana is a backbend with gravity (as opposed to backbends where we lift up INTO gravity), it is vitally important to maintain the strength and connection of the front of the body to avoid over compressing the lower back.  What makes ustrasana so invigorating and challenging is the play between opening and strengthening the front body. Another risk factor is the neck, as we’re often tempted to drop the head back and cut of the long line of energy up the spine.  Dropping the head back should only be done when the chest is fully opened, and even then should only be done if it comfortable to the student.  I keep my chin tucked into my chest as long as possible and often do not drop my head back at all.

What to warm up:

The thoracic (upper back).  Coil open the upper back back by broadening the collarbones, reaching forward with the sternum, and drawing the shoulders deeply into the body.  Can you work to isolate the drawing in of the upper back while you keep your lower back long?  Imagine drawing the sides of the waistline to the back body as you lengthen the sides and lift the chest.

The core: The stability of our core is essential in controlling the opening our spine in ustrasana.  While the core is important in all backbends, its role is crucial in ustrasana because we are resisting gravity.  Engaging the inner thigh line (the adductors) will help to engage the core and support the backbend.  As we move into backbends, we can grip the buttocks, which can cause external rotation in the thighs and squash the sacrum.  By engaging the inner thighs and rolling them slightly to the back body, we widen the sacrum, create length through the back and more room to reach the sitbones away from the back.  Practicing plank and forearm plank can also teach the front body to engage without shortening.

The hip flexors (front of the thighs).    Prepare the hip flexors for ustrasana through lunges and Virabhadrasana I.  To particularly access the quads, use a runner’s stretch or King Arthur’s Pose (low lunge with the lower leg vertical up the wall).

The shoulders in extension (arms reaching back). Warm up the shoulders in extension through garudasana arms (lower arm), salabhasana or  bridge.  I also like using a strap during uttanasana or prasarita padottanasana to encourage arm extension.  Choose your leg variation, then hold the strap behind you with the palms forward, just wider than your hips.  Draw the heads of the upper arms back (no slouching).  Keep lifting the strap to the ceiling (rather than over the head) as you fold.  Lift the shoulderheads up.

Props:  The wall.  I almost always do ustrasana with my hip points glued to the wall.  I can clearly draw my inner thighs back into the room and lengthen my sitting bones to the floor.  Keeping your hip points at the wall will ensure that you keep your hips and knees lined up and that you continue to use your legs and abdominals to support your weight.   Use a bolster across the back of the shins to bring the floor up to you.  Blocks on either side of the ankles do the same thing.  You can place a block between the thighs to engage the adductors.  An important note in ustrasana is to continually lift up as you go back.  As if you’re lifting your upper back over a limbo bar.  When  your hands find purchase (on the bolster, blocks, or feet), lift up out of the arms and radiate your chest up to the sky.  Finding and nurturing a sense of strength and containment as you drop back in ustrasana will help prepare the body for more rigorous drop backs from standing.

Stroke of Insight – Jill Bolte Taylor

This astounding video recounts neuroanatomist Jill Bolte Taylor’s experience of having a stroke. Not only is she able to contextualize the experience from a medical perspective, but she discovers that bliss may be a simple matter of “stepping to the right.” I also highly recommend her book, where she candidly offers her experience of recovery. A definite must for anyone with loved ones who have had a stroke. Also, In the process of recovery, she discovers that she has the power to reprogram her habitual patterns in order to make better choices. And isn’t that what yoga is all about?

Urdhva Dhanurasana

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Rachel, photo by SBK

Urdhva Dhanurasana, aka Upward Bow  – don’t call it Wheel, that’s a different pose ;).  One of the ultimate yoga stretches for the front of the body, Urdhva Dhanurasana challenges us to maintain our strength though the core as we radiate through our upper chest and heart and stretch our hip flexors and shoulders.  Any restriction in the shoulders or hips will immediately translate into a crunched lower back, so Upward Bow requires a great deal of warming up and opening in order to be happily explored.

Risk factors: The low back.  This is priority number one.  In order to keep our low back long and strong, we much engage the rectus abdominus and create containment through the front of our body.  Opening the shoulders and hip flexors will help us to find an even arch through the spine and take pressure off the lower back to do all the bending.

What to warm up:

The shoulders in flexion (reaching forward and up). Whenever we have the arms over our head, our upper arms must in in external rotation.  This means that poses like adho mukha svanasana (down dog), urdhva hastasana (arms over the head in tadasana – I love this when squeezing a block between the wrists, arms straight, front ribs in), and handstand (urdhva hastasana upside down) will be great warm ups for the shoulders.  You should be able to straighten the arms above the head without bending the elbows or bowing the spine.  If this isn’t possible yet, then keep working on the shoulders and wait before trying Upward Bow.  With time, it will come.

The hip flexors (front of the thighs).  Low lunge, high lunge, and Virabhadrasana I are great poses for opening the front of the thighs.  We are particularly interested in the psoas rather than the quads, as the knees in Urdhva Dhanurasana aren’t really that bent.

The thoracic (upper back).  Work to open the front of the heart by broadening the collarbones, lifting the sternum, and drawing the shoulders deeply into the body.  Can you work to isolate the drawing in of the upper back while you keep your lower back long?  It’s a little bit of a conundrum, but this is exactly the paradoxical work that backbends require.  Poses such as sphinx, bhujanghasana (baby cobra), urdhva mukha svanasana (up dog), and salabhasana (locust) can refine this work.  Twists such as parivrtta parsvakonasana and parivrtta trikonasana are excellent at teaching the body to open the upper spine while engaging the abdominals and lengthening.

The core. To maintain a long lower back, we must use strength through the front of the body to contain the area between the front hip points (the ASIS) and the lower ribcage. Poses such as plank, forearm plank, and navasana (as well as other non-yoga varieties that might be in your repertoire) can bring awareness to this area.  Doing a mild camel with your frontal hip points stuck to the wall and focusing on lifting up an out of the hips can be an effective way to bring attention to the work of the abdominals.

The inner thighs.  The adductors link to the core.  Also, as we press into backbends, the tendency is to grip the buttocks, which can cause external rotation in the thighs and squash the sacrum.  By engaging the inner thighs and rolling them slightly to the back body, we widen the sacrum, create length through the back and more room to reach the sitbones away from the back.  The adductors can be accessed in almost every pose, but are particularly obvious in neutral lunges when we can “scissor” the inner thighs towards each other.  Putting a block between the upper thighs or the inner feet immediately creates and adductor-engaged imprint in the body.

Props:  Use a strap shoulder-width above the elbows to prevent flailing out in the arms and loss of external rotation.  Strap the upper thighs at hip distance apart to keep the legs parallel the hips (and inner thighs down, and sacrum wide).  A block between the upper thighs cues the inner thighs to engage and roll to the floor.  A block between the feet or a strap around the big toes helps to keep the feet parallel and tracking (keeping the thighs neutral rather than externally rotating).  Blocks tilted at the wall can take the pressure out of the wrists by decreasing the angle at which they need to bear weight.

Energetics: Urdhva Dhanurasana is one of the great heart openers.  But we cannot move to opening unless there we have strength through the core of the body.  We need a solid foundation through the legs, pelvis and lower core (energetically we need stability in chakras 1-3) in order to radiate and expand through the upper chest (chakra 4, the heart chakra).  In a recent workshop, Anodea Judith invited us to open our hearts while staying in our core.  In relationships – the purview of chakra 4 – we often find ourselves either hardening and retreating or becoming too malleable and floppy.  We are either defensive, or we let too much in.  Urdhva Dhanurasana invites into the great balance; the more strength and grounding that we can find in our center, the more open and receptive that we can safely become.

Backbending thoughts from Aadil Palkivala:
Physically speaking, backbends move the spine into the body, creating strength in the back of the body and length through the groins, abdominal cavity, rib cage, throat, and frontal shoulders. Backbends charge the kidneys by drawing them into the body, rejuvenating the adrenals and drawing the life force given by the kidneys back into the body. Backbends generally open up three major areas of the body – the pelvis, heart and throat. Therefore, they can open the hips, free the chest from congestion, and bring back a healthy curve to the neck. Most of our daily habits (sitting, driving, working at a desk) cause a collapse in the front of our bodies and push the spine backwards. This is why you will often feel bony lumps on the spine of older people. Backbends bring healthy alignment and mobility back into the spine, moving the vertebrae forwards.

Psychologically speaking, backbends move us toward our future and away from our past, since the back of the body represents the past and the front of our body represents our future. Backbends quieten the hyper-analytical activity of the front brain, and because of the extension produced, trigger a feeling of openness in the limbic system (the emotional center of the brain). In contrast, when we are in a state of fear or anger, we curl up and go into a position of flexion (protection). Thus, psychologically speaking, backbends move us from fear to power.

Energetically speaking, backbends move the spine toward the Pillar of Light in the body. They open up congested and stagnant pelvic energy. This allows the energy to move upward in an expression of aspiration for growth, where it can be transformed by the wisdom of the Heart Chakra. Backbends open up the Heart Chakra, expanding the feeling of love and joy. They also open the throat, allowing the Heart Chakra to express words of beauty and love. This opening also allows the mental energy to move more easily down to the Heart Chakra.

However, a caveat: All the above happens in backbends only if there is the intention for this to happen as you practice. Otherwise you will simply become more flexible!

Levitating, inverting, abs. By request.

I arrived early to my Tuesday class, so asked some of the students if they had any inspirations for the practice.  “Levitation,” replied one particularly cheeky monkey.  “Inversions!” another cried.  “I may get in trouble for this,” said a third, “but I’d like to do abs.”

Alright, I thought.  Levitating, inverted abs it is.

Challenge is an inherent part of any arm balancing themed class.  After all, a solid core connection is essential for any standing on the hands, and that invariably winds up being, well…hard.  You need to connect to the arches of the feet, then follow the inner leg line of energy through the adductors, into the pelvic floor, into the transverse abdominals.  It takes a little effort.

And now, I have to mention India.

While I was in India, I did not practice.  Well, okay, maybe a couple times.  But for the majority of my trip, I spent my time walking, eating, observing, haggling, and generally doing everything but yoga.  So I went from having a 2 hours plus practice most days of the week to doing almost nothing.

And it was GREAT.

You see, about a week into my trip, I suddenly realized that something was different.  I didn’t hurt anymore.  The repetitive injuries that I’d been “working through” had faded and my body seemed to be functioning happily.  Rather than fall apart without my yoga practice, my body seemed to be actually doing better.

Now, this isn’t because yoga is bad for you.  On the contrary, yoga is very (very) good for you.  But I’d been practicing in a way that became counter-productive.  I had been over-stressing my body because I liked the challenge.  I wanted to advance my practice, and it seemed like the only way to do this was to do harder poses.  Wasn’t it?

There’s a part of all of us that thrives on challenge.  On advancement.  (You type A’s  know exactly what I mean.)  But when we overdo it and impose a practice on on our body, rather than experience the practice, our body sends us signals that we’re going too far.  If we’re ambitious, we rarely listen and instead “push through,” only to be stopped in our tracks eventually by some sort of injury.

Does this mean we shouldn’t challenge ourselves?  Of course not!  But we must challenge ourselves while still respecting the voice of our body.  So, in other words, how can we honor ourselves and still attempt levitating, inverted abs?

We must listen to ourselves.  Rather than “do” your practice, “be” your practice.  Be inside your practice, rather than inflicting it on your unsuspecting body.  When the challenges come (and they always do), give yourself the space to respond rather than react.  Instead of shutting off or overcompensating, breathe and integrate the experience.  These moments of stress in yoga class are fertile ground for practicing how to consciously respond to anxiety off the mat.

Notice: what’s your pattern for coping with challenge?  Do you ferociously attack it, or succumb without a fight?  Can we practice being with the challenge without adding a psychological agenda?  Can we actually soften in order to be strong?

Since you may be curious, we wound up practicing the transitions from tripod headstand to bakasana and back again.  Fun, fun, all day long. Levitating, inverting abs, indeed!

Photo by SBK
Photo by SBK

Ajna Chakra: Light

Ajna Chakra, located at the third eye center, opens us to element of light.  In addition to literally seeing, this chakra draws us into the power of visualization, imagination, and abstraction.  We literally connect to a higher frequency (Vishuddha was the frequency of sound, Ajna of light) and our experience moves further beyond the tangible plane.

Suddenly, our world is much larger.  We can use the power of our imagination to understand experiences beyond our own.  Though the understanding of images and words, we can visualize our place in a greater context. Our sight is both external and internal. The sixth chakra opens us to the world of intuition, where we are assimilating information more rapidly than our conscious mind may process. We begin to learn to trust our sixth sense.

The power to visualize is a powerful tool that can expand or limit our consciousness.  While our imagination can set us free to imagine possibilities beyond our immediate experience, we can also impose mental boundaries on ourselves that prevent us from moving into our potential.  Discernment in the sixth chakra is the power to separate vision from illusion. As Anodea Judith writes, “Vision leads us forward and illusion holds us back. A vision is a possibility, a goal to inspire us, constantly changing and evolving. We know a vision isn’t real, and yet we believe in its potential. An illusion tends to be held as certainly and forced into place – something we believe is real and unchangeable. An illusion binds the energy; a vision consciously directs it.”

Exercise: Practice discernment between vision and illusion. Do you impose limits on yourself that have no basis in reality? Can you replace these assumptions with a visualization that pulls your more firmly into your real potential?