Yoga Haven TT Manual

200HR TEACHER TRAINING MANUAL

Version no.6

CONTENTS INTRODUCTION THE SEQUENCE ETHICS TEACHING METHODOLOGY SANSKRIT Sanskrit Glossary YOGA HISTORY & PHILOSOPHY What Is Yoga?

Religion vs Philosophy A Historical Overview Of Yoga Forms & Types Of Yoga The 6 Major Branches Contemporary & Traditional Yoga Teacher-Disciple Initiation The Vedas The Upanishads The Bhagavad Gita Purusharthas: The 4 Aims Of Life Dharma The 3 Gunas/Modes Of Nature Tantras & Tantrism Patanjali’s Classical Yoga Hatha Yoga ASANA Benefits Of Asana Asana Groups Principles Of Sequencing Basic Sequencing Formula ASSISTS: THE BASICS The Importance Of Touch Knowing When To Assist Ask Permission

4 5 59 63 68 70 73 74 75 76 80 80 80 82 83 84 85 88 89 91 94 95 101 102 104 106 108 109 112 113 114 114

The Arc Of An Assist Standing Back Bends Twists Forward Bends Savasana/Relaxation BANDHAS Mula Bandha Uddiyana Bandha Jalandhara Bandha Maha Bandha DRISTI THE SUBTLE BODY Prana & Vayus 3 Bodies, 5 Koshas Nadis The 7 Cakra System MUDRA MANTRA PRANAYAMA The Science of Breath Yogic Breath Ujjayi Nadi Shodana Kapalbhati MEDITATION The Meditating Mind Pancha Kleshas Vrittis Meditation Practices KRIYAS / 6 SHATKARMAS AYURVEDA BASICS ALTERNATIVE SEQUENCES

115 116 127 128 133 139 142 144 145 146 146 147 150 152 155 157 158 161 164 170 171 172 177 178 179 180 181 186 187 189 193 195 199

INTRODUCTION Separateness causes suffering while union creates freedom.

It is the separation from our Self, each other, nature and from something greater or higher (be it God, universal consciousness, or whatever term you wish to use) that causes the anxiety and chaos symptomatic of our times. It is difficult for us to experience our natural connection with each other when we don’t trust, or have temporarily lost, the inner wisdom that does not doubt our connection to all things.

Yoga, when used sensitively and appropriately, is a practical method of bringing greater peace and connectedness into our lives. Our nervous system dictates how we experience the world. If the nervous system is fresh and rested, the body will be healthy and the mind alert and comprehensive.

Yoga can tone the nervous system so it can reflect a greater degree of conscious awareness and our

“

lives can become an increasingly positive force in the world. If the yogic methods are practiced correctly and appropriately, the whole nervous system is revitalised. The body enjoys better health and more energy, the mind is rested and freed from the endless burden of past and future thinking, and perception is restored to its primal freshness.

We may reconnect to our true self and others as we release ourselves from restricted thinking, dullness of mind and negativity resulting from a strained, tired nervous system. The healthier our nervous system, the healthier our body, mind, thoughts and actions.

The purpose of this manual is to promote selfpractice and self-responsibility and to offer a tool for reconnecting. This connection is the place where yoga truly begins in each of our own individual lives. Yoga helps you rise to the challenge of living.

The purpose of yoga is to facilitate the profound inner relaxation that accompanies fearlessness. The release from fear is what finally precipitates the full flowering of love.” – Erich Schiffmann

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THE SEQUENCE

5

7

R+L

R+L

R+L

R+L

V

NADI SHODANA>

BACK BENDS >

REPEAT HIPSTER FLOW [L] >

ARM BALANCING >

MEDITATION>

FORWARD BENDS >

V

WARM UP SEQUENCE GENTLE SPINE MOBILISATION BASICS [Head Roll] (from Supta Tadasana) 1.

BRING THE ARMS ALONG THE SIDES OF THE BODY ON THE FLOOR, A LITTLE AWAY FROM THE SIDES, PALMS FACING UP

2.

ENSURE THE SHOULDER BLADES ARE BROADENING ONTO THE FLOOR AND ARE DOWN AWAY FROM THE EARS, SO THE NECK IS FREE

3.

FACING UP FIRST, DRAW THE CHIN A LITTLE BACK TOWARD THE BASE OF THE SKULL. INHALE

4.

EXHALE, ALLOW THE HEAD TO ROLL NATURALLY TO THE RIGHT

5.

INHALE, ROLL THE HEAD BACK TO CENTRE

6.

EXHALE, ALLOW THE HEAD TO ROLL NATURALLY TO THE LEFT

7.

THAT IS ONE ROUND, REPEAT 4 MORE ROUNDS

BENEFITS •

CAUTIONS •

EXTRA •

Do not force the neck side to side, just allow the back of the skull to roll across the floor to each side

•

If there is an excessive curve in the neck from poor postural alignment, place a thin folded blanket or block underneath the head

•

If it feels good to let the head stay on one side for a few breaths, do so

Releases the upper spine and mobilises and relaxes the neck

Neck injury or pain, either stop or do it very gently and don’t allow the head to go all the way to the side

MUSCLES, LENGTHEN THE TAIL BONE UP AND UNDER TOWARD THE PUBIC BONE 7.

FEEL HOW THIS POSTERIOR PELVIC TILT HAS FLATTENED THE LOWER BACK INTO GROUND

8.

INHALE AND SLOWLY RELEASE THE TAIL BONE TO THE FLOOR, OBSERVE THE NATURAL CURVE IN THE LOWER BACK

9.

THAT IS ONE ROUND, REPEAT 4 MORE ROUNDS

BASICS [Pelvic Tilts] (from Supta Tadasana)

BASICS [Gentle Twist]

1.

BEND THE KNEES AND BRING THE FEET FLAT ON THE FLOOR JUST IN FRONT OF THE HIPS

(from Pelvic Tilts)

2.

POSITION YOUR HEELS HIP WIDTH APART DIRECTLY UNDER YOUR KNEES

3.

PRESS THE INNER EDGES OF THE FEET DOWN TO PREVENT THE KNEES FROM SPLAYING OUT

4.

EXTEND THE ARMS ALONG THE FLOOR, PRESS THE PALMS DOWN INTO THE FLOOR BESIDE THE HIPS

5.

KEEP THE CHIN LIGHTLY AWAY FROM YOUR STERNUM SO THE NECK HAS A NATURAL CURVE AND SLIGHTLY LIFTS OFF THE GROUND

6.

EXHALE, CONTRACT YOUR ABDOMINAL

10. ENSURE THE HEELS ARE HIP WIDTH APART AND DIRECTLY UNDER YOUR KNEES 11. ARMS OUT TO THE SIDE, PALMS DOWN FOR SUPPORT 12. EXHALE, ALLOW THE KNEES TO DESCEND TO THE RIGHT SIDE AS YOU ALLOW THE HEAD TO TURN TO THE LEFT 13. DRAW THE LOW BELLY IN, INHALE AND BRING THE HEAD AND KNEES BACK TO THE CENTRE 14. EXHALE, REPEAT ON THE OPPOSITE SIDE. THAT IS ONE ROUND, REPEAT 2 MORE ROUNDS

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WARM UP SEQUENCE PAWANMUKTASANA Wind Removing pose BASICS (from Supta Tadasana) 1.

EXHALE, BEND YOUR RIGHT KNEE TOWARDS YOUR CHEST, INTERLACE THE FINGERS AROUND THE SHIN, JUST BELOW THE KNEE

2.

DRAW THE THIGH DOWN ONTO THE ABDOMEN, KNEE ALIGNED WITH THE RIGHT SHOULDER

3.

HOLD IT THERE, AS YOU TAKE DEEP, LONG BREATHS IN AND OUT

4.

KEEP THE LOWER BACK ON THE FLOOR

5.

WITH EACH EXHALE INCREASE THE PRESSURE DOWN ONTO THE ABDOMEN

6.

INHALE, RELEASE THE HANDS, BRING THE FOOT TO THE FLOOR, EXTEND THE LEG TO THE FLOOR

7.

REPEAT WITH THE LEFT LEG AND THEN BOTH LEGS TOGETHER

EXTRA •

For lower back pain or sacroilliac pain: when working with single leg, bend the straight leg, and press the foot into the floor to stabilise the pelvis and lower back

•

To increase the effect and intensity of Pawanmuktasana, From point 3. Breathe in again and as you exhale, lift your head and chest off the floor and touch your chin to your right knee. Do the same for the left, and both legs together

BENEFITS • • • • •

Strengthens the back and abdominal muscles Tones the leg and arm muscles Massages the intestines and other organs in the abdomen Helps digestion and release of gas Enhances blood circulation in the hip joints and eases tension in the lower back

CAUTIONS • • • • • • • •

High blood pressure, heart problems Hyperacidity Abdominal or Hiatus hernia Slipped disc Any disorder of the testicles Menstruation Neck and back injuries. Sacroiliac joint pain or dysfunction Pregnancy: After first trimester

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WARM UP SEQUENCE FIRE UP THE CORE Yogi Bicycle BASICS (from Supta Tadasana) 1.

EXHALE, BEND THE KNEES, RAISE BOTH FEET OF THE FLOOR, THIGHS VERTICAL, SHINS PARALLEL TO THE FLOOR. KNEES ABOVE THE HIPS

2.

PLACE THE HANDS TO THE SIDES OF THE HEAD. LIKE YOUR PUTTING ON HEAD PHONES

3.

EXHALE DRAW THE TUMMY IN AND FLATTEN THE BACK ONTO THE MAT

4.

DRAW THE LOWER RIBS TO THE PUBIC BONE, PUBIC BONE TO THE LOWER RIBS

5.

INHALE, RAISE THE HEAD, NECK AND UPPER SHOULDER BLADES OFF THE MAT. DON’T PULL THE HEAD

6.

EXHALE, EXTEND THE RIGHT LEG AWAY FROM THE HIP, 10INCHES FROM THE FLOOR. SIMULTANEOUSLY BRING THE RIGHT ELBOW TOWARD THE OUTSIDE OF THE LEFT THIGH OR KNEE

7.

INHALE RETURN THE TORSO TO THE CENTRE, KEEP THE UPPER SHOULDER BLADES OFF THE MAT

8.

EXHALE, EXTEND THE LEFT LEG AWAY FROM THE HIP, 10-12INCHES FROM THE FLOOR. SIMULTANEOUSLY BRING THE LEFT ELBOW TOWARD THE OUTSIDE OF THE RIGHT THIGH OR KNEE

9.

BENEFITS •

INHALE RETURN THE TORSO TO THE CENTRE, KEEP THE UPPER SHOULDER BLADES OFF THE MAT.

10. THAT’S ONE ROUND. REPEAT 10 ROUNDS

EXTRA •

Try no to pull the knee in as you bring the elbow to the opposite thigh. Keep it above the hip, curling the upper spine off the floor

•

Try to really twist across the body from the waist. Keep the lumbar spine and back of the pelvis on the floor

•

Ensure to breathe with each section: Exhale Right, Inhale Centre, Exhale Left etc.

•

You can speed the whole thing up: Inhale, curl up to centre, Exhale Left, Right, Back to centre, Inhale

The main muscle targeted during bicycle crunches is your rectus abdominis. This muscle allows you to move and tilt your body. The secondary muscles targeted are your obliques, Your obliques also help you to move, tilt and rotate with your spine

CAUTIONS • • •

Pregnancy and Post pregnancy Lower back injury Sacroiliac joint pain, or dysfunction

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WARM UP SEQUENCE SUCIRANDHRASANA Eye Of The Needle pose BASICS (from Supta Tadasana) 1.

BEND BOTH KNEES, FEET TO THE FLOOR IN FRONT OF THE SIT BONES

2.

LIFT THE LEFT FOOT, BRINGING THE OUTER ANKLE ONTO THE RIGHT THIGH JUST BELOW THE KNEE

3.

RAISE THE RIGHT FOOT OFF THE FLOOR THE SHIN PARALLEL TO THE FLOOR. FLEX BOTH FEET

4.

REACH THE LEFT ARM THROUGH THE SPACE BETWEEN THE LEGS, MEETING THE RIGHT HAND BEHIND THE RIGHT THIGH. INTERLACE THE FINGERS

5.

INHALE FULLY. EXHALE, BEND THE ELBOWS OUT TO THE SIDES, BRING THE RIGHT THIGH IN TOWARD THE BODY, TOP SHIN TOWARD THE CHEST

6.

PRESS THE LEFT KNEE AWAY FROM THE SHOULDER

7.

HOLD THE POSE AND BREATHE

8.

TO COME OUT, RELEASE THE HANDS, LOWER THE RIGHT FOOT TO THE FLOOR. UNCROSS THE LEGS, LOWER THE LEFT FOOT TO THE FLOOR

EXTRA •

Engage the thighs and feet to create stability in the knees

•

Extend out through the inner edge of the foot that is on the thigh

•

Relax the shoulders and throat

•

Lift the pelvic floor and tone the low belly

•

Allow the low back to round

BENEFITS • • • •

Stretches your outer hips Gently lengthens your low back Tones the hamstrings and quadriceps of the clasped leg Opens up the pelvic area

CAUTIONS • •

Knees, hips, groin, or low back injury Sacroiliac issue: Avoid flattening your low back against the ground

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WARM UP SEQUENCE BITILASANA > MARJARASANA + FISTS OF FIRE Cow & Cat pose with Fists of Fire BASICS [Cow] 1.

COME ONTO THE HANDS AND KNEES, ARMS AND THIGHS VERTICAL— SHOULDERS DIRECTLY OVER THE WRISTS, HIPS DIRECTLY OVER THE KNEES

2.

SEPARATE THE HANDS SLIGHTLY WIDER THAN SHOULDERDISTANCE APART

3.

SEPARATE THE KNEES AND FEET OUTER HIP-WIDTH APART

4.

BRING THE TOPS OF THE FEET ONTO THE FLOOR

5.

POINT THE TOES STRAIGHT BACK AND KEEP THE HEELS VERTICAL

6.

INHALE, LIFT THE CHEST AND EXTEND THE ABDOMEN DOWN TOWARD THE FLOOR SO THAT THE ENTIRE SPINE MOVES INTO A SLIGHT BACK-BEND

7.

LIFT THE CHIN AND TAIL BONE. LOOK UP BETWEEN THE EYEBROWS

BITILASANA - COW

MAJARASANA - CAT

BASICS [Cat] 1.

EXHALE, ROUND THE SPINE UPWARD

2.

PRESS THE TAIL BONE DOWN AND LIFT THE LOW BELLY

3.

LIFT THE BASE OF THE STERNUM UP

4.

RELEASE YOUR HEAD TOWARD THE FLOOR, BUT DON’T FORCE YOUR CHIN TO YOUR CHEST

BASICS [Fists of Fire] 1.

INHALE, EXTEND THE LEFT ARM FORWARD, LIFT & EXTEND THE RIGHT LEG BACK, PARALLEL TO THE FLOOR. TOES SPREAD, SOUL OF THE FOOT FACES UP

2.

EXHALE, SQUEEZE THE RIGHT KNEE AND LEFT ELBOW IN AND UP TOWARD THE BELLY AS THE SPINE ROUNDS

•

When warming up it may be beneficial to hold each pose for a few breaths before moving between the two in a flow

EXTRA •

Separate the fingers and point the index fingers forward.

Press the entire perimeter of the palms down, especially the mounds of the index fingers

•

Press the knees, shins, and tops of feet down

•

For extra padding, place a blanket underneath the knees, shins, and feet

•

In Bitilasana protect your neck by broadening across your shoulder blades and encouraging the shoulders down, away from your ears

•

When transitioning between Bitilasana and Marjarasana, originate the movement from the tilt in the pelvis first allowing the movement to emanate upwards through the spine

BENEFITS • • •

Stretches the front and back of the torso and neck Increases mobility in the lower spine Provides a gentle massage to the spine and internal organs

CAUTIONS • •

With a neck injury, keep the head in line with the torso Lower back injury

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STANDING | PREPARATION TADASANA Mountain pose BASICS 1.

BRING THE INNER EDGES OF THE FEET TOGETHER

2.

BRING THE ARMS BY THE SIDES

3.

STRAIGHTEN THE ARMS AND LEGS

4.

LIFT THE CHIN SLIGHTLY

5.

LOOK STRAIGHT AHEAD

6.

HOLD THE POSE AND BREATHE

EXTRA •

Distribute the weight evenly on the feet

•

In other words, do not lean forward, back, or to one side or the other. Press the big toes down, flare the outer two toes— create space between the toes

•

Engage the thighs, lift the kneecaps

•

Squeeze the feet and legs together

•

Engage the glutes

•

Move the tail bone down and the low belly in

•

Move the base of the sternum back and lift the chest

•

Engage the thighs, knees and elbows into a straight position

BENEFITS • • • • •

Decompresses the spine Strengthens the entire leg and pelvic girdle Tones the abdominal muscles Ignites the nervous system Improves posture

CAUTIONS •

• •

Low Blood Pressure (if pose held too long): as the blood may begin to pool in the lower half of the body, causing dizziness Pregnancy: keep feet hip distance, or wider, apart Knock Knees: Bring heels slightly apart

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VINYASA URDHVA HASTASANA Raised Hands pose BASICS (from Tadasana) 1.

INHALE, EXTEND THE ARMS OVERHEAD UNTIL THE ELBOWS ARE DIRECTLY ABOVE THE SHOULDERS

2.

PRESS THE PALMS TOGETHER, SEPARATE THE FINGERS OR KEEP THE FINGERS CLOSED

3.

SQUEEZE THE ELBOWS TOWARD EACH OTHER AND UPWARDS TO STRAIGHTEN THE ARMS

4.

LOOK UP PAST THE HANDS

5.

HOLD THE POSE AND BREATHE

6.

SEE UTTANASANA NEXT

EXTRA •

Press the big toes down and flare the outer two toes

•

Squeeze the feet and legs together

•

Engage the thighs, lift the kneecaps to straighten the legs

•

Engage the glutes. Move the tail bone down and the low belly in

•

Move the base of sternum back and lift the chest. When the arms are overhead, there is a tendency to push the base of the sternum and front ribs forward

•

Extend the arms up and back sightly

•

If looking up is too intense for the neck, look straight ahead

BENEFITS • • •

Stretches the belly Improves digestion Stretches the shoulders and armpits Helps relieve indigestion, fatigue, asthma and backache

CAUTIONS •

Avoid the raised arms in this pose with shoulder or neck injuries

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VINYASA UTTANASANA Forward Fold pose BASICS (from Urdhva Hastasana) 1.

INHALE FULLY

2.

EXHALE, FOLD THE TORSO FORWARD FROM THE HIP CREASES

3.

PLACE THE FINGERTIPS/PALMS ON THE FLOOR NEXT TO THE FEET

4.

BEND THE ELBOWS OUT TO THE SIDES

5.

BRING THE FACE TOWARD/ TO THE SHINS

6.

BRING THE WEIGHT FORWARD UNTIL THE HIPS ARE DIRECTLY OVER THE HEELS

7.

STRAIGHTEN THE LEGS COMPLETELY BY ENGAGING/PULLING UP THE THIGHS

8.

HOLD THE POSE AND BREATHE

BENEFITS •

9.

•

Tones and lengthens the spinal nerves.

Stretches and opens the entire back body Relieves spinal, hip, glutes, and lower limb tightness Strengthens the abdominal area and quads

•

Nourishes the brain with blood

SEE ARDHA UTTANASANA NEXT •

EXTRA •

Squeeze the feet and legs together

•

Lift the kneecaps up, engage the thighs straighten the legs

•

Press the tops of the feet down to engage the calves

•

Move the tail bone down and the low belly in

•

There are several variations for practitioners with tight hamstrings. Separate the feet outer hip-width apart before folding forward. Widen the knees slightly wider than the ankles. If the hands dangle above the floor, bend the knees as much as necessary. Alternatively, place the hands on blocks, first below the shoulders and later to the outsides of the feet. If the low back still rounds with the hands elevated on blocks, place the hands on a wall and fold to a 90-degree angle, keeping the knees as bent as necessary to maintain a long, straight spine

•

CAUTIONS •

•

• •

Back injury: practice this pose with bent knees or Arhda (half) Uttanasana with hands on the wall, legs perpendicular to torso and arms parallel to the floor High Blood Pressure (hypertension): move into the pose gradually and remain only if the breath is not strained. Or practice Ardha Uttanasana; Low Blood Pressure: Release from the pose slowly, as dizziness may be experienced Late pregnancy: practice Ardha Uttanasana

Over time, begin to straighten the legs little by little. Gaining flexibility in the hamstrings, can take weeks, months, even years of regular practice

15

VINYASA ARDHA UTTANASANA Half Forward Fold pose BASICS (from Uttanasana) 1.

INHALE FULLY, KEEP THE FINGERTIPS ON THE FLOOR AND LIFT THE TORSO

2.

STRAIGHTEN THE ARMS, LIFT THE CHIN SLIGHTLY, AND LOOK FORWARD, KEEP THE BACK OF THE NECK IN LINE WITH THE REST OF THE SPINE

3.

HOLD THE POSE AND BREATHE

4.

SEE PHALAKASANA NEXT

EXTRA •

Squeeze the feet and legs together

•

Engage the legs, especially the thighs

•

Lift the kneecaps up to straighten the legs

•

Press the tops of the feet down to engage the calves

•

Move the tail bone down and the low belly in

•

To reduce strain in the low back and hamstrings, separate the feet outer hip-width apart and bring the hands directly under the shoulders

•

To make it easier place the fingertips on blocks or place hands on the shins, and bend the knees slightly

BENEFITS • • •

Strengthens the back muscles Tones the abdominal muscles Improves posture

CAUTIONS • •

Back injuries Hamstring injuries

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VINYASA PHALAKASANA Plank pose

BASICS

•

Evenly press the fingertips and the perimeter of the palms into the floor. To achieve this, press the mounds of the index fingers down, which tend to lift up. Keep a small pocket of air between the centre of your palm and the mat

•

A micro-bend in the elbow to point the elbow backward, can help to open the chest area (spreading the collarbones)

•

Draw the base of the shoulder blades together.

Firm the shoulder blades in to the upper back

•

Press the tail bone down and lift the low belly in

•

Move the base of the sternum up and back toward the spine a little

•

Bring the heels directly over the toe mounds

•

If the hips sag, lower the knees to the floor and create a straight line from the hips to the head

(from Ardha Uttanasana) 1.

EXHALE, BEND THE KNEES A LITTLE, PLACE THE PALMS DOWN ONTO THE MAT. STEP THE RIGHT FOOT TO THE BACK OF THE MAT, BENDING THE FRONT KNEE INTO A LUNGE POSITION

2.

STEP THE LEFT FOOT BACK TO MEET THE BACK FOOT. ENSURE THE FEET ARE HIP WIDTH APART, NO WIDER

3.

SHOULDERS ARE ABOVE AND JUST BEHIND THE LINE OF THE WRIST. ARMS ARE VERTICAL

4.

MAKE A STRAIGHT LINE FROM THE HEELS TO THE HIPS AND FROM THE HIPS TO THE HEAD

5.

ENGAGE THE QUADRICEPS, LIFT THE KNEECAPS, PRESS OUT THROUGH THE HEELS. ISOMETRICALLY LIFT THE LEGS

6.

LIFT THE CHIN SLIGHTLY AND LOOK STRAIGHT AHEAD

7.

INHALE TO PREPARE FOR CHATURANGA DANDASANA

EXTRA •

Keep the sides and back of the neck long

•

Separate the hands slightly wider than the shoulders. Outer edges of the shoulders align with middle fingers on the ground. Separate the fingers. Point the index fingers straight ahead

BENEFITS • • •

Full body strengthener, with particular focus on the arms, wrists, shoulders and abdomen Builds endurance Builds spinal support by strengthening the core muscles, aiding in a better posture

CAUTIONS • •

Chronic wrist pain or carpel tunnel syndrome Chronic low back pain

17

VINYASA CHATURANGA DANDASANA Four Limbed Staff pose

BASICS (from Phalakasana) 1.

KEEP THE LENGTH FROM THE HEELS TO THE CROWN OF THE HEAD. ISOMETRICALLY LIFT THE LEGS

of keeping their shoulders at the height of their elbows. Rounding the shoulders when repeatedly moving from chaturanga dandasana into urdhva mukha svanasana during surya namaskar can lead to shoulder injury.

If you cannot perform chaturanga dandasana in good form, be sure to rest your front body on the floor, and lift your shoulders up and back before moving into urdhva mukha svanasana.

2.

EXHALE, SLOWLY LOWER YOUR BODY INTO YOUR HALF PUSH-UP SO THAT YOUR UPPER ARMS (TRICEPS) ARE PARALLEL WITH THE FLOOR

3.

ISOMETRICALLY DRAW THE ELBOWS IN AND BACK. MAINTAIN A NINETY-DEGREE ANGLE IN THE ELBOW

4.

PREPARE FOR URDHVA MUKHA SVANASANA

•

EXTRA

•

If supporting the body weight with the arms is not possible, place a block under the lower rib cage and a block under the pelvis. To gain strength, lift the body slightly above the blocks and hover

• •

•

Lift the kneecaps, engage the thighs, press out through the heels

•

•

Press the tail bone down and lift the low belly in

•

Move the base of the sternum up

•

Firm the shoulder blades against the upper back

•

Allow the elbows to brush against the sides, but don’t rest your body on them

•

Many practitioners will round their shoulders to more easily support their body weight instead

•

BENEFITS Increases strength and flexibility in your wrists Builds muscle in the arms, shoulders, and back Lengthens and tones core muscles A good preparation for any arm balances or work with inversions

CAUTIONS •

Lower back, wrist, or shoulder issues or injuries Avoid if you cannot keep your shoulder blades drawn in together and fully integrated onto your back

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18

VINYASA URDHVA MUKHA SVANASANA Upward Facing Dog pose

BASICS (from Chaturanga Dandasana) 1.

INHALE, ROLL THE HEADS OF THE SHOULDERS UP AND BACK. LIFT THE CHEST

2.

PRESS THE HANDS INTO THE FLOOR, STRAIGHTEN THE ARMS

3.

THE TOPS OF THE FEET COME ONTO THE FLOOR

4.

LIFT THE STERNUM, AS YOU LENGTHEN THE TAIL BONE DOWN AND BACK TOWARD THE HEELS

5.

DRAW THE LOW BELLY IN

6.

GAZE FORWARD OR SLIGHTLY UP. OPEN THE THROAT AREA, KEEPING THE SIDES OF THE NECK LONG, BACK OF THE NECK OPEN

7.

THE HIPS AND UPPER THIGHS LIFT AWAY FROM THE FLOOR

8.

KEEP THE LEGS ENGAGED, PRESS THE TOPS OF THE FEET FIRMLY INTO THE FLOOR

9.

PREPARE FOR ADHO MUKHA SVANASANA

•

Press the fingertips and the perimeter of the palms into the floor with even pressure

•

Engage the rhomboid muscles (between the shoulder blades) to open the chest and protect the shoulder rotator cuffs

•

There is a lifting of the side body from the waist to the underarms

•

Point the biceps forward. A slight bend in the elbow may help with this. Isometrically squeeze the elbows in and back

•

To reduce the intensity of the pose, place the hands on blocks

BENEFITS • • • • • •

EXTRA •

The feet come into plantar flexion for upward facing dog. Isometrically squeeze the ankles in

•

Point the kneecaps straight down

•

The lifting of the thighs is important for keeping the lower back safe. Contract the glutes

Expands chest and shoulders Strengthens the muscles that control the shoulder blades Stretches the hip flexors and core musculature Strengthens the low back Relieves some forms of low back pain Therapeutic for asthma sufferers as it opens the accessory muscles of breathing

CAUTIONS • • •

Carpal Tunnel Syndrome or tendonitis of the wrist Low Back pain aggravated by extension Pregnancy

19

VINYASA ADHO MUKHA SVANASANA Downward Facing Dog pose BASICS (from Urdhva Mukha Svanasana) 1.

EXHALE, PRESS DOWN AND FORWARDS THROUGH THE HANDS AND TOPS OF THE FEET TO INITIATE LIFTING THE KNEES, PELVIS AND SPINE UPWARDS

2.

LOOK DOWN BETWEEN THE HANDS

3.

CONTINUE TO PRESS DOWN THROUGH THE HANDS, CURLING THE TOES UNDER, AS THE HIPS LIFT UP AND BACK

4.

THE GAZE IS BETWEEN THE KNEES, KEEP THE NECK IN A NEUTRAL POSITION

5.

ENSURE THE OUTER EDGES OF THE FEET ALIGN WITH THE OUTER HIPS

6.

ENGAGE THE THIGHS AND LIFT THE KNEECAPS TO STRAIGHTEN THE LEGS

7.

ISOMETRICALLY PRESS THE FRONT OF THE SHINS BACK AND PRESS THE HEELS TOWARD THE FLOOR

8.

ISOMETRICALLY SQUEEZE THE INNER ELBOWS TOWARD EACH OTHER

9.

TRY TO EQUALISE THE WEIGHT BETWEEN THE HANDS AND THE FEET

stretch and lengthen the spine. Press the back of the ribcage toward the thighs.

Do not straighten the legs if it causes the back to round. Reach the heels toward the floor to stretch the back of the legs •

Firm the shoulder blades against the upper back, engage serratus anterior

BENEFITS

10. HOLD THE POSE AND BREATHE 11. TO COME OUT AND INTO TADASANA: LOOK BETWEEN THE HANDS, INHALE, STEP OR HOP THE FEET BETWEEN THE HANDS, INTO ARDHA UTTANASANA. EXHALE INTO UTTANASANA SLIGHTLY BEND THE KNEES, ISOMETRICALLY PRESS THE INNER THIGHS TOGETHER, DRAW THE LOW BELLY IN. INHALE, PRESS DOWN THROUGH THE FEET, LIFT THE HEAD AND TORSO ALL THE WAY TO URDHVA HASTASANA. EXHALE, LOWER THE ARMS TO TADASANA

• • • • • • •

EXTRA •

Press the inner edges of the hands down

•

Lift the shoulders up, away from the hands

•

Lift the sit bones up, press the tail bone down Tone/Engage the legs— especially the quads and calves

•

If the hamstrings are tight, the low back will round. To lessen the rounding, bend the knees as much as necessary, lift the sit bones up and

Elongates and releases tension from the spine Stretches the hamstrings, calves, arches, and hands Strengthens the arms, shoulders, and back Improves digestive system Relieves back pain, headaches, insomnia and fatigue Helps relieve the symptoms of menopause Downward-Facing Dog is a mild inversion that calms the nervous system and helps relieve stress

CAUTIONS • • • • •

Wrist problems like carpal tunnel syndrome or arthritis Sinusitis High blood pressure Eye or inner ear infection Avoid this pose in late-term pregnancy

yogahaven TM teacher training 200hr

20

STANDING | WARM UP INDUDALASANA Standing Crescent pose BASICS (from Tadasana) 1.

INHALE, EXTEND THE ARMS OVERHEAD— ELBOWS DIRECTLY ABOVE SHOULDERS

2.

LENGTHEN AND ENGAGE THE ARMS INTO A STRAIGHT POSITION. HOLD THE LEFT WRIST WITH THE RIGHT HAND

3.

EXHALE, SEND THE HIPS TO LEFT, TORSO TO THE RIGHT

4.

KEEP THE HEAD PLACED EVENLY BETWEEN THE ARMS

5.

LOOK STRAIGHT AHEAD

6.

HOLD THE POSE AND BREATHE

7.

TO COME OUT, INHALE, LIFT THE TORSO TO CENTRE. EXHALE, LOWER THE ARMS

8.

REPEAT ON THE LEFT SIDE

EXTRA •

Squeeze the feet and legs together

•

Tone/Engage the thighs, lift the kneecaps

•

Engage the glutes

•

•

Move the tail bone down and the low belly in

•

Move the base of the sternum back and lift the chest

• •

•

BENEFITS

•

Do not overstretch or compress either side of the torso

Strengthens the side abdominal area/ obliques and intercostal muscles Lengthens the side body and QL muscles A gentle warm up for your shoulders and hips Challenges and enhances balance through the feet and legs

CAUTIONS • •

In the case of neck issues, keep your gaze forward Hip, shoulder, or neck injuries

21

STANDING | TRIANGLE FLOW UTTHITA TRIKONASANA Extended Triangle pose BASICS (from Adho Mukha Svanasana) 1.

STEP THE RIGHT FOOT BETWEEN THE HANDS BENDING THE FRONT KNEE INTO A LUNGE

2.

TURN THE BACK HEEL DOWN ONTO THE MAT, TURNING THE TOES OUT TO THE LEFT, OUTSIDE EDGE OF THE BACK FOOT PARALLEL TO THE BACK OF THE MAT

3.

INHALE, LIFT THE TORSO TO STANDING, TURNING THE UPPER BODY TO FACE THE LEFT, LONG EDGE OF THE MAT

4.

LIFT THE ARMS PARALLEL TO THE FLOOR, PALMS FACING DOWN

5.

ENSURE THE FRONT HEEL LINES UP STRAIGHT WITH THE INNER ANKLE/HEEL OF THE BACK FOOT

6.

INHALE AND TURN THE HEAD TO LOOK PAST THE RIGHT FINGER TIPS

7.

EXHALE, REACH TO THE RIGHT, HINGING THE TORSO SIDEWAYS AT THE HIPS

8.

PLACE THE RIGHT PALM LIGHTLY ON THE SHIN OR BACK OF THE HAND RESTING LIGHTLY AGAINST THE SHIN/CALF

9.

ROTATE THE LEFT SHOULDER OVER THE RIGHT SHOULDER— ARMS VERTICAL

10. ROTATE THE ABDOMEN AND RIBCAGE UPWARDS

and inward. To avoid this press the inner edge of the front foot down, and turn the front thigh out until the kneecap faces forward •

Press the back foot down

•

Engage the abdominal muscles, and move the base of the sternum back

•

Try to keep both sides of the waist and neck long

•

The bottom hand can be placed onto a block or for deepening the pose, the floor. The hand position should not compromise the length in front leg or spine. If looking up is too intense for the neck or jaw, look down

11. MAKE A STRAIGHT LINE FROM THE HIPS TO THE HEAD SO THE TORSO IS PARALLEL TO THE LONG EDGE OF THE MAT 12. LOOK UP PAST THE TOP THUMB 13. HOLD THE POSE AND BREATHE 14. TO COME OUT, LOOK DOWN AT THE FRONT FOOT 15. INHALE, LIFT THE TORSO TO VERTICAL 16. KEEP THE ARMS PARALLEL TO THE FLOOR, FEET AS THEY ARE

BENEFITS • • • • •

Expands chest and shoulders Increases mobility of hip joints and neck Stretches spinal, calf, hamstrings, hip muscles Strengthens and tones thigh muscles Increases proprioception

CAUTIONS EXTRA •

Contract the quads, lift the kneecaps and hamstrings. The centre of the front kneecap should face directly forward instead of down

• •

Neck Pain - Keep the head level and look straight forward Low Back Pain - Turn back foot in slightly to limit force across the Sacroiliac joint, and allow the hip to naturally rotate inwards

yogahaven TM teacher training 200hr

22

STANDING | TRIANGLE FLOW VIPARITA TRIKONASANA Reversed Triangle pose BASICS (from Utthita Trikonasana) 1.

INHALE TO LIFT YOUR TORSO UP WHILE KEEPING YOUR FRONT LEG STRAIGHT/THIGH ENGAGED

2.

EXHALE, KEEP BOTH LEGS STRAIGHT, TILT YOUR TORSO BACK

3.

REST YOUR LEFT HAND LIGHTLY ON THE OUTSIDE OF THE BACK LEG

4.

EXTEND YOUR RIGHT ARM ALONGSIDE THE RIGHT EAR AND OVERHEAD, REACHING TOWARD THE BACK OF THE MAT

5.

LOOK TOWARD THE TOP HAND, KEEPING BOTH SIDES OF THE NECK LONG

EXTRA •

Press the four corners of your feet into the mat

•

Contract the quadriceps, lift the kneecaps

•

The centre of the front kneecap should face directly forward instead of down and inward. To avoid this press the inner edge of the front foot down, and turn the front thigh out until the kneecap faces forward

•

Engage the abdominal muscles, and move the base of the sternum back

•

Move the tail bone down and the low belly in

•

This is a lateral stretch rather than back bending

•

Try to keep both sides of the waist and neck long

•

An alternative for the neck/head position is to look down toward the back foot

BENEFITS • • • • •

Expands chest and ribcage Increases mobility of hip joints and neck Stretches the side body, QL, intercostal, oblique muscles Strengthens and tones thigh muscles Increases proprioception

CAUTIONS • •

Neck Pain - Don’t let the head tilt back, keep in neutral position Low Back Pain - engage abdominal area, ensure lateral stretch not back bend and go easy

23

STANDING | TRIANGLE FLOW PARIVRTTA TRIKONASANA Revolved Triangle pose BASICS (from Viparita Trikonasana) 1.

INHALE TO LIFT YOUR TORSO BACK TO CENTRE, BRING THE ARMS TO PARALLEL TO THE FLOOR

2.

TURN THE BACK FOOT FORWARD TOWARD THE FRONT OF THE MAT SLIGHTLY

3.

SQUARE THE HIPS AND TORSO TO THE FRONT OF THE MAT— RIGHT HIP BACK, LEFT HIP FORWARD

4.

PARALLEL THE HIPS TO THE FLOOR. ANCHOR THE BACK FOOT INTO THE GROUND, PLACE THE LEFT HAND ON THE FRONT SHIN, FOOT, OR FLOOR ON THE OUTSIDE OF THE RIGHT FOOT

5.

PRESS THE INNER EDGE OF THE FRONT FOOT DOWN; MOVE THE RIGHT HIP BACK

6.

ROTATE THE TORSO FROM THE WAIST, TURNING THE ABDOMEN TO THE RIGHT AND THE RIGHT RIBCAGE UPWARDS

7.

ROTATE THE RIGHT SHOULDER OVER THE LEFT SHOULDER. EXTEND THE RIGHT HAND UP— ARM VERTICAL TO FLOOR

8.

LOOK UP, KEEP BOTH SIDES OF THE NECK LONG & CROWN OF THE HEAD FORWARD AND CENTRED

9.

HOLD THE POSE AND BREATHE

10. TO COME OUT, LOOK DOWN, ROTATE THE TORSO BACK TOWARD THE FLOOR. PLACE BOTH HANDS ON EITHER SIDE OF THE FRONT FOOT. BEND THE FRONT KNEE TO LUNGE POSITION, STEP BACK TO PLANK POSE

[[ VINYASA ]]

EXTRA •

Press the front and back foot down

•

Contract the quadriceps, lift the kneecaps and hamstrings

•

Simultaneously draw the inner thighs toward each other and backward

•

Engage the glutes. Move the tail bone down and the low belly in. To reduce the intensity of the hamstring stretch, place the bottom hand on a block on the inside edge of the front foot

•

If looking up is too intense for the neck or jaw, look down

CAUTIONS • •

BENEFITS • • • • • •

Expands chest and shoulders Stretches spinal, calf, hamstring and hip musculature Strengthens and tones muscles of your thighs Relieve upper back tension, increase mobility of whole spine Increases proprioception Stimulates abdominal organs

• •

Neck Pain - Don’t turn the head Low Back Pain / Sacroiliac Joint Pain - Ensure hip points are facing forward with your feet hip width apart, turn the back foot forward significantly to limit force across the Sacroiliac joint and allow the twist to move from the thoracic spine / upper back.

History of lumbar or low back disc herniation or bulge Low Blood Pressure - Do not fold below horizontal - keep head level with the heart

yogahaven TM teacher training 200hr

24

STANDING | WARRIOR FLOW VIRABHADRASANA 1 Warrior 1 pose BASICS (from Adho Mukha Svanasana) 1.

STEP THE RIGHT FOOT BETWEEN THE HANDS BENDING THE FRONT KNEE INTO A LUNGE

2.

TURN THE BACK HEEL DOWN ONTO THE MAT, TURNING THE TOES OUT TO THE LEFT

3.

INHALE, LIFT THE TORSO TO STANDING

4.

LIFT THE ARMS VERTICAL— ELBOWS DIRECTLY ABOVE SHOULDERS

5.

PRESS THE PALMS TOGETHER (OR SEPARATE SHOULDER DISTANCE, PALMS FACING EACH OTHER)

6.

PIVOT THE HIPS TO FACE THE SAME DIRECTION AS THE FRONT FOOT— RIGHT HIP BACK, LEFT HIP FORWARD

7.

INHALE FULLY. EXHALE, BEND THE RIGHT KNEE DIRECTLY ABOVE THE HEEL— RIGHT THIGH PARALLEL TO FLOOR

8.

LOOK UP PAST THE THUMBS, KEEP THE SIDES AND BACK OF THE NECK LONG

9.

HOLD THE POSE AND BREATHE

BENEFITS •

EXTRA

• • •

•

If the front knee moves beyond the front heel, lengthen the stance via the back foot until the front shin is perfectly vertical

•

Press the back foot down and engage the left glutes and thigh to straighten and strengthen the back leg

•

Press the tail bone down and draw low belly in

•

Move the base of the sternum back and lift the chest

• • • •

•

If the hips open out to the side and do not square to the front of the mat, lift the back heel vertical, to a lunge position

•

•

If the shoulders are tight, separate the hands shoulder-width apart

•

If looking up is too intense for the neck, look straight ahead

• •

Strengthens shoulders, arms, thighs, ankles and the muscles of your back Expands chest, lungs and shoulders Stretches hip flexors, abdomen, and ankles Develops stamina and endurance in thighs and core muscles Stimulates abdominal organs and digestion Improves balance, concentration, and core awareness

CAUTIONS Heart problems High blood pressure Medical conditions that affect balance Shoulder Problems (Tendonitis or Bursitis) - As arms are raised keep hands open and arms parallel to avoid compression into the shoulder joint Neck Problems - Maintain eyes forward and keep your chin parallel to the ground

25

STANDING | WARRIOR FLOW VIRABHADRASANA 2 Warrior 2 pose BASICS (from Virabhadrasana 1) 1.

EXHALE, TAKE A WIDER STANCE AND LOWER THE ARMS PARALLEL TO THE FLOOR, PALMS FACE DOWN

2.

ADJUST THE BACK FOOT TO ENSURE THE FRONT HEEL LINES UP STRAIGHT WITH THE INNER ANKLE/HEEL OF THE BACK FOOT

3.

INHALE, LOOK PAST THE RIGHT HAND

4.

EXHALE, BEND THE FRONT KNEE ABOVE THE HEEL— SHIN VERTICAL, THIGH PARALLEL TO THE FLOOR AND THE OUTER EDGE OF MAT

5.

HOLD THE POSE AND BREATHE

6.

SEE UTTHITA PARSVAKONASANA NEXT

BENEFITS EXTRA

•

•

The front knee must be above front heel— knee beyond heel is not a stable position.

• • •

•

If the right hip is higher than the right knee, lengthen the stance via the back foot until the thigh is parallel to the floor

• •

•

The front shin must be straight up and down— the knee tends to tilt in

•

•

Roll the right buttock under

•

Isometrically lift the front inner thigh

•

Press the back foot down, engage the left glutes and thigh to straighten and strengthen the back leg

•

Move the tail bone down and draw the low belly in

•

Move the base of the sternum back and lift the chest

Strengthens shoulders, arms, thighs, legs and ankles Stretches groin, thighs, and ankles Expands chest, lungs and shoulders Stimulates abdominal organs and digestion Increases stamina and endurance Relieves backache, especially through the second trimester of pregnancy (narrower stance needed) Improves balance, concentration and core awareness

CAUTIONS • • • •

High blood pressure Medical conditions that affect balance Diarrhoea Neck problems - Keep your head and neck looking forward from the chest rather than over your front arm

yogahaven TM teacher training 200hr

26

STANDING | WARRIOR FLOW UTTHITA PARSVAKONASANA Extended Side Angle pose BASICS (from Virabhadrasana 2) 1.

INHALE, REACH TO THE RIGHT, LENGTHENING OUT FROM THE WAIST AND PLACE THE RIGHT HAND ON THE FLOOR TO THE OUTSIDE OF THE FRONT FOOT

2.

EXTEND THE LEFT ARM UP AND OVER TOWARD THE FRONT OF THE MAT, ALONGSIDE THE EAR. PALM FACING DOWN

3.

INHALE, LOOK UP; TURN THE CHIN TOWARD THE ARMPIT SLIGHTLY. KEEP THE SIDES AND BACK OF THE NECK LONG

4.

HOLD THE POSE AND BREATHE

5.

TO COME OUT, LOOK DOWN, LIFT THE TOP ARM VERTICAL. WITHOUT MOVING THE ARMS, INHALE AND LIFT THE TORSO BACK TO CENTRE

6.

EXHALE, STRAIGHTEN THE RIGHT LEG, TURN THE RIGHT TOES IN AND PARALLEL THE FEET

7.

LOWER THE ARMS & BRING THE HANDS TO THE HIPS

EXTRA •

Do not allow the front knee to move beyond the heel

•

Press the back foot and front heel down; squeeze the feet toward each other

•

If the right hip is higher than the right knee, lengthen the stance via the back foot until the front thigh is parallel to the floor

•

Engage the back thigh – lift the back knee without hyper-extending

•

It is important to keep both sides of the torso long. The tendency is for the lower waist to shorten and collapse, and for the left ribs to round and overstretch. To avoid this, place the right hand or fingertips on a block. This additional height will create more space in the waist and torso, especially on the lower side

•

Move the tail bone down and low belly in

•

Move the base of the sternum back, stretch up through the chest

•

Move the top shoulder back until the armpit is hollow. If looking up is too intense for the neck or jaw, look down

BENEFITS • • • •

Strengthens thighs, hips, knees, and ankles Stretches groin, back, spine, waist, ankles, lungs (intercostal muscles) and shoulders Massages and stimulates abdominal organs Increases endurance and stamina

CAUTIONS • • • • •

High or low blood pressure Knee injuries Headache Insomnia Neck Problems – Keep your gaze in the same direction as the heart centre or gaze down to the floor allowing your neck to be even on both sides

27

STANDING | WARRIOR FLOW PRASARITA PADOTTANASANA (B) Wide Leg Forward Fold pose BASICS 1.

FROM A WIDE STANCE, WITH HANDS ON THE HIPS, BOTH LEGS STRAIGHT

2.

INHALE, PRESS THE HANDS DOWN ON THE HIPS AND STRETCH THE SPINE UP

3.

EXHALE, FOLD FORWARD FROM THE HIPS. PLACE THE PALMS FLAT ON THE FLOOR BETWEEN THE FEET— SHOULDER-WIDTH APART

4.

PLACE THE TOP/CROWN OF THE HEAD WITH INTENTION TOWARD THE FLOOR

5.

IF POSSIBLE HOOK THE MIDDLE AND INDEX FINGERS AROUND THE BIG TOES (TUCK THUMBS AWAY FROM FLOOR)

6.

TRY TO LENGTHEN THE FRONT AND SIDES OF THE BODY. TRY NOT TO ROUND THE SPINE

7.

HOLD THE POSE AND BREATHE

8.

TO COME OUT, RELEASE THE TOES, WALK THE HANDS FORWARD AND PLACE THE HANDS ON THE HIPS

9.

•

If there is pain in the outer ankles or feet, try to lift the inner ankles energetically and draw the outer ankles in, pressing the inner edge of the feet down

•

Avoid hyper-extending the knees

•

Do not put any weight on the head if it touches the ground

INHALE, LIFT THE TORSO TO STAND (SLIGHT BEND IN THE KNEE IF NECESSARY)

10. TURN THE LEFT TOES OUT TO THE BACK OF THE MAT, ADJUST THE BACK FOOT TURNING IT IN READY FOR WARRIOR 1 LEFT SIDE

EXTRA •

Hug the feet and inner thighs inward to the mid-line

•

Engage the leg muscles: calves, quads, hamstrings

•

Lift the kneecaps up

•

Move the tail bone down and the low belly in

•

Lift the shoulders up, away from the ears. If the elbows are bent draw them out to the sides

•

To reduce the intensity of the stretch, place the hands on the floor or on blocks directly below the shoulders

BENEFITS • • • •

Stretches the groin, hamstrings and hips Calms the mind Decompresses the spine Relieves fatigue, mild depression and anxiety

CAUTIONS • •

Lower back pain or injury Sinus congestion

yogahaven TM teacher training 200hr

28

STANDING | WARRIOR FLOW PRASARITA PADOTTANASANA (C) Wide Leg Forward Fold (C) pose BASICS (from Utthita Parsvakonasana (Left Side) pose) 1.

FROM A WIDE STANCE, INTERLACE THE FINGERS BEHIND THE SACRUM

2.

BEND THE ELBOWS; GENTLY SQUEEZE THE SHOULDERS TOGETHER

3.

STRAIGHTEN AND LENGTHEN THE ARMS, PRESS THE PALMS TOGETHER

4.

INHALE, LENGTHEN THE SPINE UP

5.

EXHALE, FOLD FORWARD FROM THE HIPS— BRING THE TOP OF THE HEAD TOWARD THE FLOOR

6.

EXTEND THE HANDS OVERHEAD, TOWARD THE FLOOR

7.

TRY TO LENGTHEN THE FRONT AND SIDES OF THE BODY. TRY NOT TO ROUND THE SPINE

8.

HOLD THE POSE AND BREATHE

9.

TO COME OUT, AND INTO VINYASA, INHALE LIFT THE TORSO SLIGHTLY, CAREFULLY RELEASE THE HANDS TO THE FLOOR

10. SLIGHTLY BEND THE KNEES, WALK THE HANDS AROUND TO THE FRONT OF THE MAT, PIVOTING ON THE FEET, BEND THE FRONT KNEE TO LUNGE POSITION, STEP BACK TO PLANK POSE

BENEFITS • • • •

[[ VINYASA ]]

EXTRA •

To reduce the intensity of the stretch, keep the knees and elbows bent, or place the forehead on a block

•

Engage the calves, quads, hamstrings— lift the kneecaps up

•

Simultaneously stretch the arms and hands toward the floor and lift the shoulder blades up toward the ears. If there is pain or discomfort in the shoulders, separate the wrists

•

Do not put any weight on the head

Stretches the groin, hamstrings and hips, chest and shoulders Calms the mind Decompresses the spine Relieves fatigue, mild depression and anxiety

CAUTIONS • • •

Lower back pain or injury Shoulder injury Sinus congestion

29

STANDING | BALANCING FLOW VRKSASANA Tree pose BASICS (from Tadasana pose) 1.

PLACE THE LEFT HAND ON THE LEFT HIP

2.

LIFT THE RIGHT KNEE AND HOLD THE ANKLE WITH THE RIGHT HAND

3.

LIFT AND POINT THE KNEE OUT TO THE SIDE (LIFTING THE KNEE HIGHER THAN THE HIPS)

4.

PLACE THE SOLE OF THE RIGHT FOOT AGAINST THE LEFT INNER THIGH— TOES POINTING DOWN

5.

BRING THE PALMS TOGETHER AT THE MIDDLE OF THE STERNUM

6.

SPREAD THE COLLAR BONES, DROP THE SHOULDER BLADES DOWN THE BACK

7.

PRESS DOWN THROUGH THE STANDING FOOT

8.

HOLD THE POSE AND BREATHE

9.

TRANSITION TO VIRABHADRASANA 3

EXTRA •

Avoid placing the foot against the knee joint

•

Engage the thigh of the standing leg— lift the kneecap

•

Press the foot into the thigh— make the thigh, like the trunk of a tree

•

Squeeze the thigh bone of the standing leg into the soul of the foot on the inner thigh

•

Engage the glutes of the standing leg

•

•

Move the base of the sternum back and lift the chest

•

•

Move the tail bone down and draw the low belly in

•

Keep the gaze steady toward the tip of the fingers or a spot a few feet in front on the floor

•

If it is difficult to balance move to a wall for support, using one hand against the wall.

Lower the raised foot to the inner calf/shin of the standing leg or the top of the foot of the standing leg with the toes turning out to open the hip

BENEFITS

• • • •

Stretches your inner thighs, groin and shoulders.

Strengthens your thighs, calves, core, and foot muscles.

Strengthens your posture.

Calms and relaxes your mind and central nervous system.

Develops balance.

Increases your mind / body awareness.

CAUTIONS • • • • • •

Late term pregnancy and obesity (issues with balancing) Headache Medical conditions that affect balance Insomnia High blood pressure - don’t raise arms overhead Low blood pressure

yogahaven TM teacher training 200hr

30

STANDING | BALANCING FLOW VIRABHADRASANA 3 Warrior Three pose BASICS (from Vrksasana) 1.

INHALE, LIFT THE ARMS OVERHEAD— AS YOU LIFT AND BRING THE BENT KNEE FORWARD, THIGH PARALLEL TO THE FLOOR, SHIN VERTICAL, FOOT FLEXED

2.

EXHALE, LEAN THE TORSO FORWARD, PARALLEL TO THE FLOOR

3.

REACH THE ARMS BACKWARD AND ALONGSIDE THE BODY, PALMS FACING IN

4.

EXTEND THE LIFTED LEG BEHIND YOU POINTING THE FOOT BACKWARDS

5.

SQUARE THE HIPS TO THE FLOOR AND KEEP THE BACK LEG PARALLEL TO THE FLOOR, KNEE POINTING DOWN

6.

EXTEND THE CROWN OF THE HEAD FORWARD

7.

HOLD THE POSE AND BREATHE FOR 1 OR 2 BREATHS BEFORE TRANSITIONING INTO ARDHA CHANDRASANA

EXTRA •

Engage the legs to straighten them

•

Lift the kneecap of the standing leg

•

Engage the glutes of the lifted leg in particular and try not to sink into the hip joint

•

To help keep the hips square to the floor, flex the back foot, imagine pressing the soul of the foot into a wall behind you

•

If it is too taxing to square the hips and point the back knee down, allow the kneecap of the top leg to face out slightly. Rotate the thigh of the standing leg out until the kneecap faces forward and pull the right hip back (the standing leg tends to turn in)

BENEFITS • • • • • • • •

•

Move the tail bone down and draw the low belly in

•

•

To reduce the intensity in the hamstrings of the standing leg, bend the knee slightly

• •

•

To increase the intensity reach the arms forward, bringing the palms together or separately shoulder distance apart

• •

Strengthens back, leg, shoulder arm muscles Stretches hamstrings and outer thighs Expands chest, lungs and shoulders Improves memory and concentration Improves core awareness, posture, balance, proprioception and coordination Tones and invigorates the whole body Builds core strength in your torso, abdomen, spine and pelvic floor Quiets the mind, calms the nervous system and reduces anxiety Stimulates abdominal organs and digestion

CAUTIONS High blood pressure Recent or chronic foot, ankle, knee, leg, or hip problems Recent or chronic lower back injuries If pregnant, support the pose with the hands on a chair or wall

31

STANDING | BALANCING FLOW ARDHA CHANDRASANA Half Moon pose BASICS (from Virabhadrasana 3) 1.

EXHALE, BEND THE RIGHT KNEE SLIGHTLY

2.

BRING THE RIGHT HAND TO THE FLOOR OR A BLOCK, BELOW THE SHOULDER

3.

KEEP THE LIFTED LEG STRAIGHT

4.

INHALE, EXTERNALLY ROTATE THE LEFT HIP TO LINE UP OVER TOP OF THE RIGHT HIP, LEFT SHOULDER OVER THE RIGHT SHOULDER

5.

TURN THE LEFT TOES OUT TO THE LEFT SIDE AND FLEX THE FOOT

6.

EXHALE, STRAIGHTEN THE STANDING LEG

7.

LIFT AND EXTEND THE TOP ARM VERTICALLY— REACHING FINGERS UPWARDS

8.

EXTEND THE CROWN OF THE HEAD FORWARD TO THE FRONT OF THE MAT, GAZE UPWARD TOWARD THE TOP HAND

9.

KEEP BOTH SIDES OF THE NECK LONG

10. HOLD THE POSE AND BREATHE FOR OR 3 BREATHS BEFORE TRANSITIONING INTO PARSVOTTANASANA

EXTRA •

Engage the quads of the standing leg— lift the kneecap

•

Move the top thigh back and tail bone forward

•

Ensure the lifted heel is in line with the hips and not swinging backwards behind the hip line

•

Engage the top glutes

•

Externally rotate the standing thigh until the kneecap points straight ahead

•

Rotate the abdomen and ribs up

•

Move the base of sternum back

BENEFITS • • • • • • • •

Expands chest and shoulders Increases mobility of your hip joints and neck Lengthens spinal muscles Strengthens and tones thighs and calves muscles Stretches hamstrings and groin muscles Increases proprioception Improves digestion and menstruation pain Relieves stress

CAUTIONS • •

•

Neck Pain - Keep the head level and look straight forward Low Back Pain / Sacroiliac Pain - Ensure to draw in the muscles of the lower belly and the muscles of the pelvic floor (mula bandha) to support the pelvis and low back before entering the pose Low Blood Pressure - This pose is similar to other inversions, where the head is below the heart. Use a block under supporting hand to raise the head level with the heart, or above

yogahaven TM teacher training 200hr

32

STANDING | BALANCING FLOW PARSVOTTANASANA Intense Side/Flank Stretch pose BASICS (from Ardha Chandrasana) 1.

EXHALE, AND SLIGHTLY BEND THE STANDING KNEE

2.

INTERNALLY ROTATE THE TOP HIP PARALLEL WITH THE FLOOR (TURN THE HIP DOWN)

3.

BRING THE TOP HAND DOWN TO THE FLOOR

4.

LOWER THE LIFTED LEG, BRINGING THE FOOT TO THE FLOOR ABOUT 2-3FT BEHIND THE FRONT FOOT

5.

TURN THE BACK FOOT SO THE TOES ARE POINTING TO THE FRONT OF THE MAT

6.

INHALE, LIFT AND LENGTHEN THE TORSO PARALLEL TO THE FLOOR

7.

ENSURE THE HIPS ARE SQUARE TO THE FLOOR AND FRONT OF THE MAT— RIGHT HIP UP AND BACK, LEFT HIP FORWARD AND DOWN

8.

EXHALE, FOLD THE TORSO OVER THE FRONT LEG

9.

ALIGN THE RIGHT RIB CAGE WITH THE FRONT THIGH

•

Without moving the foot, externally rotate the front quad out until the knee is pointing straight forward

•

If the front kneecap still falls in (and/ or down), turn the front foot out slightly until the knee faces forward

•

Straighten the back leg and engage into a straight position without hyper-extending

•

Draw the kneecaps up. Engage the back glutes

•

Press the tail-bone down and tone the low belly

•

Engage the arms and move the shoulders up and back

10. MOVE THE TAIL BONE DOWN AND FORWARD 11. LENGTHEN THE FRONT AND SIDES OF THE BODY, BRINGING THE FACE TOWARD THE SHIN 12. THE PALMS OF THE HANDS MAY PRESS INTO THE FLOOR OR FINGERTIPS, EITHER SIDE OF THE FRONT FOOT 13. HOLD THE POSE AND BREATHE 14. TO COME OUT AND PREPARE FOR VINYASA, INHALE LIFT THE TORSO PARALLEL TO THE FLOOR, BEND THE FRONT KNEE, STEP THE FEET BACK INTO PLANK POSE

[[ VINYASA ]]

EXTRA • •

Press the front foot down to engage the calf muscle Press the inner edge of the front foot down and move the right hip back slightly

BENEFITS • • • • • •

Stretches the hips and hamstrings Lengthens the spine Relaxes the shoulders and neck Stimulates digestive organs Improves sense of balance Calms the mind

CAUTIONS • •

Lower back pain High blood pressure

33

STANDING | BALANCING FLOW NATARAJASANA 1 Lord Of The Dance pose (1) BASICS (from Tadasana) 1.

BEND THE RIGHT KNEE, REACH DOWN AND TAKE HOLD OF THE OUTSIDE OF THE RIGHT FOOT/ ANKLE WITH THE HAND

2.

POINT THE FOOT, THEN FLARE THE OUTER TWO TOES

3.

SQUARE THE HIPS AND SHOULDERS TO THE FRONT OF THE MAT

4.

LIFT THE LEFT ARM PARALLEL TO THE FLOOR IN FRONT OF THE TORSO— EXTERNALLY ROTATE THE BICEPS, KEEP THE PALM FACING DOWN

5.

INHALE, TONE THE STANDING LEG AND LIFT THE CHEST

6.

EXHALE, LIFT THE RIGHT FOOT UP AND BACK UNTIL THE THIGH IS PARALLEL TO THE FLOOR— SHIN VERTICAL

7.

KEEP THE TORSO UPRIGHT. LIFT THE CHIN AND LOOK STRAIGHT AHEAD

8.

HOLD THE POSE AND BREATHE

9.

TO COME OUT, LOWER THE LIFTED LEG AND RELEASE THE HANDS BY THE SIDES

EXTRA •

To make this pose more accessible, wrap a strap around the ankle of the lifted foot

•

Engage the thigh of the standing leg lifting the kneecap and straightening the leg

•

Tone and lift the inner thigh of the top leg

•

Press the tail bone down, engage the glutes, and lift the low belly

•

Tone the pelvic floor (mulabandha)

•

Kick the lifted foot up and back

•

Flex the lifted foot and flare the toes

•

Try to keep the hips square to the floor and the front of the mat

•

Try to keep the shoulders and chest square to the front of the mat

•

Move the base of the sternum back and lift the spine and chest up

BENEFITS • • • • • • •

Develops concentration and balance Tones and stretches the legs and hips Stretches the hip flexors Strengthens the arch in the standing foot Increases mobility and range of motion in the shoulders Expands the chest and front body Strengthens the back body in a back bend

CAUTIONS • •

Shoulder injuries Low blood pressure

yogahaven TM teacher training 200hr

34

FLOOR | HIPSTER FLOW UTTHAN PRISTHASANA Lizard pose BASICS (from Adho Mukha Svanasana) 1.

STEP YOUR RIGHT FOOT FORWARD BETWEEN THE HANDS

2.

LOWER THE BACK KNEE DOWN TO THE FLOOR

3.

HEEL-TOE THE FRONT FOOT A LITTLE OUT TO THE RIGHT, SO THAT YOUR FOOT IS SLIGHTLY WIDER THAN YOUR SHOULDERS

4.

MAINTAIN THE RIGHT KNEE ABOVE THE ANKLE

5.

LET YOUR HIPS GROW HEAVY

6.

BEGIN TO WALK THE HANDS FORWARD, LOWERING THE FOREARMS TOWARD THE FLOOR OR ONTO A BLOCK/BOLSTER

7.

EXTEND THE CHEST FORWARD, LENGTHENING THE SPINE. TRY TO AVOID ROUNDING THE SPINE

8.

KEEP YOUR RIGHT KNEE HUGGING IN TOWARD THE MID-LINE

EXTRA •

•

To increase the intensity or activity of the pose, keep the forearms down, curl the back toes under, lift the back knee away from the floor and extend the leg through to the heel To increase the hip flexor stretch, press the soul of the front foot firmly into the floor and without moving the foot, drag it toward the back of the mat. Ensure to keep the front inner thigh hugging the mid-line

BENEFITS • • • •

Opens the hips, hamstrings, groin and hip flexors Strengthens the inner thigh muscles on the front leg Opens and releases the chest, shoulders and neck Prepares the body for deeper hip openers such as Pigeon Pose and Hanuman Pose

CAUTIONS •

Sciatica or lower back pain

35

FLOOR | HIPSTER FLOW HANUMANASANA Monkey pose BASICS (from Utthan Pristhasana) PREP FOR HANUMANASANA 1.

LOWER THE BACK KNEE TO THE FLOOR IF LIFTED

2.

WALK THE HANDS BACKWARD AND PLACE THE HANDS DOWN FOR SUPPORT, INHALE AND LIFT THE HEAD AND TORSO

3.

LIFT THE TOES OF THE FRONT FOOT TO POINT UP

4.

SLOWLY TAKE THE WEIGHT BACKWARD INTO THE BACK KNEE, STRAIGHTENING THE FRONT LEG AS YOU SLIDE THE FRONT HEEL FORWARD

5.

SQUARE THE HIPS TO THE FRONT OF THE MAT AND TO THE FLOOR

6.

INHALE FULLY, LENGTHEN THE SPINE

7.

EXHALE, FOLD THE TORSO OVER THE FRONT LEG AND LOWER THE FACE TOWARD THE KNEE OR SHIN

8.

WALK THE HANDS FORWARD AND BEND THE ELBOWS OUT TO THE SIDES

9.

HOLD THE POSE AND BREATHE

HANUMANASANA 1.

FROM ABOVE: INHALE LIFT THE HEAD AND TORSO TO VERTICAL

2.

WALK THE HANDS BACKWARD ALONGSIDE THE HIPS FOR SUPPORT

3.

ENSURING TO KEEP THE HIPS SQUARED TO THE FRONT OF THE MAT

4.

START TO SLIDE THE FRONT HEEL FORWARD, AND THE BACK LEG BACKWARD

5.

GENTLY LOWER THE HIPS TO THE FLOOR

6.

PAUSE HERE AND BREATHE

7.

TO COME OUT, USE THE HANDS TO LIFT THE HIPS. SLIDE THE FRONT FOOT BACK AS YOU BEND THE KNEE, BRING THE BACK KNEE FORWARD AND DOWN. COMING TO HANDS AND KNEES

EXTRA (Hanumanasana) •

•

Flex and engage the front foot and spread the toes. If the legs do not straighten to bring the hips to the floor, place the hands on one or more blocks to elevate the hips Keep the front leg straight and lift the chest Do not force the hips down Engage the hamstrings and quads of both legs Ensure the front knee points up and the back knee down Push the left hip forward and pull the right hip back Press the tail bone down, lift the pelvic floor, engage the abdomen, move the base of the sternum back, and lift the chest

• • • • • •

BENEFITS • • • •

Stretches the hamstrings, groin and hip flexors Strengthens the pelvic floor muscles Strengthens the abdominal muscles Relieves sciatica pain

CAUTIONS • •

Tights hips, hamstrings or groins Hamstring or groin injuries

To increase the intensity or activity of the pose, reach the arms up, keeping the hands shoulder distance (palms facing) or bring the palms together

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36

FLOOR | HIPSTER FLOW EKA PADA RAJA KAPOTASANA One Foot/Leg Royal Pigeon pose BASICS (from Hands and Knees) 1.

BRING YOUR RIGHT KNEE FORWARD TO THE FLOOR JUST BEHIND YOUR RIGHT HAND

2.

EXTERNALLY ROTATE YOUR RIGHT THIGH AND HIP. BRING THE FRONT HEEL IN-FRONT OF THE LEFT HIP AS YOU SLIDE THE LEFT LEG BACKWARD

3.

TRY TO ALIGN THE FRONT SHIN WITH THE FRONT OF THE MAT

4.

FLEX YOUR FRONT FOOT TO ALIGN THE ANKLE WITH THE SHIN BONE

5.

CURL THE BACK TOES UNDER, ALIGN YOUR BACK KNEE DOWN TO THE FLOOR

6.

7.

EXTRA •

EXTEND THE BACK LEG FURTHER AWAY BEHIND YOU UNTIL YOUR LEG IS FULLY EXTENDED, DIRECTLY BEHIND THE LEFT HIP

Working the front shin parallel to the front of the mat, requires a great deal of external rotation in the front hip. Never force the front shin forward

•

Press the top of the back foot into the mat

UNCURL THE TOES OF THE BACK FOOT, BRINGING THE TOP OF THE FOOT TO THE FLOOR

•

Maintain the hinge position of the front knee

•

More advanced and activating versions of this posture are available but we are calming the system down at this point, so this is why we use resting pigeon

•

An alternative to this pose is Zig Zag (Pigeon Prep) and Thread Needle pose

8.

TRY TO EQUALISE THE WEIGHT BETWEEN THE LEFT AND RIGHT HIPS AND SQUARE THEM TO THE FRONT OF THE MAT

9.

TRY TO ALLOW THE RIGHT BUTTOCK AND HIP TO DESCEND TO THE FLOOR KEEPING THE HIPS LEVEL. (USE A FOLDED BLANKET BENEATH THE BUTTOCK IF IT DOES NOT REST ON THE FLOOR)

BENEFITS

10. LENGTHEN THE TAIL BONE DOWN TOWARDS THE FLOOR

•

11. INHALE LIFT AND LENGTHEN THE TORSO

•

12. EXHALE AND WALK THE HANDS FORWARD, LENGTHENING THE SPINE TOWARD THE FLOOR

• •

13. KEEP THE WEIGHT DOWN THROUGH THE PELVIS AND IN THE BACK LEG 14. REST THE HEAD ON THE HANDS, FLOOR OR A BLOCK 15. HOLD THE POSE AND BREATHE 16. TO COME OUT, LIFT THE HEAD AND TORSO TO VERTICAL, WALKING THE HANDS BACKWARD FOR SUPPORT. BRING THE FRONT FOOT IN CLOSER TO THE BODY. USING THE HANDS, LIFT THE HIPS AND SLIDE THE BACK KNEE FORWARD, THE FRONT KNEE INWARD, COMING TO HANDS AND KNEES

Opens the hip flexor muscles (psoas, rectus femoris) and groin muscles Opens the hip rotator muscles (gluteus medius & minimus) May relieve sciatic nerve tension and ease chronic low back pain Traditionally thought to control sexual desire, increase circulation to urinary, digestive, and reproductive systems

CAUTIONS • •

Knee injury; meniscus or ligament injury Sacroiliac joint injury - due to the opposing action of the legs in this pose which may increase strain across the joint

37

FLOOR | HIPSTER FLOW UPAVISHTA KONASANA Seated Angle pose

BASICS

•

If the low back rounds while seated upright with the legs apart or while reaching the hands to the feet, sit on one or more blankets and bring the legs slightly closer together

•

Engage the legs, press the backs of the knees down

•

Press the big toes and fingers into each other

•

The knees tend to fall in rather than point directly up. Engage the quads and isometrically externally rotate the thighs out

•

Press the tail bone down; lift the low belly

•

If the chin/face does not reach the floor, rest the chin or forehead blocks or a bolster

(from Hands and Knees) 1.

TURN TO THE LEFT TO SIT FACING THE LONG EDGE OF THE MAT

2.

WIDEN THE LEGS 90 DEGREES OR WIDER APART

3.

KEEP YOUR BACK STRAIGHT. SIT ON A FOLDED BLANKET OR BLOCK IF NECESSARY TO SIT UPRIGHT WITH A STRAIGHT BACK

4.

FLEX BOTH FEET, KEEP YOUR KNEES AND TOES POINTING UPWARD

5.

PRESS THE LEGS AND SITTING BONES DOWN AS YOU LENGTHEN THE SPINE UP

6.

ENGAGE THE THIGHS AND PLACE THE HANDS ON THE FLOOR IN-FRONT

7.

EXHALE, WALK THE HANDS FORWARD AND FOLD THE TORSO FORWARD FROM THE HIPS

8.

MAINTAIN LENGTH IN THE SIDES OF THE BODY AND FROM THE PUBIC BONE TO THE BREAST BONE

9.

IF POSSIBLE HOOK THE MIDDLE AND INDEX FINGERS AROUND THE BIG TOES. DRAW THE SHOULDER BLADES TOGETHER AND BACK. IF THE ELBOWS BEND, LIFT THEM PARALLEL TO THE FLOOR AND OUT TO THE SIDES

10. KEEP THE CROWN OF THE HEAD POINTING FORWARD AND THE SIDES OF THE NECK LONG

BENEFITS • • • • •

CAUTIONS •

11. HOLD THE POSE AND BREATHE 12. TO COME OUT RELEASE THE TOES, EXHALE AND SLOWLY WALK YOUR HANDS BACK TOWARD YOUR BODY. GENTLY BEND THE KNEES AND BRING THE LEGS BACK TOGETHER. COME TO PLANK POSE

[[ VINYASA ]]

EXTRA •

When you feel the spine round, stop! Inhale, lengthen the torso again and see if you can go deeper into the pose on an exhale

Stretches the adductor muscles and groin Stretches the hamstring muscles Strengthens the supportive musculature of your spine Encourages activation of the core muscles Increases blood flow to the pelvis, thus keeping the pelvic region healthy

•

•

Low Back Pain: Sit up on a block or blanket, high enough that you can maintain the natural curve of the low back When folding forward, use hands for support on the floor If you cannot safely enter and exit the pose without pain, it is not appropriate Sacroiliac Joint Pain: Avoid wide legged poses until the pain subsides Return with caution, using the core muscles Pregnancy: The hormone Relaxin causes the bones of the pelvis to be more mobile Take the legs less than 90 degrees, and gently lift and support the pelvic floor muscles Do not allow the abdominal area to compressed against the floor

yogahaven TM teacher training 200hr

38

ARM BALANCING BAKASANA Crow pose BASICS (from Adho Mukha Svanasana) 1.

WALK OR HOP THE FEET FORWARD TOWARD THE HANDS AND SQUAT DOWN LOW ENOUGH TO PLACE YOUR HANDS FIRMLY ON THE FLOOR, SHOULDER DISTANCE APART

2.

WALK THE FEET FORWARD, CLOSE TO THE WRISTS AND LIFT THE HEELS

3.

LIFT THE HIPS HIGH, ENGAGE THE CORE MUSCLES AND PRESS YOUR KNEES AGAINST THE UPPER TRICEPS

4.

BEND THE ELBOWS ENOUGH TO MAKE A SHELF WITH THE UPPER ARMS

5.

MAKE SURE THE EYE GAZE IS SLIGHTLY FORWARD OF YOUR HANDS. KEEP THE BACK OF THE NECK LONG

6.

BEGIN TO SHIFT YOUR WEIGHT TOWARDS THE HANDS, LIFTING YOUR FEET OFF THE FLOOR

7.

STAY HERE, OR STRAIGHTEN YOUR ELBOWS FOR THE FULL EXPRESSION OF THE POSE

8.

HOLD THE POSE AND BREATHE

9.

EXHALE, LOWER YOUR FEET TO THE FLOOR RETURNING TO A SQUAT POSITION OR MALASANA

•

As the arms straighten, move the hips down and forward slightly

•

To reduce the pressure on the wrists, place the heels of the palms on the mat and the knuckles and fingers off the mat. (This will only be effective if you have a thick mat.)

•

Potential to move from: Crow pose > Shoulder Pressing Pose > Firefly pose

10. ROLL OUT THE WRISTS TO ALLEVIATE ANY TENSION

EXTRA •

Press the fingertips and the perimeter of the palms into the floor evenly

•

If struggling with lifting both feet from the ground, try lifting one foot at a time, alternating between the two

•

If you are having trouble getting your hips high enough, try the pose with your feet elevated on a block

•

Try squeezing the inner edges of the feet together whilst lifting and squeezing the heels toward the buttocks

BENEFITS • • • • •

Strengthens arms and wrists Strengthens and tones the core muscles Stretches the upper back Improves sense of balance Prepares the body and mind for more difficult arm balances

CAUTIONS • • •

Chronic or current wrist or hand pain Carpel Tunnel syndrome Pregnancy

39

ARM BALANCING BHUJAPIDASANA Arm/Shoulder Pressing pose BASICS (from Squat or Malasana) 1.

START WITH YOUR FEET SLIGHTLY WIDER THAN SHOULDER DISTANCE APART IN SQUAT POSITION

2.

LIFT THE HIPS AND PLACE THE HANDS BEHIND YOUR HEELS, FROM THE INSIDE OF THE LEGS (FINGERS POINT FORWARD)

3.

HOOK YOUR HEELS WITH THE WEBBING BETWEEN YOUR THUMB AND INDEX FINGERS. HUG YOUR UPPER ARMS WITH THE INNER THIGHS

4.

GROUND DOWN THROUGH YOUR HANDS

5.

BEND YOUR ELBOWS POINTING THEM BACK FOR STABILITY

6.

LOWER YOUR HIPS DOWN A LITTLE ONTO THE TRICEPS

7.

WALK THE FEET TOWARD THE FRONT OF THE MAT AND TOGETHER

8.

TRY TO CROSS THE FEET AT THE ANKLES. FLEXING THE FEET ONCE CROSSED

9.

TRY TO STRAIGHTEN YOUR ARMS

10. LIFT THE HEAD AND CHEST, SQUEEZE THE INNER LEGS TO THE ARMS 11. ENGAGE THE ABDOMINAL AREA AND LIFT THE FEET

(from Tadasana) To try coming into this pose from Tadasana: See Tittibhasana on the next page

BENEFITS • • • •

CAUTIONS

12. HOLD THE POSE AND BREATHE 13. TRANSITION INTO TITTIBHASANA

EXTRA •

Press the fingertips and the perimeter of the palms into the floor with equal pressure

•

Do not collapse the weight of the body into the wrists

•

Lift the pelvic floor and tone the low belly

•

Move the shoulders back. Even though the action of the shoulders is back, the legs will move them forward

•

If the hips and legs cannot lift off the floor, place blocks underneath the hands

Increases strength in arms, core, and shoulders Opens the hips and pelvis Tests balance and stability Boosts confidence

• • • •

Chronic or current wrist, hand or shoulder pain or injury Carpel Tunnel syndrome Pregnancy Low back pain

yogahaven TM teacher training 200hr

40

ARM BALANCING TITTIBHASANA Firefly pose BASICS (from Bhujapidasana) 1.

LOWER THE FEET A LITTLE, SQUEEZE THE INNER THIGHS TOWARDS THE ARMS TO UNCROSS THE FEET

2.

EXHALE, PRESS INTO THE HANDS, DRAW THE LOWER BELLY IN

3.

SQUEEZE THE INNER THIGHS INTO THE ARMS, LIFT THE FEET, POINTING THE TOES

4.

EXTEND THE LEGS, ENGAGE THE QUADS AND CALF MUSCLES

5.

TRY TO STRAIGHTEN THE ARMS MORE TO CREATE MORE LIFT AWAY FROM THE FLOOR

6.

KEEP THE GAZE FORWARD, KEEP THE SIDES OF THE NECK LONG

7.

WORK ON THE BALANCE POINT OF LIFTING THE BUTTOCKS AND EXTENDING THE LEGS

16. HOLD THE POSE AND BREATHE 17. TO COME OUT, EXHALE, BEND THE KNEES AND PLACE THE FEET ON THE FLOOR. RELEASE THE HANDS AND LIFT TO STAND

EXTRA •

Press the fingertips and the perimeter of the palms into the floor with equal pressure

•

Flex the feet to begin with, to extend and stretch the hamstrings and back of the legs

•

Internally rotate the hips and inner thighs

•

Move the shoulders back

•

Try to ensure the inner legs are as close the arms pits as possible

(from Tadasana) 8.

9.

SEPARATE THE OUTER EDGES OF THE FEET AS WIDE AS THE MAT INHALE FULLY. EXHALE, FOLD THE TORSO OVER THE LEGS FROM THE HIPS

10. WIDEN AND BEND THE KNEES TO BRING THE SHOULDERS BELOW THE KNEES 11. HOLD THE BACKS OF THE CALVES WITH THE HANDS. PLACE THE THUMBS ON THE CENTRES OF THE CALVES AND FINGERS TO THE OUTER SHINS. PRESS THE CALVES FORWARD AND IN WITH THE THUMBS 12. ONE AT A TIME, BRING THE SHOULDERS BEHIND THE KNEES. BEND THE KNEES AND LOWER THE HIPS 13. PLACE THE HANDS ON THE FLOOR, SHOULDERWIDTH APART, BEHIND THE FEET. SEPARATE THE FINGERS AND POINT THE INDEX FINGERS STRAIGHT AHEAD 14. BRING THE WEIGHT OF THE BODY INTO THE HANDS AND LIFT THE FEET OFF THE FLOOR

BENEFITS • • • •

Opens the hips Strengthens the shoulders, arms, and legs Improves balance Boosts confidence

CAUTIONS •

•

This is an advanced pose that incorporates most of the physical body Extra caution is recommended for anyone with any current or recent injuries in the arms, shoulders, back, spine, hips, or legs Approach this pose gently, working step by step over time toward the full variation

15. STRAIGHTEN THE ARMS. LIFT AND STRAIGHTEN THE LEGS. LOOK BETWEEN THE EYEBROWS OR STRAIGHT FORWARD

41

BACK BENDS BHUJANGASANA 1 Cobra/Serpent pose BASICS (from Prone position)

1.

BRING THE FEET OUTER HIP-WIDTH APART, AND POINT THE TOES STRAIGHT BACK

2.

STRAIGHTEN AND ENGAGE THE LEGS, PRESS THE TOP OF THE THIGHS DOWN

3.

PLACE THE HANDS ON THE FLOOR OUTER SHOULDER-WIDTH APART WITH THE WRISTS BELOW THE ELBOWS— FOREARMS VERTICAL

4.

SEPARATE THE FINGERS AND POINT THE INDEX FINGERS STRAIGHT AHEAD

5.

INHALE, LOOK FORWARD AND LIFT THE CHEST TO BRING THE SHOULDERS AT LEAST AS HIGH AS THE ELBOWS— UPPER ARMS PARALLEL TO THE FLOOR

6.

LOOK FORWARD/BETWEEN THE EYEBROWS

7.

KEEP THE SIDES AND BACK OF THE NECK LONG

8.

HOLD THE POSE AND BREATHE

9.

TO COME OUT, EXHALE, BEND THE ELBOWS MORE AND LOWER THE TORSO TO THE FLOOR

EXTRA •

If there is any pain or discomfort in the low back, engage the legs and abdomen, and don’t lift as high

•

Separate the fingers. Press the entire perimeter of the palms down, especially the mounds of the index fingers

•

Press the feet down

•

Isometrically squeeze the heels in

•

Engage the thighs so the knees lift off the floor

•

Point the kneecaps straight down

•

Press the tail bone down, tone the low belly, and contract the glutes (not too much)

•

Isometrically press the hands down and back

•

Lift the shoulders up, back, and in toward each other. Engage the upper back muscles and press the shoulder blades into the upper back

•

To increase the intensity of the pose, Inhale, lift the chest and try to straighten the arms, curl the head back, but ensure to keep space in the back of the neck

BENEFITS • • • • •

Strengthens back and arm muscles Increases flexibility in the spine Stretches the chest, shoulders, lungs, and abdomen Stretches and massages the internal organs Firms the glutes

CAUTIONS • • • • •

Lower back problems Arthritis in spine or wrists Carpal tunnel syndrome Pregnancy Internal organ surgery

yogahaven TM teacher training 200hr

42

BACK BENDS SALABHASANA Locust pose BASICS (from Prone position) 1.

BRING THE ARMS ALONGSIDE THE TORSO

2.

POINT THE PALMS UP

3.

STRAIGHTEN THE ARMS AND LEGS AND BRING THE INNER EDGES OF THE LEGS AND FEET TOGETHER

4.

POINT THE FEET. INHALE, LIFT THE HEAD, TORSO, HANDS AND FEET

5.

LIFT THE SHOULDERS SO THE ARMS ARE PARALLEL TO THE FLOOR

6.

LOOK STRAIGHT AHEAD

7.

HOLD THE POSE AND BREATHE

8.

TO COME OUT, EXHALE, LOWER THE TORSO, ARMS AND LEGS

•

To deepen the intensity of the chest opening this pose can be done with the hands bound behind the back. Fingers interlaced. Lifting the hands away from the buttocks, lengthening the arms

BENEFITS EXTRA •

•

If there is pain or discomfort in the low back, separate the feet outer hip-width apart Engage the arms and legs into a straight position

•

Spread the collarbones

•

Keep the sides and back of the neck long

•

Point the kneecaps straight down

•

Point the toes straight back and isometrically squeeze the ankles in

•

Press the tail bone down, engage the glutes, and lift the low belly

•

Lift and lengthen the spine

•

During menstruation, place a bolster below the front of the ribcage to lift the torso. This will reduce the upper back and core strength required while providing a stretch in the upper back

• • • •

Strengthens the upper and lower back, arms and legs Stretches the chest, shoulders and abdominal area Prepares the body for deeper back bending Improves posture

CAUTIONS • •

Back, neck or spinal injuries Pregnancy

43

BACK BENDS DHANURASANA Bow pose BASICS (from Prone position) 1.

STRAIGHTEN THE LEGS AND BRING THE FEET OUTER HIP-WIDTH APART

2.

BEND THE KNEES AND CLASP THE OUTSIDES OF THE ANKLES OR SHINS WITH THE HANDS

3.

LOOK STRAIGHT AHEAD AND SQUEEZE THE SHOULDER BLADES AGAINST THE SPINE

4.

BRING THE FEET HALFWAY BETWEEN A FLEXED AND POINTED POSITION AND SPREAD THE TOES

5.

INHALE, KICK THE LEGS BACKWARD INTO THE HANDS, AND LIFT THE KNEES UP AND BACK AS MUCH AS YOU CAN

6.

LIFT THE CHIN SLIGHTLY AND LOOK UP

7.

HOLD THE POSE AND BREATHE

8.

TO COME OUT, EXHALE, LOWER THE TORSO AND KNEES. RELEASE THE HANDS AND LOWER THE ARMS AND LEGS

BENEFITS • • • •

EXTRA •

Keep the knees outer hip-width apart or slightly wider

•

Lift the inner edges of the thighs up and press the tail bone down

•

• • •

Expands chest and shoulders Mobilizes spine Stretches hip flexors, shins and core musculature Strengthens glutes, hamstring and lower back musculature Relieves some forms of low back pain Therapeutic for asthma by opening accessory muscles of breathing Tones abdominal organs

CAUTIONS • •

Isometrically squeeze the inner thighs together

•

•

Engage the glutes

•

•

Tone the pelvic floor and low belly

•

Lift and lengthen the spine and chest

•

If there is pain or discomfort in the knees, hold the ankles and flex the feet

•

If there is pain or discomfort at the front of the hips, place a folded blanket below the hips for additional padding

•

Keep space at the back of the neck

Low Back pain aggravated by extension Avoid one sided Bow in cases of Sacroiliac Joint irritation Shoulder impingement or a history of shoulder dislocation Neck pain or discomfort

yogahaven TM teacher training 200hr

44

BACK BENDS SETU BANDHA SARVANGASANA Bridge pose BASICS (from Supine position) 1.

BEND THE KNEES AND BRING THE FEET FLAT ON THE FLOOR JUST IN FRONT OF THE HIPS

2.

POSITION YOUR HEELS HIP WIDTH APART DIRECTLY UNDER YOUR KNEES

3.

EXTEND THE ARMS ALONG THE FLOOR, PRESS THE PALMS DOWN INTO THE FLOOR BESIDE THE HIPS

4.

KEEP THE CHIN LIGHTLY AWAY FROM YOUR STERNUM SO THE NECK HAS A NATURAL CURVE AND SLIGHTLY LIFTS OFF THE GROUND

5.

the feet to turn out and the knees to widen beyond hip-distance. Press the inner edges of the feet down and activate the outer two toes

EXHALE, CONTRACT YOUR ABDOMINAL MUSCLES, LENGTHEN THE TAIL BONE UP AND UNDER TOWARD THE PUBIC BONE

•

6.

FEEL HOW THIS POSTERIOR PELVIC TILT HAS FLATTENED THE LOWER BACK INTO GROUND

Tone the legs and inwardly rotate the inner thighs down toward the floor

•

7.

MAINTAIN THIS PELVIC TILT. INHALE AND SLOWLY LIFT THE HIPS AND LOWER BACK OFF THE FLOOR

Bring the shoulders toward the head to avoid over stretching the neck

•

Press the feet, wrists, shoulders, and head down

8.

PRESS THE INNER EDGES OF THE FEET DOWN TO PREVENT THE KNEES FROM SPLAYING OUT

•

Centre the head and avoid turning the head from side to side

9.

CONTINUE TO COMFORTABLY LIFT THE MIDDLE AND UPPER BACK, WORKING TO LIFT THE HIPS TO THE SAME HEIGHT AS THE KNEES

•

Keep the base of the chin vertical from start to finish

•

If the shoulders are tight, hold the outer edges of the mat with the hands instead of interlacing the fingers

10. MAINTAIN THE PELVIC TILT AND DRAW THE BOTTOM RIBS DOWN TOWARD THE PUBIC BONE 11. EXTERNALLY ROTATE THE SHOULDERS AND FIRM THE SHOULDER BLADES AGAINST THE UPPER BACK

BENEFITS

12. PRESS THE ENTIRE LENGTH OF THE ARMS INTO THE GROUND

• •

13. HOLD THE POSE AND BREATHE

•

14. TO COME OUT, EXHALE, RELEASE THE HANDS AND MOVE THE SHOULDERS OUT FROM UNDERNEATH

•

15. SLOWLY LOWER THE SPINE STARTING FROM THE UPPER BACK DOWN THROUGH TO THE HIPS. ONCE THE HIPS ARE RESTING ON THE GROUND, WIDEN THE FEET TO ALMOST MAT WIDTH AND ALLOW THE KNEES TO FALL IN TOWARD EACH OTHER

EXTRA •

Bring the feet parallel and isometrically squeeze the knees in. The tendency is for

• • •

Stretches the chest, neck, spine and hips Strengthens the back, buttocks, and hamstring muscles Calms the mind and central nervous system, helping to alleviate stress and mild depression Massages the abdominal organs, improving digestion Stimulates, lungs Relieves the symptoms of menopause Reduces anxiety, backache, headache and insomnia

CAUTIONS • • • •

Avoid if you have a neck injury, neck pain or discomfort Caution for late term pregnancy Knee injury Shoulder dislocation

45

BACK BENDS URDVHA DHANURASANA 1 Upward Facing Bow pose BASICS (from Supine position) 1.

BEND THE KNEES AND PLACE THE FEET ON THE FLOOR JUST IN FRONT OF THE HIPS. TOES STRAIGHT AHEAD

2.

PLACE THE HANDS FLAT ON THE FLOOR BESIDE THE HEAD— SLIGHTLY WIDER THAN THE SHOULDERS, THUMBS FACING TOWARD THE EARS, INDEX FINGERS POINTING TOWARD THE FEET

3.

BRING THE ELBOWS TO A VERTICAL POSITION.

4.

ISOMETRICALLY SQUEEZE THE SIT BONES TOGETHER

5.

WITHOUT MOVING HANDS OR FEET, LIFT THE HIPS AND PLACE THE TOP OF THE HEAD ON THE FLOOR. DON’T PUSH THE HEAD INTO THE FLOOR, USE THE HANDS AND FEET FOR SUPPORT

6.

WALK THE HANDS TOWARD THE FEET A LITTLE MORE

7.

LIFT THE HIPS UP AND FORWARD— TOWARD THE HEAD— AS MUCH AS POSSIBLE

8.

PRESS THE HANDS DOWN AND TOWARD THE FEET, AND SIMULTANEOUSLY MOVE THE SHOULDER BLADES DOWN AND FIRM THEM AGAINST THE UPPER BACK

9.

EXTEND THE CHEST FORWARD AND ROLL TOWARD THE FOREHEAD SLIGHTLY

10. INHALE FULLY. EXHALE, STRAIGHTEN THE ARMS AND LIFT THE HEELS. WALK THE FEET IN SLIGHTLY UNTIL THE FOREARMS ARE VERTICAL 11. LOWER THE HEELS TO THE FLOOR 12. MAINTAIN A NEUTRAL HEAD AND NECK POSITION. GAZE BETWEEN THE EYEBROWS 13. HOLD THE POSE AND BREATHE

•

Press the fingertips and the perimeter of the palms into the floor with equal pressure. Push the thumbs and the mounds of the index fingers into the floor

•

Engage the arms to straighten them

•

Isometrically squeeze the heels toward the hands.

Flare the outer two toes and squeeze the shins toward each other

BENEFITS • • • • • • • • •

14. TO COME OUT, WALK THE FEET OUT SLIGHTLY AND LIFT THE CHIN TOWARD THE CHEST. EXHALE, BEND THE ELBOWS AND LOWER THE TORSO TO THE FLOOR

EXTRA •

If the arms cannot straighten, pause with the crown of the head on the floor between the hands to develop strength and flexibility in the shoulders and arms

Expands the chest and shoulders Stretches the hip flexors and core musculature Stretches the wrist flexor muscles Strengthens the muscles that control your shoulder blades Strengthens the glutes, hips and hamstrings Strengthens the low back muscles Relieves some forms of low back pain Therapeutic for asthma, opening the accessory muscles of breathing Traditionally thought to stimulate the thyroid and pituitary glands, counteract depression and aid in infertility

CAUTIONS • • • • •

Carpal Tunnel Syndrome or tendonitis of the wrist Low Back pain aggravated by extension Shoulder impingement High Blood pressure Headache

yogahaven TM teacher training 200hr

46

FORWARD BENDS BALASANA Child’s pose BASICS (from Supine position) 1.

ROLL OVER TO THE RIGHT SIDE TO SIT UP. TURN AROUND AND KNEEL FACING THE FRONT OF THE MAT

2.

SEPARATE THE KNEES SLIGHTLY WIDER THAN THE TORSO

3.

KEEP THE TOPS OF THE FEET ON THE FLOOR AND BRING THE BIG TOES TOGETHER

4.

INHALE FULLY. EXHALE, SINK THE HIPS TO THE HEELS. RELAX THE FEET

5.

SIT TALL, ARMS DOWN BY THE SIDE, PALMS FACING BACKWARD

6.

INHALE, SPREAD THE COLLAR BONES, LENGTHEN THE SPINE AND REACH THE CROWN OF THE HEAD UP

7.

EXHALE, DRAW THE NAVEL IN AS YOU FOLD THE TORSO FORWARD FROM THE HIPS, LENGTHEN THE FRONT BODY ALONG AND DOWN ONTO THE THIGHS, PLACING THE FOREHEAD ON THE GROUND

8.

KEEP THE WEIGHT OF THE PELVIS DOWN AND BACK. TAIL BONE DOWN

9.

DRAW THE SHOULDER BLADES BACK TOWARD THE HIPS, AS YOU REACH THE FINGERTIPS BACK

from the pubic bone. Use the hands to keep the legs in this position. Inhale, lengthen the spine.

Exhale, fold the torso forward between the legs.

Release the hands and stretch the arms forward •

An alternative position for the arms is to reach forward, arms and hands shoulder distance apart. Lengthen the arms, externally rotate the shoulders and the allow the forearms and elbows to rest on the floor

10. ALLOW THE WHOLE BODY TO SOFTEN 11. CLOSE THE EYES. HOLD THE POSE AND BREATHE 12. TO COME OUT, PLACE THE HANDS ON THE FLOOR UNDER THE SHOULDERS. EXHALE, DRAW THE LOW BELLY IN, PRESS INTO THE HANDS. KEEP THE WEIGHT IN THE PELVIS. INHALE AND LIFT THE HEAD AND TORSO BACK TO VERTICAL

EXTRA •

If the sit bones do not reach the heels, place one or more blankets between the calves and thighs

•

If the sit bones reach the heels but the back is over-rounding or if placing the head on the floor strains the neck, place the forehead on the edge of a block

•

If there is pain or discomfort in the hip flexors, lift the torso upright and hold the tops of the thighs with the hands— thumbs on the hip creases and fingers on the outer quads/ hips.

Press the thighs down and spin the thighs away

BENEFITS • • • • •

Gently stretches the lower back, hips, thighs, knees, and ankles Relaxes the spine, shoulders, and neck Increases blood circulation to the head which may help to reduce headache Massages the internal organs Calms the mind (central nervous system) thus helping relieve stress and tension

CAUTIONS • • • • •

Knee injuries or problems like cartilage or ligament tears Ankle problems Avoid for those with high blood pressure, eye or ear infections Pregnancy Diarrhoea

47

FORWARD BENDS JANU SIRSASANA Head To Knee pose BASICS (from Dandasana) 1.

EXTEND THE RIGHT LEG DIRECTLY IN FRONT OF THE HIP JOINT. BEND YOUR LEFT KNEE, PLACE THE SOUL OF THE FOOT AGAINST THE RIGHT INNER THIGH

2.

IF THE LEFT LEG AND KNEE ARE OFF THE GROUND, SUPPORT UNDER THE THIGH WITH A FOLDED BLANKET

3.

TO IMPROVE YOUR ALIGNMENT, SHIFT YOUR RIGHT SIT-BONE AND PELVIS BACK

4.

ALIGN THE CENTRE OF THE TORSO, NAVEL AND CHEST WITH YOUR RIGHT LEG

5.

PLACE THE HANDS BESIDE THE HIPS FOR SUPPORT AS YOU INHALE AND EXTEND THE SPINE, CREATING LENGTH IN THE FRONT AND SIDES OF THE BODY

6.

EXHALE, AND LENGTHEN AND ENERGISE THE RIGHT LEG, PRESSING OUT THROUGH THE HEEL AND BALL OF THE FOOT. SPREAD THE TOES

7.

INHALE, AND REACH UP WITH BOTH ARMS LENGTHENING THE SPINE

8.

EXHALE AND FOLD FORWARD FROM THE HIP CREASES. LENGTHEN THE FRONT OF THE TORSO FROM THE PUBIS TO THE STERNUM

9.

•

• • • • • •

•

Press the heel of the extended leg down into the floor. Point the toes straight up. Push the inner edge of the front foot forward. Pull the outer edge of the front foot back Keep the foot that is on the inner thigh active/ engaged Ground the sit bone of the bent leg.

Lengthen both sides of the waist If holding the foot is not possible, use a strap or hold the outer edges of the ankle or calf Use a strap around the foot of the extended leg to help align and lengthen the pelvis and spine.

When using a strap, straighten the arms and hold the strap as close as possible to the front foot (do not bend the elbows when using the strap) Tone the pelvic floor and lift the low belly in

REACH THE HANDS TO HOLD THE RIGHT FOOT. GENTLY CONTINUE TO LENGTHEN AND FOLD THE TORSO DOWN AND ALONG THE RIGHT LEG

BENEFITS

10. KEEP THE ORIGINAL ALIGNMENT OF HIPS AND TORSO

•

11. ENCOURAGE THE BREATH TO FILL THE BACK BODY, GROIN, AND BACK OF THE EXTENDED LEG

• •

12. TO COME OUT, RELEASE THE HANDS, PLACE THEM ON THE FLOOR FOR SUPPORT EITHER SIDE OF THE EXTENDED LEG, DRAW THE BELLY IN, INHALE AND LIFT THE HEAD AND TORSO

EXTRA •

•

•

Do not pull yourself forcefully into the forward bend. Rounding the spine and pulling forward can lead to injury For tight lower back, elevate your sit bones on a block or folded blanket to achieve a forward/anterior tilt of the pelvis To create a deeper stretch and opening in the hip, place the soul of the foot closer in toward the perineum. The shin bone will be at a right angle to the extended leg

• • • •

Stretches the spine, back muscles, hamstrings, and groin Massages and stimulates the internal organs Improves digestion and helps heal gastric ailments Calms the mind and central nervous system Relieves anxiety, fatigue, headache, and menstrual discomfort Helps relieve symptoms of menopause Therapeutic for high blood pressure, depression, anxiety and insomnia

CAUTIONS •

• • •

Knee injuries - Avoid flexion of the injured knee if discomfort occurs. Try with the bent knee supported underneath on a folded blanket Low back injury especially if history of lumbar disc herniation Diarrhoea Asthma

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48

FORWARD BENDS TRIANG MUKHAIKAPADA PASCHIMOTTANASANA Three Limbs Facing One Foot Intense West Stretch pose BASICS (from Dandasana) 1.

BEND THE LEFT KNEE, BRINGING THE HEEL CLOSE TO THE HIP. ALIGN THE LEFT INNER ANKLE WITH THE LEFT OUTER HIP

2.

PLACE THE RIGHT HAND ON THE FLOOR FOR SUPPORT, NEXT TO THE RIGHT HIP

3.

HOLD THE LEFT ANKLE WITH THE LEFT HAND. LEAN TO THE RIGHT, KEEP THE LEFT KNEE IN THE HINGE POSITION, BRING THE TOP OF THE LEFT FOOT TO THE FLOOR AGAINST THE OUTER HIP, THE KNEE COMES DOWN TO THE FLOOR

4.

LEAN TO THE LEFT AND PULL THE RIGHT GLUTES BACK A LITTLE WITH THE RIGHT HAND. REPEAT ON THE OTHER SIDE

• •

5.

BRING THE KNEES TOGETHER AND THIGHS PARALLEL

•

6.

INHALE, LIFT THE ARMS. EXHALE, FOLD THE TORSO FORWARD AND ALONG THE RIGHT LEG

7.

HOLD THE RIGHT FOOT WITH BOTH HANDS. IF POSSIBLE, HOLD THE RIGHT WRIST WITH THE LEFT HAND AND EXTEND THE ELBOWS OUT TO THE SIDES

8.

PLACE THE FOREHEAD TOWARD/ THE RIGHT KNEE OR SHIN. GAZE DOWN

9.

HOLD THE POSE AND BREATHE

10. TO COME OUT, RELEASE THE HANDS AND PLACE THE HANDS ON THE FLOOR UNDERNEATH THE SHOULDERS. INHALE, LIFT THE HEAD AND TORSO UPRIGHT. LEAN TO THE RIGHT, SUPPORTED BY THE RIGHT HAND, HOLD THE LEFT ANKLE WITH THE LEFT HAND. KEEP THE KNEE IN THE HINGE POSITION, LIFT THE KNEE AND BRING THE FOOT FORWARD, EXTENDING THE LEFT LEG IN-FRONT OF THE HIP

EXTRA •

•

Before folding forward, the low back must curve in. If the low back rounds, sit the hips/buttocks on one or more folded blankets— foot (left) off the blanket Use the hands to spin the inner right thigh down and the hamstring muscles out before folding forward

• •

•

Press the left heel into the outer hip Engage the right quad, press the back of the knee and hamstring to the floor Draw the front foot backward with the hands, resisting by pressing the foot into the hands Press both sit bones evenly into the floor If leaning too far to one side, place a folded blanket beneath the hip/buttock of the extended hip, to level the hips and create a more stable foundation Lift the pelvic floor and tone the low belly

BENEFITS • • • • •

Stretches the spine, back, hamstrings, ankles, and feet Massages and stimulates the internal organs Calms the mind and central nervous system Relieves anxiety, fatigue, headache, and menstrual discomfort Therapeutic for high blood pressure depression, anxiety and insomnia

CAUTIONS • •

Knee injuries - Avoid flexion of the injured knee if discomfort occurs Low back injury especially if history of lumbar disc herniation

49

FORWARD BENDS PASCHIMOTTANASANA Intense West Stretch pose BASICS (from Dandasana) 1.

KEEP BOTH LEGS EXTENDED AND TOGETHER

2.

INHALE FULLY, REACH UP WITH BOTH ARMS, LENGTHEN THE SPINE, FRONT AND SIDES OF THE BODY

3.

EXHALE, LEAN THE TORSO FORWARD AND HOLD THE OUTER EDGES OF THE FEET WITH THE HANDS, OR HOLD THE BIG TOES WITH THE FIRST TWO FINGERS AND THUMBS

4.

ENGAGE AND STRAIGHTEN THE LEGS, ARMS, AND SPINE

5.

INHALE FULLY. EXHALE, FOLD THE TORSO OVER THE LEGS. BRING THE FACE TOWARD/ TO THE SHINS

6.

REACH THE CROWN OF THE HEAD TOWARD THE FEET

7.

THE SPINE WILL ROUND A LITTLE OVER THE RIBCAGE AND LEGS. TRY TO KEEP LENGTH IN THE FRONT BODY

8.

GAZE TOWARD THE TOES

9.

HOLD THE POSE AND BREATHE

10. TO COME OUT, INHALE, LIFT THE HEAD. EXHALE, RELEASE THE HANDS TO THE FLOOR DIRECTLY BELOW THE SHOULDERS. INHALE, PRESS THE HANDS INTO THE FLOOR AND LIFT THE TORSO VERTICAL, PLACE THE HANDS NEXT TO THE HIPS

• • •

• • •

Press the hamstrings and the backs of the knees into the floor Draw the feet backward with the hands, resisting by pressing the feet into the hands If the whole of the front body rests on the thighs, and the face on the shins bring the eye gaze down and in Keep the back and sides of the neck long Tone the abdomen If the forehead does not meet the shins, rest the forehead on the edge of a block for a more restorative pose

BENEFITS • •

EXTRA •

• •

•

To reduce the intensity of the hamstring stretch, separate the feet outer hip-width apart, or even as wide as the mat For tight hamstrings, bend the knees a little For tight/rounded lower back, lift the buttocks/ sit bones onto a block or rolled blanket. This will help to tilt the top of the pelvis forward Engage the thighs, straighten the knees and legs

• • • •

Stretches the hamstrings, spine, and lower back Calms the mind, and relieves stress and anxiety Improves digestion Relieves symptoms of PMS and menopause Reduces fatigue Stimulates the liver, kidneys, ovaries, and uterus

CAUTIONS • • •

Tight hamstrings Lower back pain or spinal injuries Diarrhoea

yogahaven TM teacher training 200hr

50

FINISHING SEQUENCE ARDHA MATSYENDRASANA/MARICHYASANA C Half Lord Of The Fishes pose/ Sage Marichi’s pose C BASICS (from Dandasana) 1.

BEND THE LEFT KNEE. PLACE THE HEEL JUST IN FRONT OF THE LEFT SIT BONE. POINT THE KNEE UP

2.

PRESS THE HANDS DOWN BESIDE THE HIPS. PRESS THE LEFT FOOT INTO THE FLOOR. LIFT THE HIPS UP AND FORWARD SLIGHTLY, BRINGING THE LEFT SIT BONE AGAINST THE LEFT HEEL. LOWER THE HIPS TO THE FLOOR

3.

PRESS THE LOWER BACK FORWARD AND LIFT AND LENGTHEN THE SPINE

4.

PLACE THE LEFT HAND ON THE FLOOR A FEW INCHES BEHIND THE SACRUM. STRAIGHTEN THE ARM

5.

INHALE, RAISE THE RIGHT ARM VERTICAL

6.

EXHALE, TURN THE TORSO TO THE LEFT AND PLACE THE RIGHT ELBOW OR UPPER ARM ON THE OUTER LEFT KNEE

7.

BEND THE ELBOW— FOREARM AND FINGERS POINTING UP, PALM FACING OUT

8.

INHALE, LENGTHEN THE SPINE, SIT TALL, EQUAL WEIGHT THROUGH BOTH SIT BONES

9.

EXHALE, TWIST TO THE LEFT FROM THE WAISTLINE UPWARDS. REVOLVE THE LEFT RIBCAGE TO THE BACK OF THE MAT AND THE RIGHT RIBCAGE TOWARD THE LEFT INNER THIGH

•

• •

If the outer shoulder does not align with the outer knee, hook the crook of the elbow around the knee Move the base of the sternum back and lift the chest. Firm the shoulder blades against the back Lift the pelvic floor and tone the low bell.

BENEFITS • • • • • •

10. GAZE PAST THE SHOULDER. MAINTAIN LENGTH IN THE BACK OF THE NECK. HOLD THE POSE AND BREATHE

CAUTIONS

11. TO COME OUT, INHALE, LIFT THE CHEST, TURN THE HEAD TO LOOK FORWARD. RELEASE THE HANDS TO THE FLOOR NEXT TO THE HIPS. STRAIGHTEN THE BENT LEG

•

EXTRA

•

•

• •

If the low back rounds, sit on one or more blankets and or step the foot of the bent leg forward Engage the quads of the extended leg.

Press the back of the knee down Flex the front foot— flare the outer two toes

Increase spine flexibility and range of motion Expands chest and shoulders Relieves thoracic or mid back spinal tension Strengthens abdominal oblique muscles Stretches hip rotators Traditionally thought to massage your abdominal organs, detoxify your liver and kidneys, and stimulate digestive fire and manipura chakra

•

•

Lumbar Disc Disorders - Keep a natural curve in the low back and avoid rounding Neck problems - Gaze straight ahead with your head centred over the torso Shoulder problems - Do not take the bind of the arms behind the back as this requires a great deal of inward rotation and extension Knee problems - Practice the straight leg version, avoiding crossing the knee underneath you

51

FINISHING SEQUENCE SALAMBA SARVANGASANA Supported Shoulder Stand pose BASICS (from Supine Tadasana) 1.

HAVE A SUPPORT UNDER YOUR SHOULDERS TO CREATE MORE FREEDOM AND EASE FOR YOUR NECK. FOLD AND STACK A COUPLE FIRM BLANKETS LARGE ENOUGH TO SUPPORT THE WIDTH AND DEPTH OF YOUR SHOULDERS. A STICKY MAT PLACED OVER THE BLANKETS WILL HELP THE UPPER ARMS STAY IN PLACE WHILE YOU ARE INVERTING

2.

AS YOU LIE ON THE BLANKET SUPPORT, POSITION YOUR SHOULDERS ON THE BLANKETS SO YOUR NECK AND HEAD DRAPE AND REST ON THE FLOOR. YOUR 7TH CERVICAL VERTEBRA, OR THE LARGEST BONEY POINT ON THE BACK OF YOUR NECK, SHOULD STILL BE ON THE BLANKETS

3.

LAY YOUR ARMS ON THE FLOOR ALONGSIDE YOUR TORSO, BEND YOUR KNEES, FEET TO THE FLOOR, CONTRACT YOUR ABDOMINAL MUSCLES

4.

EXHALE, PRESS THE ARMS AGAINST THE FLOOR SO THE FEET, KNEES AND BACK LIFT AWAY FROM THE FLOOR

5.

PLACE THE HANDS ON YOUR LOWER BACK AS YOU DRAW YOUR THIGHS INTO THE TORSO. MAKE SURE YOU ARE SUPPORTING YOUR BACK WITH THE WHOLE PALM AND NOT JUST WITH YOUR THUMBS AND INDEX FINGERS

THE BALLS OF THE BIG TOES CREATING LENGTH THROUGH THE INNER LINE OF THE LEGS

6.

ISOMETRICALLY DRAW YOUR ELBOWS TOWARDS EACH OTHER

12. GAZE SOFTLY INTO THE CHEST, RELAX THE TONGUE, THROAT AND FACIAL MUSCLES

7.

LIFT THE PELVIS UP MORE SO THE FEET COME TO THE FLOOR (OR CLOSE TO) BEHIND YOU, THIGHS HORIZONTAL OVER THE SHOULDERS, KNEES SOFTENED TOWARD THE FACE

13. KEEP THE CHIN PERPENDICULAR WITH THE FLOOR AS YOU FIRMLY PRESS THE BACKS OF THE UPPER ARMS AND SHOULDERS INTO THE MAT. THE BACK OF YOUR NECK SHOULD FEEL NO PRESSURE TO TENSION.

8.

ADJUST THE HANDS TO BRING THEM CLOSER TO THE BACK RIBS AND SHOULDERS (HIGHER UP THE BACK/LOWER TO THE GROUND) WITHOUT LETTING THE ELBOWS SLIDE OUTWARDS

14. BEGINNERS: STAY IN THE POSE FOR ABOUT 1 MINUTE, GRADUALLY INCREASING TO FIVE MINUTES OVER TIME

9.

LIFT THE PELVIS OVER THE SHOULDER GIRDLE, BEING CAREFUL OF THE NECK

10. PRESS THE INNERS THIGHS AND FEET TOGETHER, INHALE, LIFT YOUR BENT KNEES TOWARDS THE CEILING, BRINGING YOUR THIGHS INTO A PERPENDICULAR LINE WITH YOUR TORSO. AS YOUR KNEES REMAIN BENT, PRESS THE TAIL BONE TOWARD THE PUBIS, ROTATE YOUR UPPER THIGHS INWARD SLIGHTLY 11. INHALE, SENDING THE HEELS UP TOWARD THE CEILING, STRAIGHTENING THE LEGS. ONCE THE LEGS ARE FULLY EXTENDED, REACH UP THROUGH

15. TO COME OUT, EXHALE AND SLOWLY BEND THE KNEES LETTING THE THIGHS REST OVER THE SHOULDERS. CONTRACT THE CORE MUSCLES, KEEPING THE PELVIS OVER THE SHOULDERS. PLACE YOUR ARMS ON THE MAT, SHOULDER WIDTH APART, PALMS DOWN. KEEPING YOUR HEAD ON THE GROUND, KNEES BENT, SLOWLY AND CAREFULLY ROLL YOUR ENTIRE SPINE ONTO THE GROUND. ONCE YOUR HIPS REST ON THE MAT, HUG YOUR KNEES INTO YOUR CHEST AND ROCK FROM SIDE TO SIDE

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52

FINISHING SEQUENCE SALAMBA SARVANGASANA [CONTINUED] Supported Shoulder Stand pose [continued] EXTRA •

If there is pain or discomfort in the neck, cervical spine injuries or conditions, and/ or loss of spinal curvature in the spine, do Legs up the wall pose instead

•

Do not practice inversions at any time during menstruation. Practice supta baddha konasana (a supine version of baddha konasana) on bolsters instead

•

Before lifting the legs vertical, make sure that the base of the neck is pressing into the blankets. If the boney protrusion at the base of the neck (called the “seventh cervical”) has moved beyond the edge of the blankets, start again. This time come into the pose with the shoulders even farther away from the edge of the blankets. Once the shoulder blades are in place and the hands are supporting the back, the seventh cervical should lift away from the blankets. If it is still on the blanket, walk the shoulders even more in and up, use more blankets, or develop more flexibility in the shoulders before practicing this pose

•

Squeeze the shoulder blades toward each other like two strong magnets, and press the head, shoulders, upper arms, and elbows down. Shrug the shoulders toward the head to avoid over stretching the neck

•

Centre the head. Once the legs are off the floor, do not turn the head from side to side

•

Keep the chin vertical— do not allow the chin to drop toward the chest

•

Press the whole of the hand and wrist into the back torso. Fingers and thumbs pointing upwards

•

Engage the glutes and squeeze the inner knees, ankles, and feet together

•

Move the hips and tail bone up and in the direction of the face. Extend the feet up and slightly away from the head end of the mat

•

Stretch and lengthen up through the spine and legs. Relax the jaw, eyes, and face.

Breathe evenly and deeply

•

To reduce the intensity or build endurance in the pose, bend the knees and place the feet on a wall, or practice halasana instead

•

To prevent the hands from slipping, place your hands directly on the skin of your back as opposed to over clothing

•

For tight shoulders a belt looped around the upper arms can help to keep the elbows in position

BENEFITS • • • • • • •

•

Stretches the shoulders and improves flexibility of your upper spine Calms the brain and nervous system therefore helps to relieve stress Improves digestion and massages and stimulates the thyroid and prostate glands Helps to flush the lungs Helps relieve the symptoms of menopause Reverses the flow of lymphatic fluid Relieves the pressure on the vascular system of the lower limbs. Thus good for preventing Varicose veins Lowers blood pressure

CAUTIONS • • • • • • •

Neck or back problems Heavy period of menstruation High blood pressure Eye or inner ear infection Pregnancy Diarrhoea This is considered an intermediate to advanced posture. If you are new to Yoga, we recommend you start with the beginner variations i.e. (half version) lifting the legs upwards to a 45 degree angle, relieving pressure on the neck and shoulders.

Or do Viparita Karani (inverted/legs up the wall pose)

53

FINISHING SEQUENCE JATHARA PARIVARTANASANA Revolved Abdomen (Twist) pose BASICS (from Supine Tadasana) 1.

EXHALE, PRESS YOUR LOWER BACK LIGHTLY INTO THE FLOOR

2.

WITH YOUR ABDOMINAL MUSCLES CONTRACTED, INHALE AS YOU BEND YOUR KNEES AND LIFT YOUR FEET OFF THE FLOOR

3.

YOUR KNEES SHOULD BE DIRECTLY ABOVE THE HIPS OR HIGHER; IN-LINE WITH THE NAVEL

4.

EXHALE, OPEN THE ARMS WIDE OUT TO THE SIDES LEVEL WITH THE SHOULDERS, PALMS FACING DOWN FOR SUPPORT

5.

EXHALE, ENGAGE THE CORE MUSCLES

6.

INHALE, LIFT YOUR HEELS SLIGHTLY HIGHER THAN YOUR KNEES

7.

EXHALE, SLOWLY LOWER BOTH LEGS TO THE LEFT ON THE FLOOR, KEEPING YOUR FEET AND KNEES TOGETHER. KEEP THE KNEES LEVEL WITH THE HIPS

8.

WITHOUT FORCING, TURN THE HEAD TO THE RIGHT

9.

ENCOURAGE YOUR RIGHT SHOULDER TO ROOT DOWN MAINTAINING THE TWIST THROUGH THE UPPER SPINE

•

Having arms at or just below your shoulder level will increase the ease of rooting the shoulders down

•

A slight bend in the elbow and turning the palms up, may help to draw the shoulder blades down the back and stretch the chest and pectoral muscles

10. HOLD THE POSE AND BREATHE 11. TO COME OUT, PRESS BOTH HANDS INTO THE FLOOR. EXHALE, ENGAGE THE CORE MUSCLES. INHALE LIFT THE KNEES AND FEET UP TOWARD THE CHEST AND BACK TO CENTRE

BENEFITS

EXTRA

•

•

Press the inner feet, ankles, and knees together

•

•

Press the backs of the shoulders, arms, and hands into the floor to aid slow, controlled movement into the posture

•

Try to keep the knees together and both shoulders on the floor

•

Extend the top hip away from the head

• • •

Encourages movement and mobility in spine and vertebrae Massages, stretches, and tones internal organs Improves digestion Stretches chest, shoulders, lower back, hips, middle spine and upper back.

Alleviates pain or stiffness in lower back, spine and hips

CAUTIONS

•

Lift the pelvic floor and tone the low belly

• •

•

To reduce the intensity of the pose, bring the heels toward the sit bones

•

Severe lower back problems Pregnancy (more comfortable with pillow between knees) Internal organ surgery

yogahaven TM teacher training 200hr

54

FINISHING SEQUENCE SAVASANA Corpse pose

BASICS 1.

LYING ON YOUR BACK, LIFT YOUR PELVIS AND SLIDE YOUR TAIL BONE AWAY TO COMFORTABLY SPREAD YOUR LOWER BACK. KEEP JUST A LIGHT, NATURAL ARCH TO YOUR LOWER BACK

2.

REST YOUR PELVIS ON THE GROUND. LENGTHEN YOUR LEGS, OPENING LEGS HIP WIDTH APART AND ENSURE THEY ARE EQUIDISTANT. ALLOW THE LEGS TO NATURALLY ROLL OUTWARDS AND THE GROIN TO SOFTEN.

3.

4.

5.

6.

LIFT YOUR ARMS AND SHOULDERS UP ENOUGH TO SPREAD YOUR SHOULDER BLADES AND BACK RIBS. EASE YOUR SHOULDERS AWAY FROM YOUR NECK. THEN, REST YOUR ARMS BESIDE THE TORSO AT ABOUT A 45-DEGREE ANGLE. PALMS UP TO ENCOURAGE YOUR CHEST AND SHOULDERS TO OPEN LENGTHEN THE BACK OF YOUR NECK BY SLIGHTLY MOVING YOUR CHIN TOWARDS THE CHEST. ONCE COMFORTABLE, TAKE A SLOW DEEP INHALE. AS YOU EXHALE, LET YOUR BODY RELAX AND SINK INTO THE FLOOR MAINTAIN STILLNESS AS YOU RELAX AND QUIET THE MIND. PICTURE YOUR WHOLE BODY REJUVENATING AND RESTING. FEEL YOUR EYES RELAX INTO THE SOCKETS. SOFTEN THE TONGUE, LIPS, JAW AND FOREHEAD. LET THE HEART, LUNGS, AND OTHER ORGANS RELAX CONTINUE TO GAZE INWARDS WATCHING YOUR BODY AND MIND REST. RELAXATION CAN LAST FROM 5 TO 20 MINUTES. SOME RECOMMEND 10 MINUTES FOR EVERY HOUR OF ASANA PRACTICE

7.

TO COME OUT, INHALE AND BRING YOUR LEGS INTO YOUR CHEST. EXHALE GRADUALLY HUGGING YOUR KNEES INTO YOUR BODY. ROLL TO THE RIGHT SIDE PAUSING TO FEEL YOUR SELF MENTALLY CENTRED. START TO OPEN THE EYES, PRESS THE LEFT HAND INTO THE GROUND TO SUPPORT YOU IN SITTING UP

8.

TAKE A MOMENT TO SIT TALL AND FEEL THE CALMNESS SAVASANA HAS CREATED

BENEFITS • • • • • • •

Relaxes central nervous system and calms the mind (eventually) Helps relieve stress Relaxes the body Decreases beta brain waves and shifts to slower brain waves Reduces insomnia and helps improve your sleep Reduces headache and fatigue Helps relieve depression

CAUTIONS •

•

Lower back problems or back injury. Use legs over a bolster to lessen the compression in the lower back. Or use alternative pose such as side lying position with bolster between the legs Pregnancy (after 3 months) take side lying position with bolster between the legs

55

QUICK VIEW SEQUENCE CENTRING

• FORWARD FOLD > HALF FORWARD FOLD >

•

3X AUM OR (SIMILAR NON SECULAR)

• FORWARD FOLD WITH IT BAND STRETCH (R/L)

•

THEME/INTRODUCTION: (POSSIBLE RELEVANT READING)

• MOUNTAIN

•

INTENTION/SANKALPA/DEDICATION

<VINYASA (V) HOLD DOWNDOG 3BREATHS >

•

OPENING MEDITATION/CHANTING/ INVOCATION: OM ASATOMA/GURU INVOCATION OR (SIMILAR NON SECULAR)

>>>>>>>>>>>FLOW INTO

WARM UP SUPINE/ON BACK: • SIDE TO SIDE NECK/HEAD ROLL • GENTLE PELVIC TILTS • GENTLE TWIST (WINDOW WIPE KNEES) • WIND REMOVING POSE • FIRE UP ABS (YOGI BICYCLE) • EYE OF THE NEEDLE

TABLE TOP POSITION:

(1) TRIANGLE FLOW • EXTENDED TRIANGLE (R) > • REVERSE TRIANGLE (R) > • REVOLVED TRIANGLE (R) > <VINYASA (V) HOLD DOWNDOG 3BREATHS > [[REPEAT LEFT SIDE]] <VINYASA (V) HOLD DOWNDOG 3BREATHS > <RETURN TO MOUNTAIN>

(2) WARRIOR FLOW • VINYASA (V)

• CAT > COW > TIGER WITH FIST OF FIRE

• WARRIOR 1 (R) >

• DOWNWARD FACING DOG

• WARRIOR 2 (R) > • EXTENDED SIDE ANGLE (R) >

STANDING PREPARATION & NAMASKARS: • MOUNTAIN • STANDING CRESCENT (RIGHT & LEFT) • 3-5 SUN SALUTATION [A]

STANDING • MOUNTAIN >

• WIDE LEG FORWARD FOLD (B) > <VINYASA (V) HOLD DOWNDOG 3BREATHS > • WARRIOR 1 (L) > • WARRIOR 2 (L) > • EXTENDED SIDE ANGLE (R) > • WIDE LEG FORWARD FOLD (C) > <VINYASA (V) HOLD DOWNDOG 3BREATHS >

• FIERCE >

yogahaven TM teacher training 200hr

56

QUICK VIEW SEQUENCE <RETURN TO MOUNTAIN>

BACK BENDS • COBRA

(3) BALANCING FLOW

• LOCUST

• TREE (LEFT LEG STANDING) >

• BOW

• WARRIOR 3 - TRANSITION TO >

• BRIDGE

• HALF MOON >

• UPWARD BOW

• INTENSE SIDE FLANK STRETCH (RIGHT) > <VINYASA (V) HOLD DOWNDOG 3BREATHS > [[REPEAT LEFT SIDE]] <VINYASA (V) HOLD DOWNDOG 3BREATHS > <RETURN TO MOUNTAIN > • LORD OF THE DANCE (R/L) <VINYASA (V) HOLD DOWNDOG 3BREATHS >

FORWARD BENDS • CHILD • FOREHEAD TO KNEE (R/L) • THREE LIMBS FACING WEST (R/L) • WEST FACING STRETCH

FINISHING SEQUENCE • HALF LORD OF THE FISHES/ SAGES (R/L)

(4) HIPSTER FLOW • LIZARD (R) • MONKEY OR HALF MONKEY (R) • PIGEON/ZIGZAG (R) • SEATED ANGLE A

• SUPPORTED SHOULDER STAND • REVOVLED ABDOMEN (RECLINING) (R/L) • CORPSE POSE • NADI SHODHANA • SEATED MEDITATION

<VINYASA (V) HOLD DOWNDOG 3BREATHS > [[REPEAT LEFT SIDE]] <VINYASA (V) HOLD DOWNDOG 3BREATHS >

ARM BALANCING • CROW • SHOULDER PRESSING • FIREFLY

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V.4

V. 1

V. 3

V. 2

When we use the instruction â&#x20AC;&#x2DC;vinyasaâ&#x20AC;&#x2122; within a sequence, we are referring to the above marked V.1 - V.4. These four movements sometimes link postures, or a sequence of postures, together.

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ETHICS

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ETHICAL GUIDELINES THE IMPORTANCE OF SELF-CARE As yoga teachers it is our duty to exemplify the benefits of yoga: health, vitality, energy and a state of calm.

We need to commit to, and uphold, care for ourselves, our mind, body and spirit, so that we may be of service to others. How can we expect others to feel safe with us, listen to us, trust us and themselves, and connect with their truth, if we ourselves cannot uphold the beliefs we advocate as yoga teachers?

Caring for ourselves not only gives us more energy, it instils in us an unwavering sense of excitement, joy and passion for what we share in yoga. Outstanding teachers have exceptional prana, established through good breathing, good diet, mindful awareness and a commitment to cultivate love and compassion for all beings.

?

What facets of our lives may impact upon our health - mental, physical and emotional - and what can we do to ensure we care for ourselves and maintain balance and harmony?

YOUR AUTHENTIC SELF There is light and shade in all of us, we do not need a guru to tell us this. Learn from the greatness you see in the world, from the large to the little things, and make a commitment to cultivating your own inner greatness. The greatest of gurus agree that we do not need a guru, that everything we need is within us already. Using this knowledge, there is potential then for us to use our thoughts, words and actions to create and manifest our dreams.

We all have strengths and weaknesses that can be used to inspire and encourage others. Bring your inner vision, your wisdom, and your life experiences to deeply connect to your students.

Ask yourself the following: what makes a good yoga student? Self-practice makes a good student. What makes a good teacher? Self-practice, knowledge, intuition, compassion and authenticity.

SET YOUR INTENTION As social creatures it is in our nature and, in fact, is fundamental to our survival, to assess others and make judgements as to whether they pose a threat or not, and to assess our own social

position and standing. It is natural then to apply the same process to our students, resulting often in judgements about them. We may already know the student outside of the class environment.

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Our students will know and sense these judgements. It is imperative to become aware of these judgements and ideas we may have about our students, and then let go of them.

As yoga teachers, it is our duty to create and hold the space for our students to break free from boundaries and limitations, should they choose to.

Leave ‘should, shouldn’t, can and can’t’ outside the room. When our minds are clear, we are ready to serve.

The student’s ‘highest good’ does not necessarily mean to deepen a pose. Helping to create more space, freedom of movement and breath or a sense of ease may be the ‘highest good’. That’s not to say, however, that deepening a pose may not facilitate these things.

Many people attend yoga classes to be free of the kind of judgements and expectations they may feel outside of the class environment. It is important for the student to feel safe and free from judgement, so that they are free to develop their own spiritual path and practice.

ETHICAL GUIDELINES FOR MODERN YOGA TEACHERS As an integrated way of life, yoga includes yamas – moral standards or virtues – and are the first limb of Patanjali’s eightfold path.

In other scriptures of yoga, further moral principles are mentioned, including kindness, compassion, generosity, patience, helpfulness, forgiveness, purity, and so on. As yoga teachers, we have a great responsibility toward our students and it therefore seems appropriate to take responsibility and do our best at all times to uphold the moral principles expounded in the yoga tradition.

We need also to acknowledge the complexity of modern living and at times make necessary and appropriate adaptations to the moral standards originally designed for yogis living in ancient India.

The following guidelines are inspired by Max Strom’s Teacher Training Intensive Manuals 1 & 2. As a yoga teacher and philosopher, he puts forward reasonable guidelines for our modern lifestyle and acknowledges the continued wisdom contained within the vast history and heritage of yoga.

1.

Yoga teachers are committed to practicing yoga as a responsible way of life, which includes a green or eco-aware lifestyle

2.

As teachers, we are committed to maintaining impeccable standards of professional competence and integrity

3.

Yoga teachers are dedicated to a thorough and continuing study and practice of yoga

4.

Yoga teachers are committed to avoiding substance abuse and dependency on drugs or alcohol

5.

Yoga teachers embrace the ideal of truthfulness with students and others, including accurately representing their training and experience

6.

Yoga teachers are committed to promoting the physical, emotional, mental and spiritual well-being of their students

7.

Yoga teachers abstain from giving medical advice or advice that may be construed as such, unless they have the necessary medical qualifications

8.

Yoga teachers are open to instructing all students, regardless of age, race, nationality, gender, belief, ability/disability, sexual orientation, and social or financial status

9.

Yoga teachers are willing to accept students with physical and mental difficulties, providing they have the skills to teach the students properly

10. Yoga teachers agree to treat their students with respect at all times

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11.

Yoga teachers will not force their own opinions on students but rather appreciate the individual and their entitlement to his/her own world view, ideas and beliefs

12. Yoga teachers must try to communicate that yoga seeks to achieve a deep level of transformation within the human personality, including attitudes and ideas 13. Yoga teachers avoid any form of sexual harassment of the student and from the student 14. Yoga teachers make every effort to avoid exploiting the trust of students and their potential dependency. They promote selfefficacy at all times and encourage students to find their inner freedom 15. Yoga teachers practice tolerance toward other yoga teachers, schools and traditions.

If criticism has to be brought, this should be done with fairness and with attention to the facts

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TEACHING METHODOLOGY

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TEACHING METHODOLOGY As yoga is a way of life, so too is teaching yoga. Max Strom uses the axiom “get out of the way and teach” as his main message for teachers.

Many yoga teachers often feel insecure, lacking in confidence and doubt their own abilities. Max Strom says: “The only solution is to take the burden off the self, the small self – the ego mind (the part of us that feels fear, self-loathing and vanity) and for that part to get out of the way. Your inner teacher will come forth if called upon and will use all of your knowledge and skills that supersede your normal abilities. This teacher will also be quietly confident, because it is not ego based. We need to learn this early on, to become good teachers.”

In short, it is our ability to be present to, and with, another’s expression of their experience. Attuning to a student combines empathy, mindfulness, immediacy, active listening, presence, experience, knowledge and cognitive understanding.

Whether these qualities occur and combine depends on how connected to our students we are in the moment, and how successfully we can communicate with them. Our response in the form of physical and verbal cues, assists and adjustments are a result of this attunement.

The basis for any teacher-student therapeutic relationship is that the focus of attention is on the student’s experience. The teacher’s developed self-awareness is therefore imperative, so that the focus remains on their student/s and they can use their internal reactions to understand their student’s embodiment of their world.

It is crucial that a yoga teacher commits to their own personal work so that a deep connection with the student can occur.

To “get out of the way and teach” is to tune into, and pay attention to, your student’s experience, so that you can facilitate their ability to connect to their authentic self.

The following guidelines are inspired by Max Strom’s Teacher Training Intensive Manuals 1 & 2.

5 WAYS IN WHICH WE TEACH 1. By example (demonstration and behaviour) 2. By what we say 3. By the order in which we say it 4. By what we don’t say 5. By touch

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READING YOUR STUDENTS SIGNALS THEY PROVIDE There are some very clear signals that can be observed if you watch for them in your classes: 1.

Hands and fingers: when a person’s arms are raised in standing postures, look at their hands. If the fingers are fidgeting, their inner state is agitated and their breathing is shallow. Move to them and ask them to breathe deeply. When in floor postures, see if they grip their hands, their knuckles turning white. This may indicate they’re in a state of negative thought and therefore not in the present moment and not breathing well. Instruct them to relax their hands and jaw, and breathe deeply

2.

Eyes: if their eyes are wandering, their mind will be too

3.

Feet: if the toes aren’t spread or if they’re rolling on to the outside of the foot (back bends, cobblers table, etc.) they are not grounded in their legs. Perhaps touch their feet with your finger then guide and teach from the feet up

4.

Abdomen and chest: if someone’s belly is always soft, you may need to teach drawing it in on the exhale (uddiyana bandha). The slackness in the abdomen may indicate a lack of core strength and awareness in the torso and may also point toward some lower back issues. If the breath is occurring only in the belly and not in the chest, they may not understand how to breathe yet, or they may be unable to breathe deeply enough in the upper lungs

5.

Jaw: many people, particularly very driven/stressed-out people, clench their jaw. Most of them know it and many of them do it in their sleep and may even grind their teeth at night. Tight jaws and tight hips often occur simultaneously. Also, tight-jawed people may often have an extremely difficult time learning to breathe deeply

6.

Shoulders: tight shoulders in men are common due their often more muscular physique. It may mean they often lift heavy weights and don’t stretch enough. Very open shoulders in men may indicate a movement, dance or gymnastics background, or they may be born with hyper-mobile joints. Tight shoulders in women may indicate a tendency toward shielding one’s self and are associated with lack of self confidence and sexual issues. These are suggestions.

Very tall women may have forward-slumping shoulders, and this can also be the case with largebreasted women. Sometimes it may be a habit generated during puberty as a way of trying not to be noticed

7.

Lateness: does a student habitually arrive to class late, without a good reason? It could be that they run late because they’re addicted to stress. What other reasons can you think of?

8.

Leaving early: does a student habitually leave early, without a good reason? They may be avoiding the feelings that will inevitably come up in the final relaxation

9.

Physical ailments: you will see after a while that the people with physical ailments are often the people with emotional ailments. We are not referring to car accident or sports accident problems but to problems stemming from the internal organs and nervous system. These disorders are often played out in seemingly unusual or disruptive behaviours

10. Sometimes it’s even possible to tell a potentially disruptive student by the way they enter and leave the room 11. The people with the most disturbed hearts are most likely to disturb your heart and the heart of the class. These people will challenge your depth of compassion and forgiveness. Accept that challenge!

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TRY TO REMEMBER THE FOLLOWING: •

We need to be patient with our students and compassionate beyond any measure. We don’t know who’s walking into the room and what state they’re in. We’ll have people walking in with unseen injuries: wounds of the heart, cancer, AIDS, miscarriage, divorce, etc.

•

Remember not to resent a student for rudeness, lethargy, vanity, etc. This is their journey too

•

Have no judgement on a student’s distance or depth in a posture. Pushing into a posture does not make someone a better person; in fact the more pride one feels, the further one is away from their inner truth and union with Self

•

When you have a yoga class that is not as well attended as you would like, ask yourself: “Is the class half empty or half full?”

•

Don’t teach only form – teach the heart and the essence of this practice

•

Inform your students that there is a real emotional response to posture, by drawing their attention to their emotions in any given moment, letting them experience it, and teach from there. This will inevitably change the way they listen to you and to themselves

•

Students acting out in a rude way can be very challenging. Perhaps try to look at them as if they were unwell, and bring with that the compassion you feel when someone is unwell. Have great patience but ensure to set boundaries

?

What do we mean by boundaries and how do we go about setting boundaries?

GENERAL TEACHING NOTES •

Be authentic at all times. The observant student will sense your authenticity and humility, or lack of it

•

Remind other people of their strengths. Let them know without words that you care for them and value them

•

Give your students an understanding of why you are assisting or adjusting them (the benefits of healing and alignment)

•

We need to be constant in our own energy, providing a presence of assured safety and compassion.

Someone in a pained or weakened state needs positivity and calm

•

Share with people your deepest reason for practicing yoga. This will reveal to them your motivations and may help clarify their own intentions

•

Acknowledge people verbally, visually and physically. Acknowledge the whole person; the light and the shade

•

Give instructions based on the majority of the students in class, but correct individually

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•

The advanced student usually needs only oral instruction. The intermediate student usually needs oral and touch to learn. The beginner student needs touch, simple directions and visual examples or cues

•

Don’t overload students, particularly beginners, with too many instructions

•

Don’t expect perfect alignment, especially in a very stiff and/or beginner’s body

•

Use ideas from the best. It isn’t stealing and no one will mind - they will be flattered. Just give credit where credit is due

•

Never try to calm someone while standing over or above them

VOCAL COMMUNICATION TECHNIQUES 1.

Vocal volume and enunciation are critical. Give space between words

2.

Whatever is touching the floor - hands, feet etc. - must be attended to before anything else to build a firm and stable foundation for the asana

3.

Be consistent with your language. Your students will not only learn your cadence but also your particular use of terms. For instance, if someone is in down dog and you give the instruction, “Move your hands up,” what does that mean? It would be clearer to say, “Move them forward on your mat.”

4.

Avoid using “I” or “I want you to...” or “Lift your arms for me...” Instead, leave yourself out of your students’ practice

5.

Fatigue: toward the end of class, fatigue sets in and people may no longer know their left from their right. Instructions need to be streamlined to the fewest words possible. Try not to say: “right/left foot.”

Instead, for example, say: “back/front foot.” The more fatigued the class is, the simpler your instructions should be and the more you should repeat them

6.

Give calm but firm, simple commands or phrases. Be concise, direct and clear

7.

Be economic with words and use words which describe movement succinctly e.g. expand, extend, ignite and gather

8.

Give people enough time in-between instructions to absorb, process and react to the instructions/ directions given

9.

Set a pattern – sequence of movements – and give repetitive, simple instructions. SIMPLE - basic words

10. Be aware of filler words you may use and become comfortable with silences – it’s not necessary to fill space with unnecessary words

TEACHING TIP RECORD YOURSELF TEACHING A CLASS OR EVEN JUST ONE FRIEND. IN A FEW DAYS, LISTEN BACK IN PRIVATE AND PRACTISE YOUR OWN CLASS. YOU WILL BE VERY SURPRISED AT HOW YOU SOUND. THIS METHOD CLEANS UP OUR SPEAKING HABITS VERY QUICKLY

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SANSKRIT

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SANSKRIT HISTORY & USE On many teacher trainings it is part of the tradition to learn Sanskrit; one of the ancient languages of India and the language in which many yogic texts, hymnodies and stories are written and passed down. However, a common question that often arises is: “I’m really struggling with the Sanskrit. Do I really have to know the Sanskrit or can I use my own language?”

To begin with, let’s think of the word “yoga” – it’s a Sanskrit word meaning “to yoke, to join together” and, literally, “union.” The very word that describes or represents our practice is a Sanskrit word. Using the Sanskrit words for the postures is considered by some to be almost a sacred practice. The most common reasons to use Sanskrit are because there is a belief that each Sanskrit word carries a vibration, and that by using Sanskrit we are continuing the ancient tradition in a less diluted way. It is seen as a universal language within the yoga tradition, which can be used in any country regardless of the native language.

It is worth noting, however, that Buddha refused to teach in Sanskrit. Instead, he taught in the common language of his day – Pali – so that everyone could understand the teachings without the need of a priest/Brahmin. This was because the Brahmins, the priestly caste, controlled the Hindu system, and taught that one could reach God only through them. This of course came at a financial cost to the under caste.

Buddha taught that every man and woman can reach enlightenment on their own. By teaching the dharma in Pali, the Buddha re-empowered the common person and disempowered the Brahmins.

However, Buddha knew Sanskrit but made the choice not to use it. On this training we ask that you try your very best to learn the Sanskrit names of postures, so that you too have the choice to use it or not use it, as is appropriate to the class and people you teach.

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SANSKRIT GLOSSARY Numbers and Quantity

Manipura – naval

Ananta – infinite

Meru-danda – spine

Ardha – half

Mukha – mouth/face

Chatur – four

Nadi – energy channel in the body

Dwi – two

Pada – foot

Eka – one

Padangustha, angustha – big toe

Laghu – little, small, easy, lovely

Parsva – side or flank

Panca - five

Pinda – embryo

San – six

Prana – life force energy, breath

Sarva – all, whole, entire

Sava – corpse

Tri – three

Sirsa – head

Ubhaya – both

Alignments Body Parts

A – sense of near to, towards

Anahata – heart

Adho – having the face downward

Anga – limb, body

Baddha – bound, caught, restrained

Bhuja – arm or shoulder

Bahya – restraint following exhalation

Ganda – cheek, the whole side of the face

Kona – angle

Hasta – hand

Kumbhaka – retention of breath

Janu – knee

Mudra – closing, sealing

Jathara – stomach, belly

Paripurna – complete, entire

Kapala – skull

Parivartana – turning or rolling about

Karna – ear

Parivrtta – revolved, turned round or back

Kundalini – the divine cosmic force in our bodies

Parsva – sideways, side, flank

Loma – hair, (grain, natural order)

Paschima – west, backside

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Prasarita – expanded, spread, extended, separate

Sodhana – purifying or cleansing

Puraka – inhalation

Sukha – easy

Purva – east, front

Swastika – auspicious

Rechaka – exhalation

Ut – deliberation or intensity

Sa – together with, accompanied by

Utkata – powerful, fierce, uneven

Salamba – supported

Uttana – intense or deliberate stretch

Sama – same

Viloma – against the grain (hair)

Supta – lying down

Visama – irregular, difficult

Tan – to stretch out (intense), extend

Visuddha – pure

Uddiyana – flying up

Vrtti – action, movement, modification

Upavistha – seated Urdhva – upright, above, mouth upwards

Animals

Uttihita – extended

Asva – horse

Vikrama – step or a stride

Baka – crane

Viparita – reverse, contrary, inverted

Bheka – frog Bhujanga – serpent, cobra

Sensations

Chakora – partridge

Anuloma – with the grain (hair), in regular gradation

Garuda – eagle

Bandha – fetter, lock, bond or posture Bhairava – terrible Bhati – light, lustre Bherunda – terrible, formidable, type of bird Jaya – conquest, victory, success Lola – tremulous, dangling Mula – root, cause, source Nidra – sleep Pida – pain or pressure Pratiloma – opposite grain (hair) Sama – same, identical

Go – cow Hamsa – swan Kapinjala – a kind of partridge Kapota – dove or pigeon Krouncha – heron Kukkuta – cock Kurma – tortoise Matsya – fish Mayura – peacock Nakra – crocodile Nara – man Salabha – locust Simha – lion

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Svana – dog

Tada – mountain

Tittibha – firefly-like insect

Tola – pair of scales

Ustra -– camel

Tara – star

Vatayana – horse

Vajra – thunderbolt

Vrschika – scorpion

Sages Plants Padma – lotus Vrksa – tree

Astavakra – spiritual preceptor to King Janaka (Eight-Crooks) Bharadvaja – the father of Drona Buddha – enlightened one

Objects Alamba – prop, a support Bhastrika – bellows

Durvasa – the name of a saint Galava – one of Visvamitra’s pupils Gheranda – author of the Gheranda Samhita

Chakra – wheel, nerve centre

Hanuman – son of the wind god, a monkey general

Chandra – moon

Kapila – founder of the Sankhya philosophy

Danda – staff

Kasyapa – son of the sage marichi

Dhanu – bow

Koundinya – founder of the Koundinya sect

Hala – plough

Marichi – son of Brahma

Jala – net, web, lattice or mesh, water carrier

Matsyendra - Lord of the Fishes

Kanda – bulbous root, knot

Nataraja – Siva, Lord of the Dance

Mala – garland

Ruchika – a sage

Mandala – wheel, ring, circumference

Siddha – semi-divine being, inspired sage

Mula – root, base, beginning

Skanda – Kartikeya, the god of war

Nava – boat

Vamadiva – a name for Shiva

Parigha – beam or gate latch

Vamanavatar – the dwarf incarnation of Visnu

Paryanka – bed, couch, sofa

Vasisthasana – author of several Vedic hymns

Pasa – noose or cord

Vira – hero

Pincha – feather, chin

Virabhadra – one of Shiva’s hero warriors

Setu – bridge

Visvamitra – king of Kanyakubja, father of Sakuntala

Siddha – sage Surya – sun

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YOGA HISTORY & PHILOSOPHY

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YOGA HISTORY & PHILOSOPHY

Male figure in a crossed legs posture (siddhasana) on Pashupati stone seal from the Indus Valley civilization c. 2700 BC

WHAT IS YOGA? THE WORDS: YOGA, YOGI, YOGIN, YOGINI, ETC. The Sanskrit word “yoga” can mean both “union” and “discipline.” Yoga is India’s version of spiritual discipline, or spiritual practice. A practitioner of yoga is known as a yogin (male) or a yogini (female). The yogic path is also referred to as sadhana and the follower as sadhaka (male) or sadhikia (female). All three terms derive from the Sanskrit root sound/word of sadh, which means “to accomplish.” Sadhana is that which leads to siddhi, meaning “attainment/accomplishments/perfection.” The term “siddhi” can refer to either certain extraordinary (paranormal) abilities or to the highest possible attainment; spiritual enlightenment or liberation.

“

Yoga is said to be the unity of breath, mind and senses, as well as the renunciation of all states [of finite existence]” – Maitri-Upanishad (6.25)

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RELIGION VS PHILOSOPHY The questions discussed in both religion and philosophy tend to be very similar: who am I? What is my purpose? What is the nature of reality? How should we treat others? What is most important thing in life?

There are enough similarities between religions and philosophies for religions to be philosophical and philosophies to be religious. There are enough differences, however, to consider them to be two different types of systems that may often overlap.

Religions have rituals and ceremonies to celebrate life events such as birth, death and marriage.

Celebrating and commemorating at, and for, certain times of the year is also synonymous with religion. Philosophies do not have their advocates engage in ritualistic actions such as these.

Philosophy tends to emphasise the use of reason and critical thinking, whereas religions may make use of reason but also rely heavily on faith, or even use faith to the exclusion of reason. It is worth noting that many philosophers have argued that reason alone cannot discover truth and have described the limitations of reason alone.

Philosophy is based on rational arguments: the outcome is of little importance, it is the effort which differentiates itself from religion. Philosophical

“

argument does not resort back to faith in God or gods or religious principles discovered in some revelation.

A separation between the sacred and the profane is something else lacking in philosophy. Certainly philosophers discuss the phenomena of religious awe, feelings of mystery and the importance of sacred objects, but that is very different from having feelings of awe and mystery around such objects within philosophy. Many religions teach adherents to revere sacred scriptures and objects, whereas philosophy discusses the religious awe and feelings of mystery surrounding such texts and objects but does not actually have the experience of awe and mystery itself.

Furthermore, the majority of religions tend to believe in miracles or miraculous events which either defy normal explanation or which are beyond the frontiers of scientific models and understanding of what is possible in the universe.

Despite the distinctions between religion and philosophy, they are not entirely separate.

Ultimately they address many of the same issues and therefore it’s not unusual for a person to be engaged in both religion and philosophy simultaneously. So what do you think – is yoga a religion or a philosophy?

oga is contained within religions. Religion is not contained within yoga...

Y If one day I say I am a Buddhist, the next a Christian, the next a Hindu, the next a Jew, the next a Muslim and the next something else, has the “I” actually changed, or only the opinions of the mind? Who am I? That cannot be answered with a mere opinion of mind. It can only be experienced in the stillness and silence of direct experience, wherein these divisions evaporate.”– Swami Jnaneshvara Bharati

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A HISTORICAL OVERVIEW OF YOGA The complex history of yoga can be viewed as a mighty tree that has its roots in India’s late Neolithic soil, perhaps spanning at least five millennia before reaching its top branches in our modern era.

there has existed an understanding that human consciousness is vast, can be explored and, from that exploration, insights unfold as revealed wisdom about the human condition, the universe, and our place within it.

There is still much speculation among historians as to whether yoga emerged out of shamanism due to having many features in common. The final purpose is quite distinct however; yoga aims at spiritual liberation (moksha) while shamanism is primarily concerned with subtle dimension, magical feats and healing service to the community.

It is generally accepted that there are four broad and distinguishable historical periods or epochs, within the history of yoga. It is important to remember that, within the Indian culture, wisdom was passed down orally from guru to student.

Given this method of transmission of knowledge, different schools of philosophy intertwined and influenced each other in a much less rigid way than we imagine. With this in mind, these four epochs will have further divisions with dates given as flexible.

Even though the earliest traces of yoga may be indistinct and somewhat indeterminable, what is clear is that since mankind’s earliest times,

c. 2500 - 1000 BC

c. 1000 BC – AD 200

c. AD 200

AD 200 (onwards)

Vedic Period/Archaic Yoga

Pre-Classical Yoga

Classical Yoga

Post-Classical Yoga

ARCHAIC/VEDIC PERIOD (c. 2500+–1000 BC) In the early centuries of the first millennium BCE, two streams of culture existed in India: Vedic and non-Vedic.

The Vedas contained sacred texts (hymnodies) of revealed wisdom, or Sruti, meaning, “what is heard/revealed from a higher source.” These hymns were composed by seers (rishi) whose innergaze penetrated beyond the visible material realm into the invisible subtle realm, incorporating sacrifice as a means of joining these two worlds.

The four Vedas comprise the oldest scriptural texts of the Hindu faith.

The Vedic system is essentially a non-dualistic philosophy, asserting the idea of a supreme being

and comprising the oldest scriptural texts of the Hindu faith: The four Vedic Samhitas are: • Rig Veda (10,000 verses - in praise of deities such as Indra, Agni, Soma and Surya • Yajur Veda (knowledge of sacrifice) • Sama Veda (knowledge of chants) • Atharva Veda (knowledge of Atharvan) The Ritual Texts: • Brahmanas and Aranyakas (ritual texts for forest dwellers, derived from the hymnodies), composed by Brahmins (members of the priestly estate)

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The non-Vedic Indian culture did not have the Vedas at the core of their world view and were collectively referred to as “shramana” or “ascetics”.

Jainism and Buddhism consequently evolved into separate faiths (pre-classical period), neither accepting the authority of the Vedas. It is unclear whether yoga evolved from Vedic or non-Vedic culture.

From the first millennium BCE onwards, there was a period of dramatic social and cultural change in India. Around the 7th century BCE, large urban centres began to grow where there was an abundance of food and a means to store it. Trade routes developed and goods were exchanged, along with ideas. Philosophies began questioning the very meaning of life and the nature of existence.

Image: courtofrecord.org.uk/gita/

PRE-CLASSICAL YOGA (C. 1000 BC– AD 200)

Succeeding the Vedas and their dependent literature, the texts of the pre-classical era teach various versions of Sāmkhya yoga (philosophy of being) which is cousin to yoga.

Sāmkhya philosophy is dualistic in its approach, regarding the universe as consisting of two realities – purusha (consciousness) and prakriti (matter) – and is concerned with mapping the stages of emanation.

This idea is found in the Rig Veda but is developed more fully in the Upanishads. The Upanishads represent the conclusion of the Vedic revelations, with their teachings known as Vedanta (Ved/a = knowledge/knowing; Anta = end).

The early Upanishads, such as the Brihad-Aranyaka, Chandogya and Taittriya Upanishad, do not yet use the term “yoga” in the later technical sense [different techniques developed to transcend the body and mind in order to discover our ‘true nature’], but are completely familiar with the kind

of spiritual discipline that it came to signify in later times.

The oldest of the Upanishadic works that knows the word “yoga” in the technical sense, is the poetic Katha Upanishad. Belonging to the preBuddhist era, this text outlines the basic practices and ideas of the yogic path.

The principal scripture of pre-classical yoga is the widely appreciated Bhagavad-Gita (Lord’s Song), a small but integral part of the Indian national epic, the Mahabarata. The Ramayana is another of India’s great epics and also focuses on teachings around the core value of dharma/morality. In addition, it features yogic teachings under the name of tapas, “asceticism,” which is an early name for yoga.

“Pre-classical yoga” can also be applied to early teachings of Jainism and Buddhism.

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CLASSICAL PERIOD (C. AD 200) In the beginning of the first centuries of the Common Era, a synthesis of Indian philosophy was compiled by Patanjali, and is now known as classical yoga, or the yoga of Patanjali.

The teachings are codified in the Yoga Sutras (sutra = thread) and consist of 196 short aphorisms.

Often equated with the eight-limbed or eightfold path (ashtanga) and its sequential approach to enlightment, Patanjali’s primary interest is the state of samadhi; the highest meditative state in which a person transcends their individual ego and merges with the universal soul.

Patanjali’s viewpoint follows on from the preclassical dualistic approach, stating that there are only two things to consider; the Self/purusha (inner witnessing consciousness) and matter/ nature/prakriti. Purusha is described as the inner witnessing consciousness and all things perceived by that witness. Prakriti/nature is described as everything else: thoughts, emotions, trees, your partner – all things residing outside of the witnessing consciousness.

Patanjali tells us that at some point, in some way, we forgot our essential/true nature. We identified our Self with the things that are happening, which is prakriti. We developed ways of thinking, attachments to our ideas, created opposites and labels – male/female, like/dislike – and somehow these labels have become our identity too. Patanjali uses the word “avidya” (ig-norance) to describe our fundamental inability to see the difference between our true nature (purusha) and everything else – prakriti.

Patanjali says the only way to see the difference between our witnessing consciousness and everything that consciousness perceives, is to create stillness. Like a calm lake with no waves or ripples, in that stillness we can again see our essential nature, undisguised by the movements of the mind. This is laid out in the second sutra as the goal of yoga: “Yogas chitta vritti nirodaha”. The remaining sutras go on to describe various ways to achieve this state while observing the obstacles that may prevent us from achieving this goal.

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POST-CLASSICAL YOGA (POST AD 200) From the time of Yoga Sutras, there was a period of great interaction and creativity in yogic philosophy.

2.

C. AD 600, tantric yoga emerged, evolving over a period of centuries and finding its best articulation in the school of Kashmir Saivism around the 8th century CE. Tantra/tantric yoga developed its philosophy with the advantage of centuries of previous knowledge in yoga philosophy; weaving it into a more sophisticated tapestry, to explain human existence. C. AD 800, a teacher called Sankara formulated a non-dual (Advaita), school of Vedantic philosophy, retrospectively looking at the Upanishads and organising them in a way that made sense. Sankara’s belief was that although there is one reality, due to our own ignorance we superimpose limitation and separation on to what we see, deluded by our inability to see clearly. He proposed that the only way to see clearly is to see and accept the opposite, i.e. darkness can be cured by light, ignorance by knowledge.

Tantra adhered to the new Advaita (non-dual) way of thinking but disagreed with Sankara in believing that the human experience/existence is a condensation and representation in time and space of the ultimate reality. Therefore, the practice of yoga is ultimately one of remembering this and the world is precisely the place where our yoga takes place.

Post-classical yoga is embodied in a great many works from the following categories: 1.

Tantra, which is a vast and highly esoteric medieval tradition (from c. AD 500 onwards).

Its enormous literature includes tantras, which are considered to have been revealed to Tamil Siddhas by Shiva or Shakti. There are also numerous secondary texts, including works on Kundalini yoga. Important tantras are the Kularnarva Tantra (c. AD 1200), Mahanirvana Tantra and Tiru Mantiram (c. AD 700)

3.

4.

5.

6.

The Puranas (“Ancient [Learning]”): these are encyclopaedia repositories of traditional wisdom, including cosmology and philosophical stories about kings and holy men. The Puranas contain many yogis’ legends and teachings. One of the most important is the Bhagavata Purana, written c. AD 900-1000 and which teaches Bhakti Yoga in the tradition of Vishnavism. It was popularised in the West by Bhakti Vedanta Swami, founder of the Krishna Consciousness movement Yoga Upanishads (20 texts) most of which were composed after AD 1000. They include the following extensive works: Darshana Upanishad (“Secret [Teaching] of the Viewpoint [of Yoga]”), the Yoga Shikha Upanishad (“Secret [Teaching] of the Crest of Yoga”) and the Tejo Bindu Unpanishad (“Secret [Teaching] of the Fiery Source-Point [of Yoga]” The heritage of hatha yoga, which is an offshoot of tantra, has the following works as its principal texts: the Hatha – (Yoga) Pradipika (“Lamp for Hatha [– Yoga]” c. 14th century), the Gheranda Samhita (Gheranda’s Compendium), the more philosophical Shiva Samhita (Shiva’s Compendium), the Yoga Yajna-valkya (Yajnavalkya’s [Work on] Yoga), and the Goraksha Paddhati (Goraksha’s Foot Tracks) The philosophical schools of Vedanta which have produced numerous yoga works including Yoga Vashista, which teaches Jnana yoga.

The Bhakti-Marga (Way of Devotion) which is particularly prominent among the worshippers of Shiva and Vishnu, and has Bhakti yoga at its core. Post-classical yoga also includes many medieval Jain and Buddhist teachings.

The post-classical era continues to grow and reformulate ancient ideas, making them relevant to the time and space in which the practitioner finds themself.

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FORMS AND TYPES OF YOGA Yoga has three major forms, roots, or traditions: (1) Hindu yoga, (2) Buddhist yoga, (3) Jain yoga.

The term “yoga” is used in all three religio-spiritual cultures to denote spiritual practice.

Yoga, however, is not simply to be equated with religion. Some branches of yoga (such as Bhakti yoga, the path of devotion) have a religious flavour, some (like Jnana yoga, the path of wisdom), have more philosophical orientation, others (like Karma yoga, the path of self-transcending action) have a practical, ethical focus.

THE 6 MAJOR BRANCHES Within the three forms of yoga there are distinct branches or types which can be distinguished. In the case of Hindu yoga, with which most Westerners are familiar, the following six types are most prominent, with the first four laid out in the conversation between Arjuna and Krishna in the Bhagavad Gita (the Four Margas): 1.

Karma yoga – the path of “self-transcending action” in which the practitioner renounces the fruit of all his deeds

2.

Bhakti yoga – the path of “love/devotion.”

Love, tolerance and acceptance allow one to see the divinity in everyone and everything

3.

Raja yoga – “royal” (raja) path of contemplation as formulated in Patanjali’s Yoga Sutra and the classical commentaries written on this Sanskrit text

4.

Jnana yoga – the path of “wisdom” (Jnana), which distinguishes between what is real and what is unreal

5.

Tantra yoga – the “heroic” (vira) path of ritualism, visualisation and mantra practice

6.

Hatha yoga – the “forceful” (hatha) path of bodily transformation based on the union

(yoga) of the solar (ha) and the lunar (tha) psychosomatic principles via the awakening of the “serpent power” (kundalini) Each of the six branches (there are others) represents a distinct approach with its own unique history, but may also be viewed as aspects of a single spectrum. Each approach is designed to appeal and be useful to a particular kind of spiritual aspirant.

CONTEMPORARY & TRADITIONAL YOGA Within contemporary yoga, the following approaches (which could be regarded as schools or lineages) are also frequently referred to as styles of yoga: BKS Iyengar (Iyengar yoga), TKV Desikachar (Viniyoga), Bikram Choudhury (Bikram yoga), Swami Sivananda (Sivananda yoga), Patthabi Jois (astanga/power yoga), Swami Satyananda (Bihar School), Swami Satchidananda (Integral yoga), Swami Kripalvananda (Kripalu yoga), Yogi Bhajan (kundalini yoga), and also the Western schools and teachers such as Swami Kriyananda (ananda yoga), Kali Ray (Triyoga), John Friend (Anusara yoga) etc.

Sometimes a distinction is made between traditional yoga and contemporary approaches to yoga, which represent a degree of innovation and deviation from yoga, as handed down traditionally in India. When used in a contemporary Western context, the designation “traditional yoga” is meant to emphasise that a given approach has strong traditional moorings and that, in particular, it respects the fact that yoga has originally been a spiritual teaching, which aims at enlightenment, or liberation.

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Your Yoga Tree Goes Here

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TEACHER-DISCIPLE INITIATION Traditionally, yoga is initiatory, which means that for centuries its teachings have been handed down by word of mouth from teacher (guru) to disciple (shishya).

Often a formal ritual, the initiation (diksha) involves the teacher imparting something of his own inner spiritual attainment or consciousness. In turn, the student opens themself to the teacher’s influence.

This spiritual transmission is technically known as shakti-pata, or “descent of power.”

In rare cases, the disciple may attain immediate enlightenment, however, in most cases, the disciple/student needs to adopt rigorous and long-term discipline to stabilise the transmission of the teacher’s own wisdom, insight and enlightenment.

It is therefore the obligation of a disciple to honour the teachings and cultivate the yogic disciplines to where they can come to fruition.

THE GURU The literal meaning of the Sanskrit word guru is “heavy” or “weighty.” A more esoteric explanation is that it composes of two syllables: gu – symbolic of darkness – and ru – dispeller. The guru, therefore, is someone who, by virtue of his own spiritual attainment, is capable of removing

the disciple’s spiritual blindness, facilitating the opening of their “eye of wisdom.” The primary task of the guru is to assist the student/disciple in duplicating the guru’s own realization through his teachings or “shakti-pata.”

THE SPIRITUAL PATH The metaphor of a ‘spiritual path’ is typically used in order to capture the gradualness of this process.

The path is thought to unfold in stages and to lead to the goal of enlightenment or liberation.

Each aspirant’s inner development is a unique trajectory, which depends on many factors.

Although there are certain shared milestones, the journey is always exclusively personal. This uniqueness is a very important point. If we fail to appreciate it, we are merely copying without duplicating their attainment.

Essentially yoga is a comprehensive process of self-purification that takes time. We are challenged to clean up our physical, moral, emotional, and intellectual behaviour by “polishing the mirror of the mind.” As the mind becomes calm and clear, it can reflect more faithfully the “light” of the everpresent ultimate reality, which is none other than our own true nature. This is the goal of “en-lightenment”.

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THE VEDAS The teachings of the Vedas were closely linked with a solar cult, celebrating the sun (Surya – arouser, Mitra – friend, Savitiri – stimulator, Vishnu – pervader) as the Life Giver and the first teacher of human beings, as Krishna tells Arjuna in the Bhagavad Gita.

The Solar Spirit, often described as an eagle, is said to roll up the dark sky, causing the constellations to fade away. Thought to ride in a golden chariot, the all-seeing yellow-haired deity removes bad dreams, negative influences and guides humans on the path of lawfulness (dharma) and virtue. His arms/rays embrace and bless all creatures. The worship and celebration of Savitiri is still present and pervasive today in the most sacred of all prayerful Hindu mantras – the Gayatri.

The sacred Vedic hymns, composed by the seers (rishi) would often take the name of one of the luminaries of the celestial vault–– the stars, the moon, and the planets. This corresponds to the Vedic world view of a mystical connection between Heaven and Earth: the Vedic people considered themselves as “children of light.”

Heavy with ritualism, the Vedic era conducted mantra, recitation or visualisation with great concentration so as not to make any errors. If meditation was successful, it would yield a state of illumination (dhi) – a vision that revealed to the sage the “fearless Light.” This light is the Solar Spirit. This early description of enlightenment exposes the Vedic religio-spritual practices as an early form of yoga.

SHRUTI (REVELATION) & SMRITI (REMEMBERED) The Vedic hymns were revealed (shruti) to and “seen” by the rishis (seers) in ecstatic states of higher consciousness induced by plant extractions such as soma. All traditional knowledge that does not fall under the category of revelation is considered “remembered” knowledge, or smriti.

In addition to the four Vedic hymnodies, the Brahmanas, Aranyakas, and Upanishads are also deemed to be part of the Vedic revelation.

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THE UPANISHADS The Upanishads are a collection of over 200 teachings, including stories, metaphors and instruction on meditation. This varied array reflects the orally transmitted nature of the teachings. The wide variety of information in the Upanishads does not reflect a homogenised yogic philosophy.

Nevertheless, there is an underlying thread of deep consideration concerning the innate divinity of humanity.

The roots of the word Upanishad – Upa, Ni, Shad – mean literally “near, down, sit.” The implication is that these teachings were given from teacher to student in close proximity. It also implies the teachings may not be immediately obvious and require studentship and dedication to absorb. The Upanishads were teachings given by the highest classes of society – the warrior/ruling class and the priest class. These teachings were not available to others in society.

Although the Upanishads are a continuation of the Vedic corpus, they carry quite a different message. Veda literally means “knowledge” so the Vedas were books of knowledge. The focus of the earlier Vedas is on how to live a good life and the explanation of the correct performance of rituals. Early Vedic teachings do not yet exhibit a clear interest in spiritual liberation or yoga.

The Upanishads, forming part of the later Vedic teaching, speak of the concepts of transmigration and rebirth.

The process of embodying the teachings of the Upanishads is also given: • Listening • Contemplation • Meditation

“

This methodology of learning is not casual. In first listening to a teaching – really listening – we open to the teachings fully, with a beginner’s mind. It is said in the Upanishads that we should listen with the same sensitivity and alertness as a deer listening to music. We then move to contemplate the teachings “like a cow chews grass,” chewing it over and over to prepare for digestion. During this process, we begin to mull the teachings over, looking at them from different viewpoints, making the teachings relevant to us, so that we may embody them as wisdom.

Finally, we assimilate and distil the teachings to discern the essence of teachings relevant to us.

THE FOUR KEY TEACHINGS OF THE UPANISHADS: •

Atman (individual self ) = Brahman (universal self)

•

The idea of karma or moral causation

•

The idea of transmigration/reincarnation

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The idea of moksha or liberation

In Sanskrit, the phrase “Tat tvam asi,” or “You are That,” says it all: you are that which you seek.

Consciousness is ever present, not a state of mind or being to be attained. Rather, our true Self simply needs to be revealed by identifying, and then putting aside, all that is not our true nature.

The Upanishads also transmit the teaching that this universal self can take on human form, as supreme consciousness can take any form, or no form at all. This provides an inclusive view of the variety of spiritual practices we humans pursue.

You cannot see the seer of seeing. You cannot hear the hearer of hearing. You cannot think the thinker of thinking. You cannot understand the understander of understanding. That is your Self, which is in everything. Everything other than that is irrelevant”– Brihad-Aranyaka-Upanishad (3.4.2)”

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THE BHAGAVAD GITA The Bhagavad Gita (Lord’s Song), also called simply the “Gita”, is a dialogue of yogic instruction delivered by Krishna, a manifestation of God, to his disciple Prince Arjuna, a great warrior and archer.

The Gita has been handed down as a stand-alone text of just 700 verses but is traditionally part of the 100,000 verse Indian national epic Mahabharata, which details the war meticulously. This epic work was compiled over many generations and its final version does not appear until AD 200–300.

It is not known whether the war is historical, but has served many generations as an inspiring allegory of the struggle between the forces of light and dark, good and evil.

Arjuna asks his chariot driver Krishna to drive between the two armies so he can see who he is going to fight. He scans the opposing army, the Kauravas, on the battlefield – Kuru-kshetra (field of Kurus) – and sees in the ranks his relatives, friends and teachers. Disheartened by the prospect of killing his revered teachers and friends, he drops his bow and collapses to the chariot floor in dismay, unable to bring himself to fight.

Krishna encourages Arjuna to do his duty (dharma/ moral law) as a military leader and fight what was basically a war that would be for the greater good and would restore his karma.

Krishna first explains the samsaric cycle of birth and death. He says there is no true death of the soul – simply a sloughing of the body at the end of each round of birth and death. The purpose of this cycle is to allow a person to work off their karma, accumulated through lifetimes of action.

If a person completes action selflessly, in service to the Divine, then they can work off their karma, eventually leading to a dissolution of the soul, the achievement of enlightenment and vijnana, and an end to the samsaric cycle. If they act selfishly, then they keep accumulating debt, putting them further and further into karmic debt.

Krishna presents three main concepts for achieving this dissolution of the soul – renunciation, selfless service and meditation. All three are elements for achieving ‘yoga’, or skill in action.

The highest form of meditation comes when a person not only can free themselves from selfish action, but also focus entirely on the divine in their actions. In other words, Krishna says that he who achieves divine union with him in meditation will ultimately find freedom from the endless cycle of rebirth and death. He who truly finds union with the Self will find him even at the moment of death.

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Arjuna is poised and ready to fight in a battle between two armies led by warring cousins – the Pandavas and the Kauravas – on the morrow of the first of 18 days of battle in the Mahabharata war.

Krishna says that the truly divine human does not renounce all worldly possessions or simply give up action, but rather finds peace in completing action in the highest service to the Divine.

As a result, a person must avoid the respective traps of the three gunas: rajas (anger, ego), tamas (ignorance, darkness), and sattva (harmony, purity).

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Arjuna, still unconvinced, requires more evidence of Krishna’s divine powers, so Krishna appears to him in his powerful, most divine cosmic form (theophany), with the “power of one thousand suns.” Seeing Krishna in his divine state, Arjuna suddenly realises what enlightenment can bring him in union, and he now completely has faith in the yogic path. He goes on to ask Krishna how he can receive the love of the Self, and Krishna reveals that love comes from a person’s selfless devotion to the divine (bhakti), in addition to an understanding that the body is simply ephemeral – a product of prakriti, emerging from purusha, and is subject to endless rebirth. A person must let go of their body’s cravings, temptations and aversions to find freedom.

The Gita ends with Krishna telling Arjuna he must choose the path of good or evil, as it his his duty to fight the Kauravas for his kingdom. In that, he is correcting the balance of good and evil, fulfilling his dharma, and offering the deepest form of selfless service. Arjuna understands and, with that, proceeds into battle.

The Bhagavad Gita is a revolutionary text as it opens the doors of yoga practice to everyone, in any class of society. As far as it is known, this had never happened before in the yoga tradition.

Until now, it had been reserved for only the upper echelons of society and had excluded women.

As well as yoga becoming inclusive, it diminished the need for an intermediary between man and God, such as a priest. Krishna explains that even a humble offering from the heart like a leaf or a little water can be a devotional offering.

Every individual has an inner nature/personality (svabhava) that seeks to express and fulfil itself.

Every person is also called to adhere to an inner law (svadharma) that corresponds to his/her inner nature as it interacts with the social environment.

In Prince Arjuna’s case, he was born and raised to protect the people and, if necessary, to fight in order to uphold the moral order (dharma). By nature, he was a formidable warrior who knew no fear. His inner law, or feeling of moral obligation, was indeed to protect the people he was destined to govern.

KEY CONCEPTS OF THE GITA BY CHAPTER Chapters 1-2: Arjuna’s Struggle: •

Death is certain for the born, rebirth is certain for the dead

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Karma yoga: yoga of action and selfless service breaks the chains of desire which bind us to our actions

•

The three gunas, sattva, rajas, tamas: numerous phenomena of the ever-changing world is governed by prakriti, maya, pairs of opposites.

We must strive to be free from these opposites and poise our mind in tranquillity and oneness

Chapters 3-4: Immortality of the Soul, Dharma and Karma: •

Paths to Enlightenment: 1.

ontemplation is the path of knowledge C and inquiry

2.

Selfless service is the path of service without bearing the fruits of actions (karma yoga)

•

Practitioners’ Path to Enlightenment: 1.

Meditate on the universal consciousness, unite the phenomenal world with the eternal Self

2.

Withdrawal of the senses

3.

Allow the mind and senses to wander unchecked and try to see the universal consciousness within all exterior senseobjects

4.

Renounce all actions of the senses and functions of vital force

5.

Renounce sense-objects possessions

6.

Live in austerity and follow spiritual discipline

7.

Follow the path of raja yoga, the systematic approach to samadhi

8.

Control vital energy through pranayama

9.

Practise fasting to weaken the senses and achieve self-control

and

material

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Chapters 5-6: Karma & Dahyana (meditation) Yoga: •

•

•

•

•

Yoga of renunciation: to renounce the fruits of actions but not action itself as long as we live in our physical body

Consciousness is manifested in everything: Siva, Vishnu, God, humans and the world.

There is no limit to divine manifestations and divine forms

•

Samnyasa: the formal vow of renunciation taken by a monk. In taking this vow, one gives up the performance of the Vedic sacrificial rites. The yogi may retire into a solitary place and live alone to control and prepare the mind and body for the ultimate liberation

Devotion to what? Devotion to the absolute, the truth, devotion to the unmanifest, devotion to the indefinable, changeless, omnipresent and eternal

Chapters 13-15: Material Nature (Prakriti) & the 3 Gunas:

Stillness of mind: through yoga practice, the mind ceases its restless movements and becomes still and in union with the universal consciousness. Infinite happiness can be realised in the stillness without the grasp of the senses

•

Eight elements of prakriti: earth, water, fire, air, ether, mind, intellect and ego

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Nature of the relative world: the nature of the relative world is mutability, ever-changing, governed by maya and prakriti Consciousness: the universal consciousness is immutable and independent of any cause but itself. The individual consciousness is when the universal consciousness is lodged within the individual being

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Eternity and the changeless: beyond the manifest there is another existence, unmanifest, eternal, changeless, cosmic dissolution and imperishable. All the mystical paths guide humans towards that

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Path of light and mysticism: the path of light is the path of no return to karmic life. It is the experience with the source of re-creation and eternity

Chapters 10-12: the Source of Everything & Bhakti Yoga: •

The Field and the Knower: the field is everything in the world we see, experience and sense, while the knower of the field is one who discriminates the truth from untruth

•

Discernment: light of sattva, activity of rajas, and illusion of tamas: “Do not blind the wise ones to discriminate the eternity and temporal ephemeral realities (opposites) of the world, pleasant, unpleasant, happy, unhappy, God, mud, and stone. The true discernment is to pay no attention to these opposites.”

•

Mortal and the immortal are the two personalities of the world

Rebirth and incarnation: you may be reborn into the home of pure and prosperous parents, illuminated yogis or at the other end of the spectrum

Chapters 7-9: Meditation:

•

•

Chapters 16-18: Divine and Qualities and Renunciation:

Adharmic

•

Duality: dharma leads to liberation. Going against the law of dharma leads to greater bondages

•

Three types of faith: sattva, rajas, and tamas

•

Renunciation and mon-attachment: complete giving up of all actions that are motivated by desire is renunciation, while abandonment of the fruits of actions is nonattachment. The one who achieves nonattachment and freedom from desire through renunciation is the one who reaches union with the universal consciousness, beyond all actions

•

The law of human nature: as a human being, taking action is unavoidable and inevitable.

So nobody should give up his or her nature, work, duties, responsibilities, even though he/she does it imperfectly. The four aims are the pillars of a fulfilling life

The wisdom of mysticism, like brilliant light, dispels the darkness

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PURUSHARTHAS THE 4 AIMS OF LIFE The yoga tradition offers a model for achieving human fulfilment through deep self-examination, using the purusharthas, or four aims/desires of life: •

Dharma (duty, ethics)

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Artha (prosperity, wealth)

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Kama (pleasure, sensual gratification)

•

Moksha (the pursuit of liberation)

They act as signposts, pointing us to a successful, satisfying and well-balanced existence.

The purusharthas are rooted in the Rig Veda and elaborated upon extensively later in the

Mahabharata. The Rig Veda points to the purusharthas as inherent values of the universe, which is considered a loving being in itself.

Therefore, law, prosperity, desire and freedom are innately part of the entire cosmos, not purely the realm of human psychological concept.

Breaking down the word “purusharthas” into its components – purusha/soul = the essential unchanging Self; artha/ability = for the purpose of – helps us to understand its true meaning: “for the purpose of the soul.”

If we can begin to understand the four individual components of the purusharthas, we may begin to see their role, quality and balance in our life.

On reflection, we may see which of the purusharthas are taking up too much space and which ones need more attention and space.

They can help answer the question that many of us will be faced with at the end of our lives: did I live this life well?

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DHARMA In the spiritual teachings of Buddhism and Hinduism, dharma translates to: duty, ethics, righteousness, work, law, truth and responsibility.

Whatever tradition, it is synonymous with our very purpose in life.

From the root word, dharma really means “to make firm, to establish” or “to create structure.” It’s about meeting our responsibilities within a structure that serves both ourself and our society as a whole.

The universal dharma – sanatana dharma – underlies everything. It’s a universal law or order underpinning concepts of right and wrong, and which is ingrained in human psychology and conciousness. In combination with the universal law is svadharma – our individual dharma – which is the result of a combination of birth, karma, natural talents and choices we make as we move through our lives.

Referring to actions we are engaged in in this life, for some, dharma is a clear calling: artist, teacher, activist, parent, poet, botanist etc. However, the lack of a calling does not mean one is absent of dharma.

values we place upon things in our life. To learn to work skilfully with artha in your own life, try asking yourself the following questions: what do I need to fulfil my dharma? Do I have enough? What does wealth mean to me besides money?

KAMA The desire for pleasure is a basic human behaviour and manifests in seeking pleasure in anything from art to eating, intimacy, friendship, kindness or walking. When kama is in excess, it can lead to addiction, over-indulgence and greed. When kama is set in context with dharma it becomes part of the rich tapestry of life.

When observing our desires with honesty and non-judgement, we may begin to see the desires that serve the essence of a fulfilling life. The practice of kama from a yogic perspective means to be fully present with your arising experiencing.

The yogi learns to discern those pleasures which enrich one’s life without delusion or depletion of their energy or the energy of others. In this way pleasure can lead us toward our dharma with a full heart and passion.

Dharma means sustaining your life, which may include meeting family obligations, participating in society through work, or charitable or volunteer roles. For many in India, dharma is bound to caste, family, gender and racial roles, and generally involves honouring ones personal ethics as well as those of family, community and the world.

Enquire deeply about your own pursuits of pleasure, asking yourself: what brings me pleasure? What am I passionate about? What do I most desire? Am I addicted to anything? Are my current pleasures leading me toward or away from dharma?

Given all of these variables, dharma is ultimately about enhancing life for yourself and for the greater good.

MOKSHA

ARTHA

Freedom from suffering and from the blockages that prevent us from realising our full and highest potential and connection to life, moksha is often considered the pinnacle of the purusharthas.

Artha, which is defined as “material prosperity,” “wealth,” “abundance,” and “success,” should be viewed through the lens of dharma. It is the material essentials you need in order to live your dharma and includes good health.

We need to remember that what you need depends on who you are and the dharma you are living. Artha requires that we learn to live skilfully and contentedly in a world of material objects that exist for our benefit. It provides an opportunity to really choose what we value. Asking ourselves the following questions may help to navigate the

In the broader universal sense, moksha means “achieving nirvana” , or “the liberation from the cycle of incarnation” (samsara).

Is moksha a goal or our true nature? Do we become free, or are we born free? Ask yourself: what does liberation mean to me? What can I do to free myself from activities and perceptions that make me unhappy? What do I choose to adhere to? What role does blame play in my life? How can I liberate my mind?

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When working with the purusharthas, it is important not just to assess their role in our lives but also to observe their balance. Every stage in our life will require the need to rebalance and reassess the purusharthas. Essentially it is the consistent effort toward balancing the four parts that will support a fuller, happier and more harmonious life.

Consider where your current priorities lie and how you need to shift them to create a deeply satisfying life. Do the exercise each week, as a step-by-step process to retune, refine and become more present with yourself and your surroundings.

your strongest desires? Were you able to realise them? Write down your thoughts 5.

Then, record the activities you engaged in for the sake of moksha. These might include yoga, meditation, prayer, chanting, spiritual reading, or self-enquiry. Did you find a feeling of freedom? Which areas of your life feel constricted or burdened? What do you need to do to liberate yourself? Write down the answers

6.

When you’ve gone through each purushartha individually, analyse the balance between them. Looking at what you’ve written, see where your emphasis was in the past week.

Which parts of your life were unattended to?

Are you working too hard in one area? Not hard enough? What are the consequences of your priorities? Formulate a simple statement about the way the purusharthas manifested themselves in your life, something like, “This week, I worked hard to meet my obligations, but I felt burdened. I took the most pleasure from my friendships. I didn’t find time to work toward liberation.”

7.

Finally, formulate an intention for the coming week. You might set an intention related to each of the purusharthas, or you could focus on one or two that need more of your attention. Record the intention in your journal. Then say it to yourself – first out loud, then inwardly. Close your journal, blow out the candle and ease back into your day with a new understanding of your soul’s priorities

8.

Taking time each week to think about the purusharthas will enable you to see how your life’s priorities are constantly shifting and let you do some troubleshooting whenever unease and unhappiness arise. “Yoga is one of the great tools humans have for recognising meaning, and the purusharthas let you see whether you are living a good life,” Kempton says. “If you are not finding joy in your practice, there is something wrong with your practice.

If you aren’t able to operate ethically, you’ll know that changes are needed.”

SELFENQUIRY PRACTICE

BY SALLY KEMPTON 1.

Give yourself 30 minutes in which you can be alone and undisturbed. Create a comfortable space to sit with a notebook, a pen and candle

2.

Light the candle to signify that you are in a sacred space. “A candle symbolises the flame of the inner witness,” explains Kempton.

Breathe deeply, close your eyes and relax for a few minutes

3.

Begin to think back over your activities of the preceding week. Consider all of the things you did related to your dharma. How did you serve your family, your community and yourself? What were your obligations?

Did you meet them with ease? What ethical tests did you face, and how did you deal with them? Record the answers in your journal

4.

When you’ve exhausted your thoughts about dharma, consider artha. What did you do this week for the sake of your livelihood?

What did you do to maintain your health?

What did you need to support yourself?

Did you get it? Write the answers in your journal; note your concerns and anxieties Next, think deeply about kama. What actions did you take solely for the purpose of creating more joy in your life and in the world? What were your greatest pleasures? What were

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THE 3 GUNAS/MODES OF NATURE

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Maya (illusion), or prakriti, is said to consist of the three gunas (qualities): sattva, rajas and tamas. The three gunas have been compared to three strands which constitute the rope of maya, which binds us to this illusory world. Maya has no existence independent of the gunas. They are present in varying degrees in all objects gross or subtle, including the mind, intellect and ego. The gunas can be seen as operating at the physical, mental and emotional levels. Everything within this universe of maya is composed of the three gunas.

In the Bhagavada Gita, Lord Krishna talks about the three gunas (modes of instinct or nature) that are pre-installed in all beings. These modes of nature include sattva (satwa, goodness or purity), rajas (passion/activity), and tamas (darkness/inactivity).

All jivas (liberated souls) and their activities in the universe are bound to nature through these three modes and the ratio of these modes in an individual, forms oneâ&#x20AC;&#x2122;s temperament.

All karmas derive their functioning from a combination of the three gunas: the process

of recalling memories from the past, making a judgement, adhering to our decision or performing an act.

In the context of human actions, sattva (satwa) mode represents perfect or ideal behaviour and it involves all good qualities like truth, honesty, discipline, punctuality, righteousness, perseverance, politeness, and enthusiasm in work. When we engage in this mode, there is little concern for our own physical comfort and reward for our actions is not expected. From this mode, sense of duty, love and sacrifice manifests and develops. The person in sattvic mode remains emotionally balanced in success or failure.

In comparison, rajas karma is performed to fulfil oneâ&#x20AC;&#x2122;s material greed and make profit from others.

When acting in this mode, we care about what is easy and agreeable to us, and our attachment to material desires reduces our concern for universal dharma. Though righteous actions may be performed in the rajas mode, the doer always remains attached to the outcome.

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Tamas mode is active when we do something in a state of total confusion, when our intellect starts making wrong judgements, when we lack the understanding for doing something, or when we lack awareness of the consequences of our actions.

Rajasic mode can range from being lazy and sleepy to being arrogant, deceitful and violent.

If we use our intellect in sattva mode, we should be able to fully differentiate between right and wrong, and should also understand how we can free ourselves from the cycle of death and rebirth.

As one would expect, rajasic intellect, which focuses on profit, is unclear or confused over what is righteous. As for tamasic intellect, it is good only at making wrong assumptions. Unlike rajas, tamasic intellect is not puzzled about right or wrong but firmly assumes the wrong to be righteous.

Arrogance and ignorance become the norm, progressing all the way towards darkness while believing that he/she is on the path of dharma.

Our eating habits are also directly related to the three modes. The food we consume is a sign of which inherent mode is present or dominant. Sattvic mode implies health-conscious consumption and includes fruits, vegetables, legumes and cereals. A

rajas mode of eating focuses on taste, not nutritional value. Rajas food is attached to gratification of ones senses; tasty in the beginning but tends to cause illness and/or disease in the end. Tamasic foods include spoiled, tasteless, and unclean items.

One who ingests such items is neither attached to taste nor is health conscious but eats because of complete ignorance/avidya. Many times, the emotion with which we eat decides the mode, not the item for consumption.

One of the main messages in Krishna’s discourse on nature is that all gunas, including sattva, bind us.

Sattva binds us to goodness. We may start imagining that we are good and relatively knowledgeable or may develop a habit of gaining enjoyment from helping out everyone we meet. Bound to sattva, scholars may enjoy collecting more and more information or read evermore material in their area of expertise. There is nothing wrong with collecting lots of worldly knowledge, but such a habit can impede further evolution towards the ultimate reality. Similarly, rajas binds us to the fruits of our actions. Tamas binds us to laziness, ignorance or tardiness. One may enjoy hurting others or wasting time. The paths through which we may reach beyond the three modes of nature form the major focus of Krishna’s dialogue with Arjuna.

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Kitchadi (Sattvic) Recipe 1 cup basmati rice 1 cup mung dhal 1 tablespoon ghee/vegan alternative 1 pinch of hing/asafoetida (Vata pacifying) 1 teaspoon cumin seeds (Pitta pacifying) 1 teaspoon mustard seeds (Kapha pacifying) 1 tablespoon grated ginger 1 teaspoon turmeric powder Spices like cardamom, cinnamon, coriander (optional) Any kind of vegetable (cut into small pieces) suitable for your constitution Salt, jaggery/palm sugar Handful of chopped fresh coriander

Wash rice and dhal separately. Boil the dhal with turmeric separately for 20-25 minutes until cooked.

In a separate dish, heat the ghee then add hing, cumin seeds and mustard seeds one after the other in the same order, feeling the smell as the spices blend with each other. Then add the washed and drained rice to fry with the spices. If you like the optional spices mentioned, you can add them at this stage with the vegetables. Finally, add the mung dhal and boiled water to cook the rice with a pinch of salt, jaggery and coriander leaves (I like adding raisins instead of the jaggery).

Simmer on a low heat until the rice is cooked.

“This kitchadi recipe is by my Ayurveda teacher Dr. Deepa Apte.” –Yogayolu.com

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TANTRAS & TANTRISM The origins of tantra are little understood, but its teachings and texts (tantras) are thought to have first appeared within Buddhism and very shortly afterwards in Hinduism. Thought to have developed between AD 800 and 1000, tantrism quickly became a cultural, philosophical and spiritual force throughout India.

The sanskrit word for tantra stems from the verbal root tan, meaning “to expand”, and is traditionally explained as “that which expands wisdom.” 64 major tantras are recognised, but the actual number is much higher. The range of topics discussed in the tantras is considerable and includes:

Tibetan Buddhism – or Vajrayana, literally meaning “diamond vehicle” – is the most important branch of tantra today and is practiced and appreciated by a large number of Westerners.

The teachings of tantra are closely associated with Shaivism (Shiva worship) and Shaktism (goddess worship), and religio-cultural traditions that have their roots in Vedic and pre-Vedic times.

The following features are common to most tantric schools: 1.

Tantra is a revelation for a new era

2.

Rejection of the Vedas of the Brahmins

3.

Tantraism is inclusive of all castes of society

4.

Favours an intensely practical, personal and experimental approach, sometimes seen as unconventional, anti-intellectual and antiestablishment

5.

An initiatory secret tradition handed down by word of mouth from adept teacher to student

•

Creation and history of the world

•

Names and functions of a great variety of male and female deities and other higher beings

•

Ritual worship, especially goddesses

•

Magic, sorcery and divination

•

Esoteric “physiology” (the mapping of the subtle or psychic body with its energy currents or pranas, and “wheels” or cakras)

6.

The idea that the human body is a “temple of the Divine”

7.

Teaches in great depth “subtle body” anatomy

•

Awakening of the mysterious serpent power (kundalini-shakti)

8.

•

Techniques purification

•

Nature of enlightenment

•

Sacred sexuality

Acknowledges the cosmos as complex and hierarchical, including visible and subtle realms of existence in which the mind participates. Populated by invisible beings such as ancestral spirits, ghosts, angels, demons, deities and liberated masters (siddha)

9.

Uses a highly symbolic language, intended to keep the tantric teachings within tantra

of

bodily

and

mental

Tantra is essentially a yogic tradition which shares the same goal – the sublime state of liberation.

Starting as a grassroots movement by members of India’s lower castes, it developed as a backlash to the elite and esoteric teachings made available by Brahmin priests.

Goddess worship, ritual sexuality (usually associated with rural folk tradition and excluded from mainstream Hinduism), combined with various hatha yoga practices to perfect the body, rejected the purist orthodoxy of Hinduism and based its spiritual quest in bodily reality.

10. Recognises and uses paranormal powers cultivated for both spiritual and material reasons 11. Acceptance of guru-yoga 12. Uses yogic techniques such as meditation and visualisation of deities and symbols 13. Uses rituals of consecration, purification, worship and empowerment 14. Uses yantras, mandalas, mudra, mantra recitation (enormously important to the tantric method) and, in the left-wing schools, ritual sexuality

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PATANJALI’S CLASSICAL YOGA Many researchers today maintain that Patanjali, who is credited with the compilation of the Yoga Sutra, or Aphorisms on Yoga, lived approximately from AD 100 to 200.

The language and conceptual characteristics of the Yoga Sutra point to it being composed in the tradition of Shiva worship, with a strong influence from Mahayana Buddhism.

THE COMPOSITION OF THE YOGA SUTRA The word sutra, which is related to the Latin word “sutura” and our English “suture”, literally means “thread.” In Indian philosophy, it is widely used to mean a thread of thought and this is the meaning behind Patanjali’s work. The sutras are a compilation of his threads of thought on yoga, which were to be memorised by his disciples.

Sutras correspond roughly to what we call aphorisms but are always extremely succinct.

Most versions of the Yoga Sutra comprise 195 aphorisms; some have 196. The additional sutra (inserted after 3.21), is likely to belong to the Yoga Bhashya (Yoga Speech), the oldest available Sanskrit commentary on Patanjali’s text.

Patanjali’s aphorisms are distributed over four chapters or sections (pada) as follows: 1.

Samadhi-pada (chapter on ecstasy): 51 aphorisms

2.

Sadhana-pada (chapter on practice): 55 aphorisms

3.

Vibhuti-pada (chapter on paranormal manifestations/special powers): 55 aphorisms

4.

Kaivalya-pada (chapter on liberation): 34 aphorisms

Much of the Yoga Sutra represents what Patanjali calls Kriya yoga. Within the main body of text is what looks like an insert; a number of aphorisms that deal with the eight limbs of the yogic path and can collectively be called ashta-anga-yoga.

ASHTANGA YOGA In order to still and observe the mind, Patanjali presents a system called ashtanga yoga, or the eight-limbed yoga. These limbs represent all the aspects of the system.

The first two limbs that Patanjali begins with are the fundamental ethical precepts called yamas, and the niyamas. Yamas relate to the attitude we have toward other beings outside ourselves.

Niyama denotes how we relate to ourselves.

Yama and niyama deal with our social attitudes and lifestyle, how we interact with others and the environment, and how we deal with our problems.

The third and forth limbs, asana and pranayama, help us to become more aware of where we are, where we stand, and how we look at things.

Gradually we begin to notice our mistakes and attempt to bring about some change, perhaps in the way we show our respect to nature or reIate to others. Yoga practices help to change our attitude, our Yama and Niyama.

The fifth limb of the system is pratyahara, withdrawing the senses from attachment to external objects.

These five external, physical yogic practices are followed, in Patanjali’s system, by the three internal limbs of yoga: dharana, dhyana (religious meditation) and samadhi.

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YAMAS/UNIVERSAL MORAL VIRTUES 1. AHIMSA The ancient Sanskrit term usually translated to mean “non-violence.” However, such negative compounds in Sanskrit were more positive in effect than the corresponding, literal translations in English. Abhaya, for example, literally meaning “non-fear”, was actually the word for courage.

Ahimsa is usually translated to mean “nonviolence”, but its meaning goes much beyond that and is more akin to that of “love in action.”

Ahimsa is derived from the Sanskrit root verb “san”, which means “to kill”, “hims” means “desirous to kill” and the prefix “a” is a denial. So “a-himsa” literally means “lacking any desire to kill.” It is considered the highest law and is perhaps the central theme upon which Hindu, Jain, and Buddhist morality is built.

2. SATYA As truthfulness in thought, word and action is achieved, the fruits of any actions occur naturally and according to the will of the yogi. Words must not only be true to fact but also pleasant so that in speaking the truth, another is not hurt.

look outside ourselves for completion, jealousy, envy and feelings of inadequacy take over. We are to refrain from taking that which is not ours by right of consciousness and karma.

4. BRAMACHARYA Abstinence/awareness of the highest good.

The practice of brahmacharya is walking in the awareness of the highest reality, absolute reality, remembering the divine or practicing the presence of God. Many interpret bramacharya to mean adherence to celibacy. Typically though, a celibate lifestyle is only followed by priests or by monks. A less strict interpretation would be to practise moderation and conservation of your sexual drive to help restore your prana.

5. APARIGRAHA We tend to get attached to what we desire most in life, including relationships, work, money and possessions. These possessions create the illusion of security, but in reality keep us in a state of fear and constant craving. Aparigraha is to become the silent witness, to appreciate and observe without attachment, knowing that true joy is not outside ourselves, but within. Once we realize that true joy is not outside of ourselves, then we can let go of fear and enjoy our lives fully.

3. ASTEYA Stealing is a result of not feeling complete; living in the illusion there is something lacking. When we

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2. NIYAMAS/PERSONAL OBSERVANCES 1. SAUCHA

4. SWADYAYA

Purity, cleanliness (sauch = to be radiant) Saucha is the practice of cleaning the body. This includes bathing, brushing the teeth and the practice of kriyas. When we try to be perfectly clean, we start to learn about dirt. The resulting realisation arises: nothing is always and forever in a state of absolute cleanliness. It is like trying to sweep up the sands on the shore of the ocean. It is a never-ending job. All we can do is to try.

Study of the Self (swa = own + ad + a + I + to go – one’s going into one’s own). It is often translated as scriptural study, the actual reading of and reflecting on the sacred books including Vedas, Upanishads, Yoga Sutras or the Bible. These works remind one of their true nature or atman. When you study something, you hold it in your attention and come to know something of it. Self-study does not mean psychoanalysis as we think of it in the West. That type of study can only bring more attention to the personality, the small self.

To the yogic way of thinking the only real dirt is avidya; ignorance of the true Self. Through the practice of Saucha we learn about the physical body and thus ignorance is reduced. When we are developed in the practice and we come to know our body well, you come to know you are not the body. You come to know the body for what it is: a sack of blood, pus and bones.

2. SANTOSHA Contentment is independence from external conditions. Don’t look for happiness or comfort in external circumstances because those conditions are always subject to change. We will never be truly happy in an external situation, so instead we control and elevate the mind to aid in perceiving the world without conflicts. Swami Sivananda’s advice is helpful here: “Adapt, adjust, accommodate.”

How do we do this? Tapas, the next niyama.

3. TAPAS To burn, self discipline, austerity (tap = to be hot). By subjecting ourselves to extremes of pleasure and pain, we will develop an internal way to deal with it all. Santosha in the face of tapas facilitates endurance and the ability to concentrate the mind regardless of external conditions, developing steadiness and equanimity.

Tapas also translates as passion or fervour for the subject, sticking to it no matter what.

5. ISHWARA PRANIDANA Devotion to God (ishwara = lord; Pranidana = to give your efforts, devotion). Before you do any action, offer it to God. In this way you free yourself of selfish action. The perfection of action comes from the perfection of thought. What is a perfect thought? One that is devoid of all selfish motive. Through this practice you develop bhav – the mood that will enable you to reach for something higher than the apparent limitations of body and mind. If you do actions without ishwara pranidana, it is said you will most likely stay bound in the ignorance of the ego.

“

Yoga is said to be the unity of breath, mind, and senses, as well as the renunciation of all states [of finite existence]” – Maitri-Upanishad (6.25)

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3. ASANA “Asana” has various meanings: staying, abiding, seat. Asana is one way in which a person can experience the unity of body and mind. Asana is defined as that which is comfortable and easy, as well as firm (seat). In the West, however, asana is commonly associated with posture. Yogic postures (asanas) are prescribed for the purpose of providing comfort and steadiness during meditation and the practice of pranayama.

Asana is a dynamic position, in which the practitioner is perfectly poised between activity and non-activity. There is a corresponding mental balance between movement and stillness.

Indeed, Patanjali teaches that each posture reflects a mental attitude, whether that attitude be one of surrender, as in a forward-bending asana, or the strengthening of the will, through backward-bending postures, or the creation of a physical prayer with the body, as in the practice of Padmasana, the well-known lotus posture.

Yoga Sutras say that when we master asanas we become more sensitive and are able to handle opposites. We learn how our body responds to different situations through the different postures and we adapt our posture and mind to those situations in order to find stability and ease.

Asana is a two-way street. Once the mental attitude has been created, it can then be spontaneously expressed as an asana; if one takes on the external form of an internal attitude, soon that attitude moves through body into mind, thus creating it there. Whichever way one works, the results are the same. Asana is thus both a preparation for meditation and a meditation sufficient in and of itself.

Patanjali suggests that the asana and the pranayama practices will bring about the desired state of health; the control of breath and bodily posture will harmonise the flow of energy in the organism, thus creating a fertile field for the evolution of the spirit.

4. PRANAYAMA Pranayama is the measuring, control, and directing of breath. Pranayama controls the vital force/energy (prana) within the organism, in order to restore and maintain health and to promote evolution.

In yoga, we are concerned with balancing the flow of vital forces, directing them toward the chakra system and upwards to the crown chakra (sahasrara = thousand-petalled lotus).

In the Yoga Sutras, the practices of pranayama and asana go hand in hand and are considered the highest form of purification and self-discipline for the mind and body. The various practices produce the actual physical sensation of heat, called tapas, or the inner fire of purification. It is taught that this heat is part of the process of purifying the nadis (streams/subtle nerve channels of the body). The result is a balanced nervous system and a pure and calm mind.

5. PRATYAHARA Pratyahara translates as “to withdraw oneself from that which nourishes the senses.” In yoga, the term pratyahara implies withdrawal of the senses from attachment to external objects.

The various pratyahara practices train us to no longer depend on sensory stimulus. Let us look at this concept a little more closely. When we see a sunset, first our eyes are drawn to it; the eyes send a message to the brain; the brain computer will assimilate the information sent by the eyes and form a picture of the sunset. This is the way our senses function normally. But there is also the possibility that the most beautiful sunset on earth will not attract our attention, will not engage our senses, because we are deeply immersed in something else. We may be concentrating on something without any awareness of what is going around us.

Normally the senses say to the mind: “Look at this!

Smell this! Touch that, etc.” The senses register an object and the mind is drawn to it at once.

In pratyahara, we train the brain to disregard the continuous sensory input, accepting and processing only the sensory signals sent at the command of the brain, at which point we have control over our senses rather than being controlled by them. We are no longer tied to external sources, vital forces flow back to the source within, and we can concentrate without being distracted.

Practising this restraint allows tendencies and habits to be neutralised, because needs are abandoned. This discipline allows us to practice meditation at any time, in any place.

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When people seek out yoga, hoping to find that inner peace which is so evasive, they find that it was theirs all along. In a sense, yoga is nothing more than a process which enables us to stop and look at the processes of our own minds – only in this way can we understand the nature of happiness and unhappiness, and thus transcend them both.

6. DHARANA Literally, the word dharana means “immovable concentration of the mind.” The essential idea is to hold the concentration or focus of attention in one direction. This is not the forced concentration of, for example, solving a difficult mathematics problem; rather, dharana is a form of meditation which could be called receptive concentration.

For example, imagine a large reservoir of water used by farmers for watering their fields. There are channels leading away from the reservoir in different directions. If the farmer has dug all the channels the same depth, the water runs equally in all directions. But if one channel is deeper than the others, more water flows through it. This is what happens in dharana: we create the conditions for the mind to focus its attention in one direction instead of going out in many different directions.

Deep contemplation and reflection can create the right conditions, and the focus on this one point that we have chosen becomes more intense. We encourage one particular activity of the mind and, the more intense it becomes, the more the other activities of the mind fall away.

The objective in dharana is to steady the mind and stop it wandering through memories, dreams, or reflective thought, by deliberately holding it single-mindedly upon some apparently static object. The ability to concentrate depends on excellent psychological health and integration. It is not an escape from reality, but rather a movement toward perception of its true nature.

7. DHYANA Dhyana means worship or profound and abstract religious meditation. It is perfect contemplation. It involves concentration upon a point of focus with the intention of knowing the truth about it.

We learn to differentiate between the mind of the perceiver, the means of perception, and the objects perceived, between words, their

meanings, and ideas, and between evolutionary levels of their nature.

One must apprehend both subject and object clearly in order to perceive their similarities, for a clear grasp of real identity of two apparently different things requires a clear grasp of their seeming difference. Thus dhyana is apprehension of real identity among ostensible differences.

In dhyana, one becomes involved with a particular thing – a connection is established between self and object. Dharana therefore must precede dhyana, because the mind needs focusing on a particular object before a connection can be made. Dharana is the contact, and dhyana is the connection. Insight and/or realisation can then result in becoming “one with” the object of contemplation.

8. SAMADHI Samadhi is the resulting state of becoming completely absorbed and at one with the object of our focus. Samadhi means “to bring together, to merge.” In samadhi, our personal identity and all of the labels that are associated with it completely disappear.

We are no longer separate from the object of our choice; instead we blend and become one with it.

We realise what it is to be an identity without differences, and how a liberated soul can enjoy pure awareness of this pure identity.

The conscious mind drops back into that unconscious oblivion from which it first emerged.

The final stage terminates at the instant the soul is freed. The absolute and eternal freedom of an isolated soul is beyond all stages and beyond all time and place. Once freed, it does not return to bondage.

The polarity of viewer and viewed, like the polarity of opposites, is no longer relevant; the mind does not distinguish between self and non-self, or between the object contemplated and the process of contemplation. There are various stages of samadhi, depending upon whether one is identified with the object while yet conscious of the object, or whether one has transcended the object of meditation and is resting in the experience of being, without conceptual support or without support of any aspect of consciousness.

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Pratyahara, dharana, dhyana, and samadhi cannot be practised. A person cannot simply sit down and say, “Right now, I am going to do dharana.” All the person can do is to create the right conditions to help bring about a state of dharana; practise asanas and pranayama that, according to the Yoga Sutra, create favourable conditions for the mind to enter these states. In order to experience dharana and dhyana, the mind must first be in a particular condition. Allow the many things that are going on in the mind to settle so that it becomes quiet.

If the mind is too busy responding to external stimuli, it cannot enter into a state of dharana.

Forcing dharana when your mind is not ready for it can cause problems.

The person capable of samadhi retains his or her individuality and person, but is free of the emotional attachment to it.

By practising asanas we become more flexible, and by practising pranayama we gain control over our breath. Similarly, with kaivalya, something gradually happens that is beyond our control. We cannot pinpoint the exact moment we attain that state. There are two forces within us: one comes from our old conditioning, habits and experiences; the other is our new conditioning that develops out of our changing behaviour. In this condition, our mind is constantly swinging between the old and the new. When the old force disappears, however, the mind no longer swings back and forth. We have reached another state and it is felt as a continuum.

These eight steps of yoga indicate a logical pathway that leads to the attainment of physical, ethical, emotional, and psycho-spiritual health.

Yoga is not changing the individual; it allows the natural state of total health and integration in each of us to become a reality.

KAIVALYA (Continous State of Samadhi) Kaivalya describes the effect on the personality of being in a continuous state of samadhi. This is the state of inner freedom that yoga strives for. The word kevala means to keep to oneself, and kaivalya is sometimes explained as isolation or aloofness.

A person in the state of kaivalya understands the world so well that they stand apart from it in the sense that they are not influenced by it, although they may well be in a position to influence the world.

People in kaivalya behave like normal people, but they do not carry the burden of the world on their shoulders. External forces have no power over this person. They live in the world, but they are not subject to it. That is kaivalya.

According to yoga, the purpose of the whole of creation is to give us a context for understanding what we are and what we are not. When we understand that, then there is kaivalya, and prakriti has fulfilled its purpose. A person who experiences kaivalya sees prakriti, the material world, simply as it is, with no meaning beyond that.

“

When you are inspired by some great purpose, some extraordinary project, all your thoughts break their bounds: your mind transcends limitations, your consciousness expands in every direction and you find yourself in a new, great and wonderful world. Dormant forces, faculties and talents become alive, and you discover yourself to be a greater person by far than you ever dreamed yourself to be.”– Patanjali, the Yoga Sutras

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HATHA YOGA Traditional hatha yoga can be defined as an authentic continuation of the experimental and inclusive branch of yoga called tantra. Its aim: liberation through perfecting the body and awakening the “serpent power” (kundalini-shakti).

A variety of methods and practices are called upon to bring this awakening into action including (but not limited to): •

Moral disciplines (yamas and niyamas)

•

Adherence to specific diet

•

Rituals (puja)

•

Purification shodhana)

•

Asana

•

Pranayama

•

Mudra

•

Bandha

•

Dharana, dhyana, samadhi

techniques

(kriyas

and

The Sanskrit word hatha means “force” or “forceful” and hatha yoga is the forceful approach to spiritual growth and liberation. An esoteric explanation relates the syllables “ha’”to the sun and “tha” to the moon, both symbolising the inner (psychosomatic) realities. The merging of these two luminary energies results in the state of bliss or samadhi.

The hatha yogins strive for liberation in a perfected body (siddha-deha) that is free from illness and weakness, and without limitations that are part of the ordinary mortal body. This superconductive body is transmuted by the psycho-alchemical process triggered by the kundalini-shakti awakening and is said to be immortal and endowed with every conceivable power.

Like most tantric schools, hatha yoga operates on the fundamental understanding of esoteric anatomy; psychospiritual centers (chakras), conduits of prana (nadis), and kundalini, the potent force behind spiritual evolution.

Hatha yoga’s innovative purification practices and complex and elaborate physical practices, such as mudra, bandha and pranayma, are all designed to remove blockages in the subtle channels in order to direct and concentrate its flow along the central channel called sushumna, releasing kundalini.

Adepts of yoga are not only bestowed with unimaginable mental powers but are also said to be able to transcend space-time, resulting in the ability to overcome death and become immortal.

Classical hatha yoga is described in three main texts: Hatha Yoga Pradipika (14th century), Shiva Samhita (15th or 17th century) and Gheranda Samhita (17th century). The Hatha Yoga Pradipika, composed by Swami Swatmarama, differentiates between hatha yoga and raja yoga; the later composed of the higher stages of practise – dharana, dhyana and samadhi.

Traditional hatha yoga is a fully self-contained path to liberation and adheres to the tantric idea that the body is an instrument of liberation, hence hatha yoga aims in all its techniques to first strengthen and prepare the physical body to serve as a vehicle for enlightenment. As the Gheranda Samhita declares: “Like an unbaked urn left in water, the [bodily] vessel is ever [so soon] decayed.

Baked well in the fire of yoga the vessel becomes purified [and enduring].”

Image: adivinespace.com/2014/10/

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ASANA

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KRISHNAMACHARYA “THE FATHER OF MODERN YOGA” Image: sebhaas.files.wordpress.com/2012/01/krishnamacharya.jpg

1888 - 1989

INDRA DEVI “FIRST LADY OF YOGA”

Image: awaken.com

Image: kpjdvd.files.wordpress.com

Image: yogadork.com

BKS IYENGAR

PATTHABI JOIS

(STUDENT)

(STUDENT)

1899 - 2002

1915 - 2009

(BROTHER-IN-LAW & STUDENT) 1918 - 2014

Image: yogaanatomy.org

TKV DESIKACHAR

(SON & STUDENT) 1938 -

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BENEFITS OF ASANA The Vedas do not mention the Sanskrit word ‘asana’ anywhere, but they do make use of the verbal root word meaning “to sit,” which is closely connected with the root as meaning “to be.”

The synonym ‘asana’ was not introduced until the Brihad Aranyak Upanishad. Originally, ‘asana’ simply referred to a seat upon which the sage would sit or settle for meditation or sacrificial rituals. Even in the Bhagavad Gita (c. 500 BC), asana is still understood in the sense of a sitting platform.

Asana was still excluded as a separate category in c. 300 BC, in the Maitryanaiya Upanishad which taught a six-limbed yogic path.

In AD 200, however, Patanjali recognised asana as the third limb in his eightfold path (astanga).

In the Yoga Sutra (2.46) he tells us that posture should be easeful (sukha) and stable (sthira), but does not elucidate any specific postures. By AD 500, in Vyasa’s Yoga Bhashya (a commentary on Patanjali’s work), 11 postures are named, all of which appear to be used for meditation.

With the emergence of tantra, asana developed into an instrument for intensifying the life energy (prana), maintaining and restoring health and prolonging life. Asana was further developed within the hatha yoga branch of tantra.

From the Hindu tradition, hatha yoga was considered to be the invention of Shiva; teaching 840,000 (one for each species) secret postures to his consort Parvati. The teachings were overheard

by Matsyendranath who, after ascension to Siddha, passed on the teachings to Goraknath.

The Hatha Yoga Pradipika, a widely used traditional manual dating back to the mid-14th century, describes 16 postures. The Gherand Samhita, a 17th-century manual, provides practical detail on 32 postures. Some modern handbooks on hatha yoga contain descriptions of between 200 and 2,000 postures.

Yoga teaches that each posture reflects a mental attitude, whether that attitude be one of surrender, as in a forward-bending asana; the strengthening of the will, through backward-bending postures; or the creation of a physical prayer or meditation with the body, as in the practice of padmasana

(lotus posture). Perfectly poised between activity and non-activity, mental balance can be achieved in the dance between movement and stillness while simultaneously rejuvenating specific organs and glands as well as the spine.

From the classic 84 asanas (derived from Shivas original teachings) commonly used by yogis, these benefits can be seen from just a dozen.

Asanas are based on five principles; gravity, organ massage, stretching soft tissues, deep breathing and focus/concentration.

•

Inverted postures, such as the headstand and shoulder stand, use gravity to increase the flow of blood and fluid to desired parts of the body

•

The position of the asana causes compression/ squeezing of specific soft tissues resulting in their stimulation

•

Stretching of muscles, fascia, ligaments and tendons increases stimulation and blood supply to those tissues and has the potential for relieving pressure on nerves in the corresponding area

•

Deep breathing while holding the yoga posture can increase the supply of oxygen and prana to the targeted area

Focus/concentration/visualisation, combined with steady, deep breathing, requires our attention on the target organ, soft tissue or gland. This attention can greatly increase blood circulation and prana supply to the organ or gland. Through regular practice of concentrating there is the additional benefit of bolstering the ability to concentrate. This can benefit every aspect of our lives: if we are able to focus the mind and be less distracted by external events, we are more likely to maintain calm, worry less and solve problems more efficiently and effectively.

There are three essential prerequisites for creating and maintaining vitality and rejuvenation: a healthy nervous system, glands and organs.

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CENTRAL NERVOUS SYSTEM Nerves from the brain and spinal cord feed into all tissues in the body, therefore the health of all tissues in the body depend upon the health of the spinal cord.

Spinal nerves feed into all organs and glands of the body, and are vital to our health. The nerves exit the spine through the intervertebral foramina.

If a vertebra is slightly out of place, nerves may be â&#x20AC;&#x2DC;pinchedâ&#x20AC;&#x2122; in the intervertebral foramina. The spinal nerves do not have the same protection against mechanical insults as the brain does, i.e. the skull.

The ancient yogis fully understood the vulnerability of the spine and the tendency for slight spinal misalignments to occur. They also knew that if the spine was kept flexible by yoga asanas, there would be much less chance of spinal misalignments.

Some of the asanas will even aid in correcting some minor misalignments such as minor scoliosis.

Maintaining spine flexibility throughout the aging process helps to protect against impingement of spinal nerves and organ deterioration.

ENDOCRINE SYSTEM In yoga, the glands in which there tends to be most focus are the pituitary, pineal, thyroid, adrenal, pancreas and sex glands. The pituitary and pineal glands are situated in the brain, the thyroid is in the neck area, the adrenals and pancreas are in the solar plexus area and the sex glands are in the pelvic region.

The function of these glands is to secrete hormones which control growth, weight and size, metabolism, vitality, sexual vigour and emotional state. Headstand and shoulder stand are said to have powerful benefits on the pituitary, pineal, and thyroid glands. Reverse posture (Viparita Karani) is said to be beneficial for the sex glands. Adrenal glands produce a variety of hormones, such as adrenaline and cortisone, that are important in controlling stress levels and immunity. Twisting postures are said to stimulate the adrenal glands, causing them to release extra energy to boost your vitality level.

bodyâ&#x20AC;&#x2122;s sugar level. If the pancreas is not working properly, diabetes may develop. Along with proper diet, ancient yogis believed that pressure or stretching applied to the pancreatic glands in asana could keep the pancreas in good health.

INTERNAL ORGANS As well as having the potential to positively affect the brain, spine and glands, most asanas also benefit the internal organs by massaging them.

Exercises such as agni sara and uddhiyana bandha, for example, raise the diaphragm, massaging the heart from underneath. This is believed to tone the heart muscle, resulting in better circulation and less chance of heart disease.

DIGESTIVE SYSTEM A nourishing and balanced diet is of course essential, as too are the processes of digestion, assimilation and elimination. The functioning of the digestive system decreases in efficiency as we age. Uddhiyana bandha and various postures such as twists, contract, compress and stretch the stomach and digestive organs, increasing blood flow and nerve function to maintain optimal health in the digestive and elimination systems.

JOINTS The gentle stretching and articulation of the joints in asana increases production synovial fluid, which is essential for mobilising the joints and protecting the joint from osteoarthritis and degeneration.

SKIN Stretching of the skin during asana stimulates skin cells, helping maintain and increase retention of essential fluid and nutrients as well as elimination of waste products, resulting in firmer, healthier skin which is less likely to sag or wrinkle.

The pancreas secretes two hormones, called insulin and glycogen, which help to balance the

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ASANA GROUPS STANDING Standing postures provide a good base knowledge and awareness for all yoga postures. They are essential for developing body awareness, muscular strength (especially in the legs) and balance.

The entire body is consistently affected by the force of gravity and therefore has to work strenuously to work with and against its pull. Circulation is encouraged as well as a balanced flow of prana. In general, standing poses are the foundation of many poses; Mountain Pose (Tadasana), for example, is considered the origin of all yoga poses.

BACK BENDS By opening the front of the body, back bends invigorate the body and mind and encourage deep breathing. Back bends help to develop courage and aid in lifting low mood and depression.

Back bends stimulate the nervous system and in specific postures such as Urdvha Danurasana (Upward-Facing Bow) arms and shoulders are strengthened and flexibility of the spine is increased.

Gravity and habitual closure or shortening of the front body due to posture can round the back and close off the front body, physically and emotionally.

Back bending invigorates the nervous system and can help to release held emotions.

As these postures enliven the nervous system, the time of day when they are practiced should be considered; an intense back bend session late in the evening may result in the inability to sleep.

RECLINING

FORWARD BENDS

These poses fall into two main categories; prone and supine. Prone poses are done facing the floor, either on the hands or knees or lying on the abdomen. They rejuvenate and energise the body and can be especially strengthening for the arms and back.

These postures stretch the back of the body, and close the front, where our organs of perception are oriented. The effects are generally more introverted, soothing and calming to the nervous system, while blood circulation and digestion are improved.

Supine poses are done while lying on the back.

Generally these poses are more relaxing and restful and serve mainly to stretch the abdomen and increase the mobility of the spine and hips. They also open the groin and strengthen the back, arms, and legs.

In order for a forward bend to have a beneficial effect, the lower back should be slightly concave (natural) and the spine extended, tipping the pelvis forward, before folding the torso forward. It may be necessary to have students sit on a blanket or block to achieve this.

The less strenuous poses are usually placed toward the end of a practice to cool down the body and restore energy.

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TWISTS Twisting postures help to create freedom, vitality and balance within the nervous system.

Seated twists are the more intensive version, increasing the range of motion of the spine and encouraging internal organs to eliminate waste. They promote flexibility in the spine, hips and upper back, and are used to relieve backache, headache and stiffness in the neck and shoulders.

Seated forward bends are a good preparatory poses for twists, as they help to warm up the hips and spine.

Twists done after back bends can help to relieve any lower back discomfort.

With the neck being the most mobile part of the spine, and often moving unconsciously before the lower, less mobile parts of the spine, one should try to emanate twists from the waist upwards, allowing the chest to initiate the depth of the posture.

INVERSIONS When we invert the body, we are working with gravity to reverse the flow of blood, lymphatic fluid and other liquids within the system. This directs blood to the head and heart, helping to revitalise the mind and body.

Inversions are often approached with some trepidation by students since it is somewhat disorienting to turn our world upside down. However, it is this upsidedown view on the world that brings the potential for fresh perspective. Inversions such as Salamba Sarvangasana and Viparita Karani, are often used to lower high blood pressure but, just as with headstand and handstand, should always be approached with caution and an understanding of any condition that may be a contra-indication of inversions.

ARM BALANCES Arm balances require courage, strength and stamina, and are perhaps the most exhilarating group of postures. Due to their intensity, they can often be attempted by â&#x20AC;&#x2DC;musclingâ&#x20AC;&#x2122; into them, without engaging the core muscles.

A key point to remember is that the entire body is active in an arm balance, providing stability and distributing the work throughout the body, not just the arms.

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PRINCIPLES OF SEQUENCING WHAT IS SEQUENCING? A sequence is the order in which things are arranged, the pattern that is created by the logical flow of pieces to create the whole. Sequencing is the art of creating a sequence, deciding not only which specific asanas should be practiced during a class or home practice but the order in which they should be performed.

Evening: Consider sun salutations and challenging standing poses early in the practice, leaving plenty of time for relaxing poses towards the end of the practice to get ready for bed •

WHY DOES SEQUENCING MATTER? •

Creates balance within a yoga practice; physically, energetically and mentally

•

Provides a focus, direction and purpose for the practitioner in order to facilitate and enhance their experience

•

Aids in preventing injury and promotes healing

•

Different yoga practices can manifest from the same group of asanas, but the order in which they are placed defines the experience and outcome

Have modifications and variations available so everyone feels successful Stick to the description provided by the studio. If the schedule says Bikram, the students should take responsibility for knowing the type of practice they are entering and the instructor should stay true to the format described •

Tine of the day: The time of day for the class dictates the energy the class may want to create: Early morning: Gentle warm up leading into standing poses; leading into back bends and inversions to leave the practice more energised Mid-Day: Consider a more balanced sequence and note whether you have eaten prior to the practice or will eat afterwards

Seasonal/Geographical Location: Be aware of the seasons and the energetic and emotional effect they will have on our students Hot/Humid Climates/Summer: Add more forward bends and seated poses to balance the external heat and promote cooling

THINGS TO CONSIDER WHEN SEQUENCING: •

Client Population: It is essential to consider what type of clientele you will be serving.

Have ready in your mind Plan B, to accommodate people who may come to your class who might not be in your typical client demographic

Cold Climates/Winter: Practise sun salutations, back bends and inversions to energise and ward off seasonal depression due to longer nights and shorter days •

Length of Practice: Consider the amount of time you have and, instead of jamming in too many poses, be sure to have balance within the practice Always include breath work and warming the body. Never shorten Savasana to less than five minutes

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BASIC SEQUENCING FORMULA Every sequence requires a clear beginning, middle, and end point. To achieve this, the following ‘formula’ will help prepare sequences:

•

Accustoms the nervous system to a range of body posture/positions that are otherwise discounted

1.

Grounding Meditation

•

Increases flexibility and strength of the spine

2.

Warm-Up Movements

•

3.

Flow-Sun Salutation

Improves bilateral coordination and left/ right brain integration

4.

Standing Poses*

5.

Seated Poses*

6.

Reclined Poses (Supine)*

7.

Inversions*

8.

Savasana Relaxation

*The order of these elements varies from school to school i.e. Iyengar to Ashtanga, Anusara to Bikram etc. Sequencing is a very complex matter and includes a myriad of different types of sequencing.

THE IYENGAR WAY

SEATED POSES •

Brings flexibility to the hips, knees and ankles

•

Removes tension in the diaphragm and throat resulting in improved breathing

FORWARD BENDS •

Calming and cooling

•

Stimulates the parasympathetic nervous system, decreasing blood pressure and heart rate (rest and digest)

•

If the student is flexible, can fold deep enough to stimulate the sympathetic nervous system through compression of the internal organs, enhancing digestion and assimilation of food, helping to relieve constipation

•

Decreased stress on the heart since the body is in a horizontal position

Iyengar described the science of yoga as similar to the art of music: •

Rhythm within the body is maintained by attention to each step of each asana and progression between the asanas

•

There must be a physical, physiological, psychological and spiritual rhythm

•

The body is a sensitive and receptive instrument; its vibrations are affected by the asana

Iyengar looked at the various effects of postures:

TWISTS •

Improves suppleness of the spine, by using muscles asymmetrically

•

Pelvic and abdominal organs are squeezed/ compressed and released, flushing them with blood to improve circulation

STANDING POSES •

Promote emotional stability, strength and stamina

•

Improves nutrition to the intervertebral discs

•

Develop overall strength and flexibility

•

Detoxifying effect

•

Mildly stimulates the cardiovascular and respiratory system

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BACK BENDS •

Anti-depressive/elevates mood

•

Stimulates the sympathetic nervous system in a slow, progressive way

•

Heart works harder as it is pressed against sternum, increasing heart rate

•

Fully stretches liver, spleen and other internal organs

PHYSICAL PRINCIPLES 1.

Standing poses warm all the muscles of the body, especially the larger muscles groups in the legs, freeing the hips for forward bends and back bends 2.

INVERSIONS •

Increases efficiency of cardiovascular, respiratory, lymphatic and endocrine systems

•

Increased energy and engender equanimity

•

Generally, Sirsasana/headstand is heating and Sarvangasana/shoulderstand is cooling, however it depends on the level of the practitioner

Standing Poses

•

Unsupported Inversions

•

Arm Balances

•

Back bends

•

Active Twists

3.

Don’t alternate back and forth between forward bends and back bends. It is true that one good way to wind down from a session of back bends is to use a few gentle forward bends to recover and refresh the spine. However, one way that yoga was taught in the West, especially in the early days, was that you should alternate ‘pose and counter-pose,’ moving back and forth between a forward bend and a back bend to move the spine in both directions. Generally this is not a good practice, a strict arrangement of ‘pose and counter-pose’ is not a skilful way of sequencing. One pose should lead you into the next pose by means of its similarity with the next pose, not by means of opposition. That being said, be sure to complement a back bend or deep forward bend with the opposite pose somewhere afterwards during your practice.

4.

After a deep forward-bending sequence, incorporate a few twists to balance and release spinal muscles

COOLING POSES •

Forward Bends

•

Lying Down Big Toe /Supta Padangusthasana

•

Gentle Twists

•

Lying Down Butterfly/Supta Buddha Konasana

•

Supported Inversions

•

Supported Back bends

Poses with Chin Lock/Jalandahara Bhanda such as Shoulder stand/Sarvangasana, Plough Pose/ Halasana, Bridge/Setu Bhanda, Lying Down Staff/ Viparita Karani Not recommended to do heating poses after poses with Jalandahara Bhanda as very cooling.

Downward-Facing Dog is a good prep for all poses and a good warm down for back bends and twists Downward Dog is a symmetrical pose which stretches the back body and keeps energy flowing. Consider it as a ‘home base’ pose to return to, to bring symmetry and focus to your students

HEATING POSES •

Standing poses are good preparations for forward bends and back bends

Try not to end the practice with a twist due to asymmetry effects. Be sure to move into at least one symmetrical pose (Apanasana/Knees to Chest) prior to moving into Savasana 5.

After an active back bend sequence, warm down skilfully • Bring back to neutral: with Downward Dog or extended Child’s Pose

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• Then move into a gentle forward bend (Standing Forward Fold/Uttanasana with knees soft if standing, Seated Forward Fold/Paschimotannasana if seated, Happy Baby/Prasarita Upavista Padasana if supine) • Light lengthening twists are good, be sure not to arch spine in your twist (that’s a back bend) • Lying Down Big Toe or Half Plough/ Halasana or Knees to Ears Pose/ Karnapidasana 6.

Include variations of arm asanas to balance the flexibility in the shoulder girdle Classical yoga postures did not include a large variety of arm asanas. Western society has developed an inadvertent amount of rounded upper-back posture with tightness into the shoulders.

Including a variety of arm asanas within your sequencing is a wonder addition Examples: Eagle Arms, Cow Face, Chest Expansion, Reverse Prayer, Universal Arm Asanas: Rack/Dvi Bhuja Ustrasana, One Arm Pigeon/Eka Bhuja Kapotasana, Virasana for the Shoulders/Dvi/Eka Bhuja Virasana, Roll onto Extended Arm/ Eka Bhuja Swastikasana

“

Deciding what not to do is as important as what to do.”

– Steve Jobs

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ASSISTS THE BASICS

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THE IMPORTANCE OF TOUCH For a human to thrive and have optimal health, physically and emotionally, they require touch and human contact. Touch is the first sense to develop in the womb and the last sense to leave in old age.

Touch affects the senses and reminds us that we are not alone.

Unfortunately, touch is now relatively devoid in a lot of modern societies. Technology has reduced the amount of physical contact that people have with each other on a daily basis. With automatic bank machines, online shopping, internet, email and voice mail, people can make appointments, dates or decisions without ever actually talking to or seeing another person. Those subtle contacts with others, once common on a daily basis, are gone.

The benefits of touch to a person’s health are phenomenal. Touch can reassure, relax and comfort.

It can reduce depression, anxiety, stress and physical pain, and can be healing. It increases the number of immune cells in the body and has powerful affects on behaviour and moods.

Many studies now provide evidence to support this theory. This extract from the New York Times (2010) talks of the importance of human touch.

“In a series of experiments led by Matthew Hertenstein, a psychologist at DePauw University in Indiana, volunteers tried to communicate a list of emotions by touching a blindfolded stranger. The participants were able to communicate eight distinct emotions, from gratitude to disgust to love, some with about 70 percent accuracy.

“We used to think that touch only served to intensify communicated emotions,” Dr Hertenstein said.

Now it turns out to be “a much more differentiated signalling system than we had imagined.”

To see whether a rich vocabulary of supportive touch is in fact related to performance, scientists at Berkeley recently analysed interactions in one of the most physically expressive arenas on earth: professional basketball. Michael W Kraus led a research team that coded every bump, hug and high five in a single game played by each team in the National Basketball Association early last season.

In a paper due out this year in the journal Emotion, Mr Kraus and his co-authors, Cassy Huang and Dr Keltner, report that with a few exceptions, good teams tended to be touchier than bad ones. The most touch-bonded teams were the Boston Celtics and the Los Angeles Lakers, currently two of the league’s top teams; at the bottom were the mediocre Sacramento Kings and Charlotte Bobcats.

The same was true, more or less, for players. The touchiest player was Kevin Garnett, the Celtics’ star big man, followed by star forwards Chris Bosh of the Toronto Raptors and Carlos Boozer of the Utah Jazz.

“Within 600 milliseconds of shooting a free throw, Garnett has reached out and touched four guys,” Dr Keltner said.

To correct for the possibility that the better teams touch more often simply because they are winning, the researchers rated performance based not on points or victories but on a sophisticated measure of how efficiently players and teams managed the ball — their ratio of assists to giveaways, for example.

And even after the high expectations surrounding the more talented teams were taken into account, the correlation persisted. Players who made contact with teammates most consistently and longest tended to rate highest on measures of performance, and the teams with those players seemed to get the most out of their talent.

The study fell short of showing that touch caused the better performance, Dr Kraus acknowledged. “We still have to test this in a controlled lab environment,” he said.

If a high five or an equivalent can in fact enhance performance, on the field or in the office, that may be because it reduces stress. A warm touch seems to set off the release of oxytocin, a hormone that helps create a sensation of trust, and to reduce levels of the stress hormone cortisol.

In the brain, prefrontal areas, which help regulate emotion, can relax, freeing them for another of their primary purposes: problem solving. In effect, the body interprets a supportive touch as “I’ll share the load.”

“We think that humans build relationships precisely for this reason, to distribute problem solving across brains,” said James A Coan, a psychologist at the University of Virginia. “We are wired to literally share the processing load, and this is the signal we’re getting when we receive support through touch.”

Evidence That Little Touches Do Mean So Much, by Benedict Carey, the New York Times, published 22 February 2010

Yoga assists and adjustments, when given appropriately and in tune with the students needs, and combined with a safe environment, can offer physical contact through touch. A relationship based on trust and positive resolve can be harnessed and be life-affirming.

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KNOWING WHEN TO ASSIST There are many variables that influence when an assist is appropriate or not. It depends on your student, their personality, physical and emotional history, the student’s level of practice, the environment that the assist may take place in and your own experience as a teacher and student.

Once all verbal instruction has been given, we need to assess whether any student is at risk of harm based on misalignment. Often this is a beginner practitioner, though not necessarily – it could be an experienced student trying a new posture. In any case, it is necessary to first adjust or assist any student that is at risk of harm.

Always address the most obvious misalignments first and establish a firm foundation, whether it is in the seat, feet, hands, shoulders, front or back of torso etc.

If a student’s feet or ankles are not in proper or appropriate alignment, their knees may be at risk.

If the student’s hips and pelvis are not in proper alignment their lower back and knees may be at risk. If the student’s shoulder girdle is not properly aligned they may be at risk of injuring their neck.

Once the fundamental alignment is in place, and the foundation is set, it may be possible to assist or enhance with more subtle or deeper fine-tuning of the posture.

If a student, is clearly stressed and emotional, assess what type of assist or enhancement would best serve the student, if at all.

Intermediate to more advanced students often really appreciate hands-on assists to deepen or refine a posture, while beginners may find any hands-on assists too much. Some students simply prefer to use props while others simply do not want to be touched.

It is essential to get to know your student before using hands-on assists by observing their practice, the way they move, their facial expressions, their nature and approach to certain postures. Knowing whether they have an injury, old or new, is essential before entering someone’s space to assist.

Last but not least, if you don’t feel safe or have any doubt then do not assist!

ASK PERMISSION Always ask permission to enter someone’s space and assist. This does not always have to be a verbal exchange, often this can occur through subtle body language. Be aware that sometimes people do not say what they are really feeling or wanting to say.

They may feel intimidated or too scared to decline an assist or to say ‘no’ or to say anything at all.

One option for this is to make little cards to hand out to your students, that they can place under the front of their mat. One side of the card says they would like assistance, the other side declines assistance.

Don’t take it for granted that because you have assisted before, the student wants to be assisted again.

Every week, day or minute is different.

It is paramount to make it ok for your student to say no. Make it known that any assists are an offering and not compulsory in any way shape or form. As is often the case, a student may not want to speak up, especially in front of a group of other people.

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THE ARC OF AN ASSIST OBSERVATION Before you step into anyoneâ&#x20AC;&#x2122;s space and assist, it is essential to stop and observe, not just on a visual level, but observation through feeling, sensing and compassion.

In most cases there are very obvious things to see, such as an asymmetry, unequal weight distribution, tensing of facial muscles, shoulders, hands, shaking muscles etc. However, emotional, and psychological trauma and past injuries are not always immediately visible, so we must tune into our student and look for the more subtle and deeper signs that may be the cause of a particular asymmetry, attitude or personality trait reflected in their practice.

ESTABLISH THE SEAT OF FOUNDATION It is essential to establish a firm and stable foundation for every asana before moving into an assist or enhancement of any kind. The foundation is not only a physical base but an emotional and psychological foundation. Without the foundation in place the student will not feel safe and will not be able to allow themselves to really feel and tune into their body and emotional state during an assist.

It is also essential for you, the teacher, to have a firm and stable foundation, since your student will be able to sense that too and you will also not feel safe and grounded to facilitate an assist.

On a practical safety level, both you and your student need to be safe from falling out of a

posture, particularly balances of any kind. A stable seat is also essential for proper alignment, creation of space, freedom of movement, breath and energetic flow.

CONTINUITY OF TIMING, ENERGY AND PACE As yoga teachers we are aware of the need for balance in order to create harmony within the body and mind. It is therefore necessary for us to use this awareness when assisting your student.

When assisting with any posture that has two sides, ensure you assist with both sides equally, in timing and in the actual physical application of the assist.

Ensure that your approach, pace and energy is equal on both sides to instil a sense of balance and harmony.

Do not be tempted to rush around the class, wanting to assist everyone in everything this is a common mistake made by teachers in their learning phase of assisting.

THE BREATH It is essential to attune your breath to your student and where their breath is erratic, for them to attune to your breath. Observing your studentâ&#x20AC;&#x2122;s breath allows you to see where there may be space to assist or enhance, but more importantly where you can assist the breath itself and facilitate space.

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STANDING TADASANA/SAMASTHITI Assisting Points 1.

1. Starting from the from the ground up 2. With your hands move the feet parallel 3. Press down or lift the arches, balls of the feet, inner and outer ankles to equalize the weight through the feet.

4. Lift, lengthen each individual toe and press down into the earth.

5. Enusre alignment of knees with ankles 6. Indicate with firm touch the lifting of the knee caps and the lifting/activation of the thighs 7. Stand to the right side of the student with feet slightly turned out and a little wider than hip distance for stability 8. With the right hand gently press the upper abdomen and lower ribs in and up, indicating lifting. withthe theleft lefthand, hand gently at the press back, in between the shoulder blades, gently press in and down 9. Simultaneously Simultaneously with and down.

Assisting Points 2. Standing from behind, same foot positions as ‘point.1’ 1.

Rotate the shoulders into proper alignment along with the arms to help open the chest

2.

Move the shoulder blades downward

3.

Place your thumbs at the base of the skull and the fingers to the sides of the skull, pointing upwards.

4.

Exert slight traction upwards with the thumbs. Ensure the lifting action does not take the weight out of the feet.

5.

6.

With your forearms draw the outside of the shoulders back and down.

The action of the thumbs combined with the forearms gives opposing force to increase length in the neck and uppermost back.

///////////// Common points of misalignment •Unequal weight distribution in the feet •Hyperextended knees •Bent Knees •Inactive Quadriceps •Torso tilted, forward, back, left or right •Sternum too lifted or retracted •Shoulders rotated inward •Head tilted, forward, back, left or right •Pelvis out of neutral alignment

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UTKATASANA 1. Stand behind your student with one foot a step in front of the other 2. Use the toes of your front foot to ground the heels of your student 3. Use the back foot to stabilise 4. Bend both knees 5. Use front knee to support and take some of the weight of their sit bones and pelvis back 6. Use your hands to draw their lower ribs down and in to stop rib flare. Alternatively use your hands to help relax and draw shoulders down ///////////// Common points of misalignment • • • • • •

Knees separate Weight is too far forward in the feet; in the toes Hips swing out to one side Hyper-Lordotic lumbar spine Ribcage flares excessively Head is thrown back too far

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VIRABHADRASANA I ///////////// Common points of misalignment • Hips not squared • Front thigh too high or low • Front knee too far forward, falls inward to midline or outward • Back knee bent, quadriceps inactive

• • • • •

Back foot not grounded Shoulders hunched Ribcage flared Extreme Lordotic Lumbar curve/collapse Head thrown back with collapse at the back of the neck

Assisting Points 1.

1. Standing behind your students back leg.

Place the inside edge of your foot (same leg/foot as their back leg) against the outside edge of their back foot to stabilise 2. Hold the outside of the hips (next to their hip crease) and encourage the hips to become square to the front of the mat, (Ensure their back knee is in alignment with the foot, adjust accordingly)

Assisting Points 2.

1. If there is hyper-lordosis in the lumbar spine, and the ribs are flaring 2. Hold the lower ribs at the front, as you stand at the rear of the student. Draw the lower ribs downward and in toward the back of the student

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Assisting & Adjusting Points 3.

1. Standing at the front of your student, stand either side of their front leg, left leg forward of the right preventing leg (for students right leg forward) - Have your left (outer leg) inner thigh and knee to prevent the

knee splaying out 2. Bend your right knee and with your right inner thigh squeeze their inner thigh to stabilise it and prevent the knee falling into the midline 3. Simultaneously press your outer (left) leg toward their hip and using your legs, either bending more at the knees or straightening a little, lift or lower their thigh toward parallel to the ground 4. With both hands encourage/indicate the rotation of the pelvis, torso, and shoulders to square forward 5. Rotate the the outer shoulders in/forward. Indicate the upward direction toward the palms/ ďŹ ngertips 6. Finally, place your hands at the base of their skull, to lift the base of the skull and release compression in the uppermost cervical spineâ&#x20AC;Š

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ARDHO MUKHA SVANASANA ///////////// Common points of misalignment • • • • • •

Rounded or over extended spine Over extended or flexed neck Shoulders hunched Hands not connecting to floor (cupped) Alignment of hands and wrists incorrect Distance between hands and feet too short or too long

• Distance between hands too short or too wide • Distance between feet too short or too wide • Quadriceps are inactive and the heels don't reach toward the floor • Too much weight in the upper body, weight not evenly distributed between hands and feet

Adjusting Points 1. (Lighter assists) 1. Check the distance between the hands and feet is neither too short or too long 2. Check the width between the hands is neither too wide or too narrow 3. Check the width between the feet is neither too wide or too narrow 4. Place your thumbs in between the shoulders, find the collarbones and spread the collarbones laterally.

5. Using your thumbs to find where the deltoid meets the bicep, wrap your fingers around the deltoid and laterally rotate the upper arms and shoulders

Assisting Points 2. (Lighter assists) 1. Standing at the front and to one side of your student, separate your feet forward and back 2. Place your front foot (stabilising) alongside one hand of your students hand. Use your back foot leverage, angling it slightly 3. Place one hand on their sacrum, and press backward and downward toward their heels 4. Simultaneously placing your other hand between their shoulder blades and indicate a lifting motion of the shoulders up toward the pelvis

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Assisting Points 3. (Bigger Assists) (fig.1) 1. Standing at the front of your student place your stability foot between their hands (front foot) 2. Place your back foot at a slight angle, this is your leverage foot 3. Bend your front knee 4. Place the palms of your hands on their sacrum (for extra grip) place thumbs on the sacrum and fingers to the sides of the hips 5. Press their pelvis backwards simultaneously with a downward (grounding) action

(fig.2) 1. Standing atbehind back of your student walk your feet alongside your students thighs 2. Interlink your fingers and wrap your hands and forearms around the outside of their hips, simultaneously bending your you knees and sitting your pelvis backward to a seated position 3. Your inner thighs add pressure to the outside of their thighs 4. Draw down and back toward yourself, to ground the pelvis, legs and feet

fig. 1

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fig. 3

(fig.3) 1. Standing atbehind back of your student walk your feet alongside theirs but wider, so your inner shins can press against their outer calf muscles 2. Crossing at the forearms, reach through their inner thighs, wrapping your palms and fingers around the front of their quadriceps (Keep the fingers together) 3. As you bend your knees and sit your pelvis down and back, simultaneously roll the front of their thighs in toward each other and backward toward yourself

[You can recreate this action using a belt]

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TRIKONASANA ///////////// Common points of misalignment • Feet misaligned, with uneven weight distribution • Hyper-extended knees, lack of engagement of quadriceps • Bent knees • Retracted pelvis • Front, lower ribs flared • Torso tilted forward or back, out of plane • Fingers, wrists, elbows, arms out of alignment • Uppermost arm too far back • Lack of upward and downward energy through the hands • Skull and neck out of alignment

Adjusting Points 1.

1. Check the feet and legs are aligned 2. Lift, lengthen and replace the toes back on the earth 3. Indicate with your fingers the lifting action of the inner ankle and arch of the foot 4. Press the ball of the big toe and baby toe down aswell as the inner and outer edges of the heels 5. Align the knee with the ankle and the hip 6. Indicate with your hand, the lifting action

fig. 1

required of the quadriceps

Assisting Points 2. (fig.1) 1. Stand with a stable stance side on, with your hip pressed against their nearest buttock/hip to create stability (Do not pull them off balance). Use your hip to press their hip crease deeper and shift their weight more into their back foot if necessary 2. With one hand, place the palm of your hand (fingers together) on the front of their hip and roll backward towards yourself, whilst pressing down toward their back foot 3. With your other hand cradle and support the base of their skull, lengthening their neck and encouraging the neck rotation

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Assisting Points 3. (fig.2) 1. Using points above in fig.2 fig.1 2. Place the palm of your hand in front of their top shoulder and roll it back to open the shoulder and draw the shoulder blade down and against the back 3. Use your hand to hold their wrist and indicate upward energy through the arm, wrist and fingers. Do not allow them to sink down into the lower hand

fig. 2

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VIRABHADRASANA II ///////////// Common points of misalignment • • • • • • • • • •

the back of the mat and innerankle anklecollapses collapses The back foot is turned out toward and backwards and thetheinner The outside edge of the back foot lifts The toes of the front and back foot are gripping and scrunched The back leg is bent and sagging The thigh of the front leg is not parallel to the floor and the knee is more or less than 90 degrees The front foot pronates and the knee falls inward or the foot supinates and the knee rolls outward The torso is leaning toward the front leg or too far forward or back The lower ribs flare excessively and the pelvis is excessively tilted anteriorly and the lumbar spine over arches The shoulders hunch around the ears and the back arm drops There is no energy through the fingers and the wrists are not straight

Assisting Points 1.

1. Establish even weight distribution, balance, alignment and activity through the feet with your hands to establish a firm foundation 2. Crouch down in-front of your students bent knee, with one knee down alongside the inner edge of their foot (your toes curled under) 3. Bring With the inner edge of your other foot alongside the outside edge of their foot.

And the inner edge of your shin along the outside of their calf muscle and your knee stabilising their knee 4. With one hand take their inner thigh near

fig. 1

to the knee joint and pull their inner thigh toward you toptop of their the crease hip crease andtheir externally their whilst thigh whilst 5. With Withyour yourother otherhand, handhold holdthe the their inner thighthigh nearnear the hip rotate thigh rotate externally

lengthening the outer thigh back toward the hip crease and down

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Assisting Points 2.

1. Standing at the back foot of the student with your toes pressing the outside edge of their foot down, to ground and anchor the back foot 2. Place one hand on the outer edge of their hip and hold it there to prevent the hip from lifting whilst holding their wrist closest to you and gently pull their upper body toward you to bring the spine straight and tall

ďŹ g. 3

Assisting Points 3. Fig.3 1. Kneel down behind the front hip of your student. With one knee down and the other supporting the underside of the thigh of the front leg near to the buttock 2. Apply a forward pressure to the underside of their front thigh whilst holding the top of their thigh and hip crease and pulling it back toward you to encourage external rotation of their hip 3. With your other hand hold their back hip crease and top of the thigh from the front and roll it back toward you Assisting Points 4.

1. Stand at the rear of the student and hold the top their shoulders near to the neck and lightly press down 2. Hold both wrists and pull gently in opposite directions, to the sides 3. Flatten out any kinks in the wrist, hand and ďŹ ngers with your hands (ďŹ rmly)

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BACK BENDS URDVHA DANHURASANA SETU BANDHA SARVANGASANA

fig. 1

///////////// Common points of misalignment • • • • • • • •

Feet are not parallel to each other and are too narrow or too wide Knees splay outwards (a belt at the thighs can help here) Knees are too far forward of the ankles Feet supinate, big toes and the balls of the feet lift off the floor Over flexing of the neck Sagging in the pelvis Shoulders inwardly rotate and lift off of the ground Neck and throat congestion

Assisting Points 1. (fig. 1) 1. Establish even weight distribution, balance, alignment and activity through the feet, knees and inner thighs with your hands, to establish a firm foundation 2. Move to sit behind the head of your student. Bend your knees and place your toes and the balls of your feet on the top of their shoulders. Apply a downward action and pressure away from you to ground the shoulders and relieve congestion in the neck 3. Place the palms of your hands around their shoulder blades, your fingers pointing in toward each other 4. Direct their shoulder blades in toward each other as you lift and pull toward yourself

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TWISTS ARDHA MATSYENDRASNA ///////////// Common points of misalignment • • • • • • • • • •

One sit bone is lifting Student sits on the heel The foot of extended leg is not flexed/active The foot is not pressed into the floor (all four corners are not down, the weight is in on the outside edge of the foot) The knee is lifting The hips are not squared and the pelvis is twisting The spine is rounding or leaning backward Shoulders and chest collapsed or shoulders hunched Neck over extended or flexed The twist is not initiated from the waist upward

Assisting Points 1. (fig. 1) 1. Where necessary use a blanket underneath the buttocks to establish and even seat.

Alternatively ask student to straighten the bottom leg to stabilise. With your hands ground the sole of the foot, lengthening toes and applying a downward pressure on the lifted foot. Move the foot out from under the sit bone. Encourage activity in the foot of the bottom leg to help lower the lifted knee

Assisting Points 2. (fig. 2) fig. 2

1. Stand behind your student use the inner edge of one foot and shin to prevent the pelvis from twisting and to support a lifting action of the spine. You can also use the same leg to facilitate the twist 2. With your other foot, place it at the top of the thigh of the underneath leg and apply a downward pressure as you simultaneously externally rotate the hip and top of the thigh 3. Place one hand at the front of the opening shoulder, incorporating a lifting action at the same time as externally rotating the shoulder 4. With your other hand place it against the inferior shoulder blade (fingers pointing downward) applying pressure downward and forward against the shoulder blade. Preventing the shoulder blade from flaring, and facilitating the twist

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fig. 3

Assisting Points 3. (fig. 3) 1. With the same stance, leg and foot position as in fig.2. Instead of using the hand at the shoulder blade, reach across to the furthest hip. Use your thumb in the hip crease and fingers down to the side of the hip and externally rotate the hip and top of the thigh.

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PARIVRITTA TRIKONASANA ///////////// Common points of misalignment • Feet are misaligned, too narrow or wide, back foot is turned out too far. Weight rolls onto the outer edge of front foot, the inner ankle and arch of foot collapses on the back foot • Weight is distributed too far back or of forward • The knees are not in line with the foot/second toe • The thighs are inactive, not engaged • The knees are not in line with the foot/second toe • Hip collapses/drops on one side • The back leg is bent and collapses • The spine doesn't have axial rotation, it rounds and bends to one side • The chest and shoulders are collapsed • The bottom hand cannot reach the floor, is too far forward or back • The spine is dropped too low toward the floor • The top arm is thrown backwards in an attempt to create the twist and the top hand is lacking in energy • The neck is not in axial rotation, but is over extended or flexed

Assisting Points 1. (fig. 1) 1. With your hands, and as necessary adjust the position of their feet and ensure the equal distribution of weight. Use a block and position it so that the lower hand can help to stabilise their own posture 2. Stand with a wide stance to the side of your student, next to the hip of their back leg. The front of your thigh and possibly hip against the outside of their hip. Do not pull them off balance. Use your leg to a downward and backward action in their back leg, to establish grounding in the back leg and establish and

foot 3. Your other foot can either align along the inside edge of their foot or even stand on the top of their front foot, to keep the inner edge and ball of their foot grounded 4. With one hand hold the outside of their hip crease (the hip furthest away from you) and draw it backward whilst creating external rotation 5. With your other hand place it at the front of their uppermost shoulder, externally rotating the front of their shoulder, encouraging opening

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Assisting Points 2. (fig. 2 & 3) 1. If the back leg is collapsing and the hip is dropping and overly rotating inward, using all of the same points as in fig.1, bend your knees more if necessary and use your thigh to to create lift and external rotation in the back leg.

This should also encourage activation of their quadriceps and grounding through their back heel 2. In addition with your front thigh and knee apply a little downward and away pressure to the back of their shoulder and shoulder blade to aid axial rotation of the spine, assisting the twist 3. You can also use the hand that is on the front of their shoulder to hold the base of their skull at the occiput to support and lengthen the neck

fig. 2

fig. 3

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Assisting Points 3. (fig. 4) 1. Finally keeping your student steady, direct proper alignment and energy in their top arm. Hold the wrist and then the fingers, opening the hand out and up

Assisting Points 4. and draw the the 1. To increase more length through the torso and and draw

hip farthest away back. Stabilise the pelvis/hips as before.

2. Use the elbow instead of the hand, leaning over your student a little to pulling the hip backward and externally rotate fig. 4

fig. 1

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FORWARD BENDS BALASANA ///////////// Common points of misalignment • • • •

Neck is extended and congested Buttocks do not meet the heels Spine cannot lengthen Shoulders are hunched

fig. 1

fig. 2

Assisting Points 1. (fig. 1) 1. If necessary place a folded blanket between the students buttocks, backs of the knees and the heels to establish a seat. It may also be necessary to use a soft block or folded blanket to place underneath the forehead to prevent too much flexion in the cervical spine 2. Standing to one side of your student, take a wide stance and slightly bend your knees 3. Place one hand (palm flat, fingers toward their head) on the thoracic spine in the centre and the other hand (palm flat, fingers toward their seat) on the centre of the sacrum 4. On their exhale apply pressure downward and toward the head and sacrum, creating an opposing force.

This action should ground the seat and lengthen the spine

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Assisting Points 2. (fig. 2) 1. Set everything up as in fig.1 2. Standing to one side of your student, take a wide stance and slightly bend your knees 3. Place one hand (palm flat, fingers toward their head) on one shoulder blade and the other hand (palm flat, fingers toward their seat) on the opposite side of the sacrum 4. On their exhale apply pressure downward and toward the head and sacrum, creating an opposing force, but this time on a diagonal. Then switch hands to the other shoulder blade and opposite side of the sacrum. This action should ground the seat and lengthen the spine

fig. 3

Assisting Points 3. (fig. 3) 1. Stand to the front of your student with feet as wide as their shoulders.

2. Slightly bend your knees and lean forward to hook your thumbs into the front of their hips at the hip crease. Your fingers extend along the outside of their hips toward the seat 3. Have them extend their arms forward and hold your ankles from the front and outside edges, their thumbs on the inside edges of your ankle 4. On their exhale apply a downward and backward pressure (away from yourself) through your hands. This action should ground their seat and deepen their hip crease into their body 5. Simultaneously ask them to press forward with their hands against the front of your ankles 6. You may want to straighten your legs and engage your thighs, it becomes a downward dog like posture for yourself This technique can also be applied to Baddha Konasana

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JANU SIRSASANA ///////////// Common points of misalignment • • • • • • • • • •

Neck is congested Shoulders are hunched, and uneven Chest is collapsed Pelvis is not grounded, one sit bone is lifted Extended leg is bent, quadricep is flaccid Foot of extended leg is not active and rolls in or out The soul of the foot of the bent knee is not turned up The knee is high off the floor (bent leg) The spine is not in the centre, one side of the rib cage and side flank is lifting The pelvis tilts posteriorly and the lumbar spine rounds fig. 1

Assisting Points 1. (fig. 1) 1. First establish a firm and stable seat. Perhaps lifting the pelvis slightly onto a folded blanket to increase anterior pelvic tilt 2. If the knee is high off of the floor, use folded or rolled blankets to support underneath the mid-upper thigh 3. Encourage activation of the foot and extended leg thigh 4. Using your hands at the top of the thigh at the hip crease (thumbs into hip crease, fingers on the outside of the hip facing down) externally rotate the thigh/hip of the bent knee. Whilst inwardly rotating the thigh/ hip of the extended leg Assisting Points 2. (fig. 1) 1. Move to stand behind your student, taking a wide stance using thee outside of their hips as a guide 2. Place one foot on the top of the thigh at their hip crease. Use the soul of your foot (toes forward and over the inner thigh). Apply a downward and backward pressure toward your heel with your foot to encourage external rotation. With your other foot, use the inside edge of your foot to block the opposite hip 3. Place your hands on the back and sides of their rib cage, lifting their torso up to move their spine into the centre and toward the length of the extended leg.

4. Then use your hands to even out the back of the torso, ribcage and spine, rotating the ribcage to prevent one side lifting 5. Apply a downward pressure and slight forward pressure with your hands to lengthen the spine forward, whilst maintaining grounding through their seat and external rotation in the hip of the bent knee, with your feet

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Assisting Points 3. (fig. 2) 1. Use the heel and achilles of one foot to anchor the bent knee leg into position, maintaining an open angle, working toward 45 degree opening 2. Your back foot is to stabilise yourself 3. Simultaneously apply points 3-5 in fig.

2 point.2

fig. 2

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PASCHIMOTTANASANA ///////////// Common points of misalignment • • • •

Neck is congested Shoulders are hunched Chest is collapsed The pelvis tilts posteriorly and the lumbar spine rounds when trying to move forward • The spine is very rounded throughout • Legs Leg are flaccid arebent bentororquadricep quadriceps flacid • Feet are not active and roll in or out

Assisting Points 1. (fig. 1) 1. First establish a firm and stable seat. If necessary use a folded blanket to elevate the hips and create anterior tilt in the pelvis.

It may also be necessary to offer a belt

fig. 1

around the feet to be held by their hands.

Encourage activation of the thighs and feet 2. Standing behind your student, place your hands on the top of their shoulders, fingers at the front, thumbs at the base of the skull on the occiput 3. Tuck your feet in to just below the sit bones, lift up onto the balls of your feet as you use the top of your feet and your shins to create lift and anterior tilt of their pelvis 4. Use the length of your shins along the length of their spine to press forward slightly. Simultaneously use your hands (thumbs to lift the occiput), and move the shoulder blades down the back

Assisting Points 2. (fig. 2) 1. As in fig.1 establish a firm and stable seat 2. Sit behind your student, with your hands behind your for stability and leverage 3. Bend your knees and place your feet together on your students sacrum. Your toes point upwards, the soles of your feet are along the top rim of the pelvis and your heels are

fig. 2

together at the centre of the sacrum 4. Apply forward & upward pressure with the feet, assisting anterior tilting of the pelvis

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Assisting Points 3. (fig. 3) 1. As in fig.1 establish a firm and stable seat 2. Kneel behind your student, (your toes curled under for leverage) with your knees and inner thighs pressing the outside of their hips. Apply pressure downward and back toward the seat, to create a firm foundation 3. Place your hands on either side of the mid thoracic spine, combining a forward and slight downward pressure to assist the forward fold

fig. 3

Assisting Points 4. (fig. 4) 1. As in fig.1 establish a firm and stable seat 2. Kneel behind your student, (your toes curled under for leverage) with your knees and inner thighs pressing the outside of their hips.

3. Hook your thumbs into your students hip creases, with your fingers pointing down along side the hip and upper thigh 4. Simultaneously move the front of your torso (abdomen and lower ribs) to lie flat on your students sacrum, lumbar and lower thoracic spine. Exert a forward and slight downward pressure with your torso, using your feet as

fig. 4

leverage. Your hands/thumbs roll the top of the thigh externally

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SAVASANA/RELAXATION SAVASANA ///////////// Common points of misalignment • • • • • • • •

Spine not aligned in the centre Feet too wide Excessive lordotic curve in the lumbar spine Shoulders hunched Hands and fingers clenched Neck over extended/head tilted back too far Jaw clenched and tense Unable to relax and let go

Assisting Points 1.

1. Standing at the feet of your student, bend your knees to bend forward and hold under the back of their ankles and heels 2. Circle the legs in small rotations, going in both directions, then little sway from side to side 3. Lift their legs, keeping them together. Lift the legs and pelvis, lengthening out the lower back and backs of legs 4. Place the soles of their feet against the front of your hips, holding the outside edge of their calf muscles.

Lean forward a little onto the feet, just until you meet the resistance. The action here is to ground the back of the pelvis. Be careful not to create more of and arch in the lower back 5. Then move the bolster into place with your feet at the back of the thighs just above the knee line 6. Lengthen and lower their legs down and over the bolster 7. If the knees are very high, it may be good to lift both feet at the same time onto flat (low level blocks) so as not to arch the lumbar spine 8. Hold the fronts of both shins and ankles and apply a light pressure down to give a sense of grounding Assisting Points 2. feet to the left side side of their hips, bend your 1. Standing Standingwith withboth both feet either

knees and reach down to hold their left wrist 2. Gently pull and lift the arm and draw it a little across their body, to lift the back of their shoulder blade away from the floor 3. Use your other hand to reach under the shoulder blade and lengthen the the bottom of their shoulder blade toward yourself. Simultaneously externally rotating the arm a little 4. Do the same on the other side

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Assisting Points 3.

1. Move to kneel at the head of your student 2. Place the heels of your palms at the top, front of their shoulders, fingers pointing forward and out slightly 3. Apply a firm pressure down and out to the the sides to further open the chest and ground the back of the shoulder blades Assisting Points 4.

1. Sit down now, bend your knees and place your feet at the top of the shoulders, toes pointing up, heels against the shoulders 2. Cradle the base of their skull, fingers at the base of the skull, thumbs on the occiput 3. Gently lift the head, massage the occiput and base of the skull and neck with your fingers and thumbs 4. Tilt the head very slightly so the chin moves down in the direction of their chest 5. Apply a down and forward pressure with your feet as you very gently lengthen the cervical spine 6. Keeping the chin slightly down toward their chest, lay their head back down, ensuring its in the centre line of the spine Assisting Points 5. (fig. 1 - Face Massage) 1. As you move to massage the face, release the feet from their shoulders and rest them to the sides 2. It might be a good idea to now wipe the hands with a cloth 3. If you are using an oil ensure not to use a nut oil incase they have a nut allergy. Grape seed oil is a great carrier oil. Lavender, Sage, Rosemary, Geranium or Lemon Myrtle are great oils to use to either relax or lift mood 4. If using a balm or oil, rub your hands together and hover your palms above the face, so the student can breathe it in 5. Then place your hands with your fingers down the sides of their cheek bones and your thumbs in the centre of the forehead.

6. Massage outwards towards the temples across the brow bone with your thumbs, then with your fingers from the centre of the lower jaw at the chin, along the jaw line, upto the cheekbones, around the side of the head and down behind the ears.

fig. 1

7. Then from the sides of the neck upwards towards the ears 8. Then from the cheekbones sweeping out to the ear lobes. Then massaging around the edges of the ears, from earlobe to the top. Use both hands simultaneously to do both ears

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Bibliography/Credits !

Photos: Constance and Russell Hansen Guzman: Yoga Assists: A Complete Visual Guide To Yoga Asana Assists, Sharon Gannon and David Life 2012.

Oliver Fokerd: Teaching Yoga, Adjusting Asana: Based on the Astanga Primary Series, Melanie Cooper, 2013 Inflextion Publishing: The Art of Adjustments: the Yoga Teacherâ&#x20AC;&#x2122;s Guide to Safe Hands-On Assists, Alana Kaivalya, 2013

!

Books: Yoga Assists: A Complete Visual Guide To Yoga Asana Assists, Sharon Gannon and David Life 2012.

Teaching Yoga, Adjusting Asana: Based on the Astanga Primary Series, Melanie Cooper, 2013 The Art of Adjustments: the Yoga Teacherâ&#x20AC;&#x2122;s Guide to Safe Hands-On Assists, Alanna Kaivalya, 2013

! !

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BANDHAS

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BANDHAS Bandhas are an integral and essential part of asnana practice and advanced pranayama practice. They are practiced in order to awaken the potential psychic energy known as “kundalini,” which is said to reside in a coiled, dormant state at the base of the spine. The bandhas regulate the flow of prana (life force) within subtle energy channels known as nadis.

Bandhas are a series of internal energy gates or centres within the subtle body which assist the regulation and flow of prana.

The word ‘bandha’ means “lock”. Bandhas are used along with mudras to lock and to seal the prana within certain areas. When engaging in

locks (holding the bandhas), energy is forced to flow through these pathways. We are then able to assimilate this energy on a cellular level as the prana bathes and feeds our subtle body and balances the gross nervous system.

The three main bandhas applied in asana and advanced pranayama practice are: Moola bandha (Mula bandha), Uddiyana bandha and Jalandhara bandha.

Jalandhara bandha and Uddiyana bandha are engaged simultaneously during breath retention, uniting prana and apana. Engaging all three bandhas simultaneously is called Maha bandha

Image: actioninsolitude.com/wp-content/uploads/2015/03/IMG_0911.jpeg

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MULA BANDHA (MOOLA BANDHA)/ ROOT LOCK Mula bandha is the force or energy created by lifting the pelvic floor and controlling the breath.

bandha is not a hard contraction by force of the muscles surrounding it – it is more subtle than that.

Mula bandha increases flexibility and stimulates heat. By contracting the perineum and drawing the energy up from the base of the spine, one can intensify and direct the life energy, cultivating a sense of heightened awareness and increased vitality.

Mula bandha can be experienced by setting the thighs back, increasing lumbar curvature in the spine, then allowing the tail bone to grow heavy, encouraging the abdomen to tone and the base of the pelvis to lift.

Mula bandha ignites the flame of kundalini (cosmic energy), the serpent power. By bringing awareness to the core of the body, it helps to prevent injury, guiding you to move from your centre, grounding you so you can become light and fluid in your yoga practice.

FINDING MULA BANDHA Located between the anus and genitals, it is the perineal muscle for men. For women, its location is near the top of the cervix. The engagement of Mula

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Setting the thighs back sets the femur heads back and creates expansion in the pelvic area

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Dropping the tail bone firms the flesh of the buttocks. The lower abdomen lifts from the pubis to the navel

The synergy created by these two complimentary, yet opposing forces creates Mula bandha. Rather than a hardening or bearing down on the pelvic floor area, a lift is created, similar to drawing the last half-inch of a milkshake up a straw.

Image: satyaliveyoga.com.au/files/2013/01/Mula-Bandha.jpg

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UDDIYANA BANDHA / ABDOMINAL LOCK Located a little below the navel, Uddiyana bandha means “flying upward,” referring to its effect on prana and the movement of Shakti. Described as a bird, Shakti flies upward with ease directing prana, toward higher states of consciousness.

of the solar plexus is drawn in and up, lifting and toning the abdominal area. In the full expression it is performed by exhaling fully and then drawing the lower belly inward and upward while lifting the diaphragm.

By contracting the lower abdomen and pulling it inward and upward, toward the spine, a powerful toning effect and internal strengthening occurs.

This lifting action helps to push up the diaphragm and expel the breath.

FINDING UDDIYANA BANDHA

This level of Uddiyana bandha would be used in the practice of exhalation retention in pranayama but, due to the inability to inhale while performing it to this level, simply maintaining a stillness about three fingers below the navel allows space for the diaphragm to drop during each inhalation. As the diaphragm drops, the breath is encouraged to move into the side ribs, back and chest. On each exhalation the abdominal muscles encourage a complete emptying of the lungs.

Uddiyana bandha is best approached in the same manner as Mula bandha, with a minimum of outer hardness or contraction.

The procedure takes practise, and the subtleties of the relationship between breath and bandhas need to be explored experientially.

In the process of performing this lock, the centre

Image: blog.yogasynergy.com/2012/09/spinal-movement-sequence-part-21-uddiyana-bandha-mueller-manouvre-with-mula-bandha-including-external-obliques-on-exhalation-retention/

FOCUS ON MANIPURA CHAKRA The solar plexus is located just back of the pit of your stomach on either side of the spinal column. The name “solar” is well bestowed upon this major nerve plexus, as it radiates energy to all parts of the body. According to the yogic texts it is the great storehouse of prana, the manipura chakra.

Other Eastern cultures link it to the hara, dan tien, centre of chi or ki. It’s the centre of our being from the umbilical cord to adulthood. It’s the place where you get that gut feeling, the intuitive sense. It is necessary to keep it healthy, tuned in and alive.

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JALANDHARA BANDHA / CHIN/THROAT LOCK Jalandhara bandha is the water pipe lock. It bonds a network of subtle energy channels.

The Hatha Yoga Pradipika says that when this bandha is engaged it is useful for alleviating diseases of the throat and improves prana in the thoracic region.

When Jalandhara bandha is performed, it exerts pressure on the multitude of major nerve fibres passing through the neck, and the flow of nervous impulses to the brain is temporarily restricted.

These impulses collect in the cervical plexus, and when the bandha is released they flood with force back to the brain, activating the higher centres of creativity and intellect.

Next, the back of the head extends toward the sky and the chin itself moves into the notch which is formed where the two clavicle bones meet.

Place the top of the tongue flat against the roof of the mouth and slide it back so that a vacuum is created in the back of the throat. At the same time press the chin firmly against the chest.

The lock occurs spontaneously in some postures such as shoulder stand, but is not used as extensively as the other two locks.

FINDING JALANDHARA BANDHA This lock is created by lifting and rolling the shoulders back to first broaden and lift the chest.

Image: Hatha Yoga Pradipika by Swami Muktibodhananda

MAHA BANDHA / GREAT LOCK Maha bandha combines Mula, Jalandhara and Uddiyana bandhas. This bandha is applied in a seated position after exhaling completely.

To release: release Mula, Uddiyana and Jalandhara in that order.

This bandha is said to enhance the benefits of all three previous bandhas, and should only be performed once the previous three have been mastered.

The Hatha Yoga Pradipika says Maha bandha affects the hormonal secretions of the pineal gland and can therefore regulate the whole endocrine system.

The whole body is rejuvenated and introverts the mind ready for meditation. When fully mastered, it can awaken prana in the main chakras leading to the energies of all the pranayamas to merge; prana, apana and samana.

FINDING MAHA BANDHA To apply Maha bandha: apply Jalandhara, Uddiyana and Mula in that order. Hold the breath and the bandhas as long as possible.

Image: krishanamcharysaoriginalashtanga.blogspot.co.uk/2012/05/uddiyana-kriya-and-asana-in.html

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DRISTI

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DRISTI The practice of dristi is a gazing technique often associated with the practice of ashtanga vinyasa, where there are nine specific points to gaze.

Dristi is applied in other yogic practices, such as the kriya (cleansing) technique of trataka, or candle gazing, whereby the eyes are held open until tears form. This technique not only gives the eyes a wash but also challenges the student to practise overriding unconscious urges – in this case, the urge to blink.

Sometimes in meditation and pranayama practices, the eyes are held half-opened and the gaze is turned up toward the third eye or the tip of the nose. In the Bhagavad Gita (VI.13) Krishna instructs Arjuna, “One should hold one’s body and head erect in a straight line and stare steadily at the tip of the nose.” When using the inner gaze, sometimes called antara drishti, the eyelids are closed and the gaze is directed in and up toward the light of the third eye.

The practice of dristi develops concentration – and teaches us to see the world as it really is. When we get caught up in the outer/surface appearance of things, our prana flows out of us as we scan the stimulating sights. Allowing the eyes to wander creates distraction and leads us further away from yoga.

To counteract these habits, control and focus of the attention are fundamental principles in our yoga practice. When we control and direct the focus, first of the eyes and then of the attention, we are using the yogic technique called dristi.

The full meaning of drishti isn’t limited to its value in asana. In Sanskrit, drishti can also mean “a vision, a point of view” or “intelligence and wisdom.” The use of dristi in asana serves both as a training technique and as a metaphor for focusing consciousness toward a vision of oneness.

Our eyes can only see objects in front of us that reflect the visible spectrum of light, but yogis seek to view an inner reality not normally visible. We become aware of how our brains only let us see what we want to see – a projection of our own limited ideas. Often our opinions, prejudices, and habits prevent us from seeing unity. Used in this way, drishti becomes a technique for removing the ignorance that obscures this true vision.

ASHTANGA: 9 POINTS OF FOCUS 1.

Nasagrai Dristi Tip of the nose

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Broomadya Dristi / Ajna Chakra Dristi Third eye

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Nabi Chakra Dristi Navel

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Angusta Ma Dya Dristi Thumb

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Hastagrai Dristi Hand

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Padahayoragrai Dristi Big toe

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Parsva Dristi Far to the right

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Parsva Dristi Far to the left

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Urdhva Dristi / Antara Dristi Up to the sky

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THE SUBTLE BODY YOGIC ANATOMY

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Image: kundalinistudio.com.au/wp-content/uploads/2015/08/70c92798-e066-4644-a016-8dc0a0fcdc92.jpg

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PRANA & VAYUS WHAT IS PRANA? Prana is the Sanskrit word for the life force. The root ‘pra’ means “first” and ‘na’ means the “smallest (or most basic) unit of energy” – so prana is the first or fundamental unit of energy.

Prana is an auto-energising force which creates a magnetic field in the form of the universe and plays with it, both to maintain and to destroy for further creation. It permeates each individual, as well as the universe, at all levels. It acts as physical energy; mental energy, where the mind gathers information; and as intellectual energy, where information is examined and filtered. Prana also acts as sexual energy, spiritual energy and cosmic energy. All that vibrates in this universe is prana: heat, light, gravity, magnetism, vigour, power, vitality, electricity, life and spirit are all forms of prana. It is the cosmic personality, potent in all beings and non-beings. It is the prime mover of all activity. It is the wealth of life.

This self-energising force is the principle of life and consciousness. It is the creation of all beings in the universe. All beings are born through it and live by it. When they die, their individual breath dissolves into the cosmic breath. Prana is not only the hub of the wheel of life, but also of yoga. Everything is established in it. It permeates life, creating the sun, the moon, the clouds, the wind, the rain, the earth and all forms of matter. It is both being (sat) and non-being (asat). Each and every thing or being, including man, takes shelter under it. Prana is the fundamental energy and the source of all knowledge.

The practices of yoga – both asana and pranayama – are used to optimise the function of these vayus as well as bring them under our control, so that their energies can be used to uplift oneself.

There are 49 prana vayus or types of vayu in the body; 10 of these are directly responsible for mental and physical activities. Of these 10, five are of interest to the yogi for progressing in his practice; the others govern involuntary physiological functions.

Each of these five principle vayus govern specific areas of the body, and can be thought of as elemental forces that are not just physical, but govern emotional qualities and mental powers that are fundamental to a healthy personality and sense of self. As we will see, an understanding of the chakras is incomplete without an understanding of the nature of the prana vayus, since the chakras are manifestations of the energy of the prana vayus.

THE 5 PRINCIPLE VAYUS The five prana vayus are the energies (pranas) of the body that regulate and control all bodily functions.

The word ‘vayu’ means “wind”, so the prana vayus can be thought of as the “energy winds” of the body. When these energies are balanced, the body is healthy and all of its functions are optimised.

Through understanding our own imbalances of these pranas, we are able to restore the balance of these energies and the health of the body.

VYANA VAYU

THE PRANA VAYUS As prana operates within the body to maintain life, it performs distinct functions and receives specific names according to the form and specific function that it performs. In each case this particular form of prana is called a ‘vayu,’ which is sometimes translated as “wind.” The root ‘va’ means “that which flows” – and so a vayu is a vehicle for activities and experiences within the body, or a ‘force’ that moves in a specific way and in a specific area of the body that it governs.

Vyana is the movement of energy from the core of the body out to the extremities. It is associated with circulation and the peripheral nervous system.

When it is deficient, it can lead to poor peripheral circulation and numbness.

UDANA VAYU Udana vayu is the ascending movement of energy in the region of the head and neck. It energises our thought, growth, communication and sensory perception. When it is blocked, there may be problems around communication and mental clarity.

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PRANA VAYU

APANA VAYU

Prana vayu is an inward-moving energy in the region of the heart and lungs. It energises our respiration and circulation of the heart region, as well as our sensory perception (along with Udana).

When this energy is blocked or deficient, it may lead to heart and lung conditions and lethargy.

Apana vayu is the downward-flowing, grounding energy in the lower half of the body. It is responsible for elimination, reproduction, and childbirth.

Imbalance can lead to constipation, haemorrhoids, sexual dysfunction and menstrual problems.

SAMANA VAYU Samana vayu is a centring, stabilising energy in the abdomen and it is associated with our digestive fire or agni. It energises our digestion and metabolism, and regulates our internal environment. Imbalance of this energy leads to digestive problems.

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Image: yoganirvana.com/wp-content/uploads/2011/08/koshas1.gif

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3 BODIES, 5 KOSHAS When charting the landscape of ‘the self’, it is useful to have some means of navigation. Traditionally in yoga – from the time of Vedanta – it was recognised that we have not just one body, but three and five ‘sheaths’ or layers of being, each layer having its own level of experience.

Written about in the Upanishads, the kosha model navigates an inner journey – starting from the periphery of the body and moving towards the core of the self: the embodied soul. While this may sound esoteric, the koshas are both a practical and profound contemplative tool that can help you deepen your yoga practice and the quality of your participation in life.

THE 3 BODIES 1. PHYSICAL/GROSS BODY The gross physical body, known as Stula Sarira, is composed of five elements: earth (prithivi), water (apas), fire (agni), air (vayu), ether (akasha). Its stages of existence are birth, growth, change, decay.

Containing Sheath: Annamaya Kosha (Food Sheath)

2. ASTRAL/SUBTLE BODY The astral body, Linga Sarira or Sukshama Sharira, is the means of experiencing pleasure and pain. It is composed of 19 elements:

Containing sheath: Pranayamaya Kosha (vital sheath), Manomaya Kosha (mental sheath) and Vijnanamaya Kosha (intellectual sheath)

3. CAUSAL BODY The causal body, or seed body, known as “Karna Sharira,” is the blueprint for both the gross and subtle bodies. It contains the samskaras – subtle impression of all lives lived.

Containing sheath: Anandamaya Kosha (blissful sheath) The astral and causal bodies remain together. They leave the physical body at the time of death.

THE 5 KOSHAS/ SHEATHS 1. ANAMAYA/FOOD In the gross physical body, it is composed of the elements of the physical world. Made of food, it will go back into the food cycle after death. Existence, birth, growth, change, decay and death are its qualifications. Purification is through the practice of asana and proper diet.

2. PRANAMAYA/VITAL

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Five organs of action (karma indriyas)

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Five organs of knowledge (senses, Jnana indriyas)

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Five pranas/vayus (life forces)

In the astral body, it is composed of the five vital energies: prana, apana, samana, udana and vyana, plus the five organs of action (karma indriyas): mouth, hands, feet, anus and genitals.

It experiences hunger, thirst, heat and cold.

Purification is through the practice of pranayama.

•

Four elements of antahkarana (inner instruments)

3. MANOMAYA/MENTAL

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Mind (manas)

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Intellect (budhi)

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Subconscious (citta)

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Ego (ahamkara)

In the astral body, thinking, doubting, anger, lust, exhilaration, depression and delusion are its workings. Purification is through the application of yamas, niyamas and selfless service. It constituents are: •

Manas (mind) – thoughts and doubts

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Citta (sub-conscious, storehouse/memory)

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Jnana indriyas (senses)

4. VIJNANAMAYA/ KNOWLEDGE The astral body consists of the budhi (intellect) which analyses and determines the true nature of any object and ahamkara (ego) the self-assertive principle, working with the Jnana indriyas (senses). Discrimination and decision making are its functions. Purification is the through study of the scriptures, and the question of “Who am I?”

5. ANANDAMAYA/BLISS The causal body experiences bliss, joy, calmness and peace. Purified and transcended through samadhi.

There is a feeling of wholeness and integration – a sense of arriving at your destination, even if you are only there for a moment. This is the radiant core where unconditional love and communion with life arises. In the Upanishads, this bliss body is described as having “joy as the head, contentment as the right arm and delight as the left, bliss as the heart, and Brahman [universal self] as the foundation.”

so we use intellect (budhi). However, the intellect cannot directly come to a final conclusion without inquiring and comparing with the submerged experiences lying within the subconscious mind (chitta).

Intellect now analyses by using the Jnana indriyas (senses). It uses touch, feeding back to the intellect, to discern the texture, then into the subconscious (citta) to compare this experience of the object with all other sensual experiences lying within the subconscious. It smells the object and compares it with previous experiences. It tastes the object and compares likewise. Intellect says, “It smells and tastes like a flower, but it could still be artificial,” (doubting – manas).

After diving deep into the subconscious and comparing this experience with thousands already stored there, intellect comes to a conclusion.

There is no more thinking and doubting, no more analysing.

Now ego (ahamkar) asserts, “I know, it is a flower and not artificial.” If, however, after searching and comparing, the intellect did not find any similar colour, texture, taste or smell in the subconscious, then ego would assert, “I do not know.”

Throughout your life, you have accessed this part of yourself. Children go there regularly, as do musicians and dancers. And so do beginning yoga students.

Whether we touch this bliss body every day or in every practice is not the point of the journey.

INTEGRATION OF THE 5 KOSHAS It is possible to understand the integration of the koshas in the following way: We first look at an object. This information is relayed, via the retina of the eye, via the optic nerve, to the brain. From the brain, it is transmitted to the mind (manas). If looked at from a distance, it will be extremely difficult to decide what the object is.

Image: robzabelyoga.com/student_resources_files/koshas%20and%20chakras.jpg

Mind (manas) now starts thinking and doubting whether the object is a flower, or piece of plastic etc. For a conclusion to be reached about the nature of the object, it must be analysed further,

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NADIS The word ‘nadi’ means “duct” or “conduit” and is sometimes referred to as “stream/s”. These pathways are not “tubes”, veins, arteries or even nerves, as is often mistaken. The nadis are energetic currents, distinguishable flowing pathways within the luminescent energy field of the subtle body. (This subtle energy field can be likened to what one would see in an “aura” scan).

Yoga scriptures tend to mention 72,000 nadis in total, while some speak of as many as 300,000. These large numbers are not thought to have been given as an exact number but more to give the idea that there are a huge and possibly inconceivable number.

Image: subtleanatomy.com/Nadi%20Map.jpg

The nadis are channels in the astral body through which the vital force of prana flows. Like electricity, the life force (prana) condensed in the subtle body, travels along the nadi.

Several of the Yoga Upanishads name 19, giving them names and specific physical locations.

All nadis originate at the “bulb” (kanda, kanda), a structure shaped like a hen’s egg which, according to some texts, is between the anus and the penis or clitoris. Other texts locate it at the navel.

SUSHUMNA, IDA, PINGALA The three main pathways are universally recognised in yogic literature. The central/axial pathway, running along the spine is known as sushumna nadi, which means “she who is most gracious”. It is also called brahma nadi, because it is the trajectory of the ascending kundalini Shakti, the awakened “serpent power”, the most powerful of all psychic energies, that leads to liberation.

To the left of the axial current lies the ida nadi, and to the right the pingala nadi. Respectively they are symbolised by the cool moon and the hot sun.

These two pathways form a helical winding stairway around the sushumna. They meet at each of the six lower cakras [chakras], concluding at the centre situated behind and between the eyebrows. Only the sushumna extends all the way from the bottom cakra to the crown centre.

Image: leonardperlmutter.com/web%20images/Ida_Ping_closed.JPG

THE 3 PRINCIPLE NADIS

The tantric/kundalini yogin’s principal challenge is to stabilise the energy in the central pathway.

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For as long as prana oscillates up and down the ida and pingala, attention is externalised and the yogin’s consciousness is dominated by the opposing lunar and solar forces.

By forcing prana along the sushumna, the usually dormant kundalini energy is awoken, rushes upwards toward the crown chakra

(sahasrara) and leads to the blissful, ecstatic state of samadhi.

Knowledge of the functioning of the ida and pingala nadis is deemed elementary in hatha yoga. Their activity governs, on a physical level, the responses of the sympathetic and the parasympathetic nervous systems respectively.

THE 7 CAKRA SYSTEM The Tantras and hatha yoga texts refer to seven, nine, eleven and more cakras (“wheels”) located along the bodily axis. The Buddhist tantric tradition knows of only five. This difference in number indicates that the cakras are not like our physical organs which are clearly identifiable, but more a subtle, perceptible field of energy.

Some Sanskrit texts also connect each cakra with specific mental qualities, and this aspect has been further developed by some Western psychologists (e.g.

Maslow).

Within the hatha yoga school, direct experience though sustained practice is the informing principal behind the cakra system.

The seven centres, which are usually pictured as lotus flowers, are said to become activated when a strong current of prana flows into them or when kundalini itself rises into any given cakra.

However, just as when these psycho-energetic centres are active when the serpent power reaches them, they become depleted as soon as the kundalini moves on in its ascent.

The final destination of the kundalini is the “thousand-petalled lotus” (sahasrara) – at the crown centre. There, the dynamic kundalini force (an aspect of the divine Shakti) reunites with the static transcendental power or Shiva. This reunion is experienced in the blissful state of ecstasy (nirbikalpa samadhi). This state is said to release a “shower of nectar” (a special kind of spiritual energy) that fills up the body and, as the ecstasy is repeated, gradually transmutes every cell.

After nirbikalpa samadhi, it is necessary for the yogi to carefully guide the serpent back to its resting place at the base of the spine.

The scriptures unanimously warn about the possible risks of awakening the serpent power. The kundalini is said to lead sages to freedom but fools into deeper and more profound bondage.

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MUDRA

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MUDRA Mudra is a term with many meanings. It is used to signify a gesture, a mystic position of the hands, a seal, or even a symbol. There are eye positions, body postures and breathing techniques that are all considered mudras.

These symbolic finger, eye and body postures can vividly depict certain states or processes of consciousness. Conversely, specific positions can also lead to the states of consciousness that they symbolise.

Mudras therefore engage areas of the brain and/or soul exercising a corresponding influence on them.

Mudras are also effective on the physical level. We can effectively engage and influence our body and our mind by bending, crossing, extending or touching the fingers with other fingers.

In hatha yoga, there are 25 mudras. These also include eye and body positions (asanas) and locks (bandhas).

Image: globallightminds.com/2013/06/meanings-ofbuddha-hand-gestures/

In kundalini yoga, the hand mudras are used during the body postures to intensify their effect. The kundalini expert Lothar-Riidiger Liitge explains: â&#x20AC;&#x153;In this respect, kundalini yoga assumes that every area of the hand forms a reflex zone for an associated part of the body and the brain. â&#x20AC;&#x153;In this way, we can consider the hands to be a mirror for our body and our mind.â&#x20AC;?

Each mudra ultimately creates a special connection to cosmic consciousness (or however you prefer to refer to the Divine). This symbolism in particular is the basis of the best-known hand mudra in yoga: Chin Mudra.

For example, a person who frequently and fervently does the gesture of fearlessness (above, abhaya mudra), which can often be seen in the depiction of Indian deities and Buddha, will also be freed from fearfulness over time.

The thumb is symbolic of cosmic (divine) and the index finger is symbolic of individual (human) consciousness. The ultimate or primary goal of yoga is the oneness of humanity with cosmic consciousness. With this gesture, the human being expresses this desire, this longing.

Image: ayurvedayogapractice.com/wp-content/uploads/2012/08/chin-mudra-on-ganges-flipped-500x300.jpg

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MANTRA

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MANTRA Mantra yoga has its origin in the Vedic sciences and in tantra – in fact all the verses in the Vedas are called mantras.

It is said that any person who can chant or sing Vedas can achieve the ultimate salvation or union with the supreme consciousness by chanting mantra alone, which is the aim of mantra yoga.

Mantra is a Sanskrit word made up of two verbs, ‘man’ and ‘tra.’ ‘Man’ means “to think” and ‘tra’ means “to halt.” It is also referred to as “yoga of potent sound” and is an effective and easy way to achieve the difficult state of Pratyahara.

When you chant mantra, you are repeating a particular combination of words, which is rotating your awareness around the combination.

Mantra has been compared to concentrated sun beams through a convex lens; consciousness being concentrated and made powerful by repetitive chanting of mantra.

THE GROUPING OF SOUND VIBRATIONS

It is the gateway to your subconscious mind and lies at the base of your conscious awareness. The voice of Alpha is your intuition, which becomes clearer and more profound the closer you get to 7.5Hz. Mantra is therefore able to affect the subconscious mind and facilitate change; removing negative patterns such as fear, anger and jealousy and making it possible to replace them with positive impressions.

Through the sound vibration of chanting, the vagus nerve is stimulated, giving rise to more dominant parasympathetic activation, soothing the nervous system and reducing stress and it’s side effects.

METHODS OF CHANTING •

Baikhari (audible and normal voice) Removes thoughts Easy conceptualisation of thoughts Makes meditation easy

•

Upanshu (whispering) Long duration chanting (eight to 10 hours) Purposeful mantra repetition, e.g. for wealth, health, land acquisition or happiness Samskaras can be corrected with this type of chanting

•

Manasik (mental/quiet) Subtle form of chanting Commonly used by advance practitioners Leads to higher states of awareness

AFFECTS THE MENTAL & PSYCHOLOGICAL PLANES Mantra is fundamentally chanting a combination of various alphabets or “Akshar” as its called in Sanskrit.

The combined effect of sound vibrations on the physical plane can be observed on our brainwaves.

Studies have shown increased alpha brainwave activity during chanting of Om and Gayatri Mantra.

[Analysis Of Acoustic of “Om” Chant To Study It’s Effect on Nervous System, Ajay Anil Gurjar, Siddharth A Ladhake, Ajay P Thakare, Sipna’s College of Engineering & Technology, Amravati (Maharashtra), India] Alpha brainwaves are present in deep relaxation and usually when the eyes are closed, when you’re slipping into a lovely daydream or during light meditation. It is an optimal time to program the mind for success and it also heightens your imagination, visualisation, memory, learning and concentration.

THE 40-DAY PRACTICE The period of 40 days has been widely recognised as an auspicious period both in the East and the West since ancient times.

A traditional way to do an extended mantra practise is to choose a number of repetitions per day, and to do that for 40 days.

The mind likes to have a beginning and an end to a practice, a sense of completion, such as that which comes with a 40-day (or longer) practice.

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2.

3.

Fixed time per practice session: the mind finds comfort in knowing that it will do the practice of one round of 108 repetitions (or some other number of rounds), and that each round will take a predictable amount of time (18 minutes per round of 108 repetitions) Same number of rounds: the mind also likes the predictability of doing a certain number of rounds per day. The mind may resist at times but, once it gets started in the practice, mind likes the habit

months a practice will take to complete. This can be very beneficial in stabilising a noisy mind, which is a common complaint.

It has been said that there is freedom in discipline; choosing to do a regular practice frees the mind from wondering what practice will be done that day. It is also important not to do the mantra practice with rote repetition, but rather with feeling and awareness.

By running your own experiment for 40 days, you can decide for yourself whether the practice is beneficial or not.

Specific number of days: the mind also likes the plan of knowing how many days or

THE SACRED SYLLABLE OM Another prominent teaching of the Upanishads relates to the mantra Om. A mantra, as we already know, is a spiritually empowered sound (a syllable, word or entire phrase), which is thought to have a focusing and transformative effect on the mind.

Although the mantric syllable Om is not mentioned in the four Vedas, it is hinted at in various places Even in the subsequent Vedic literature, the sacred syllable is referred to mostly indirectly as “humming [sound]” (paranoia) or “chant” (udghita) – a practice still found in the early Upanishads.

The importance of the sound Om can be gauged from the following statement in the Chandogya Upanishad (1.9.4): So long as your descendants will know this udghita [i.e., Om], their life in this world will be the highest and best.

It is only in the late Mandukya Upanishad, which probably belongs to the 2nd or 3rd century AD, that we encounter a fully-fledged teaching about the sacred syllable Om. Here, Om is explained as having three constituent parts – namely A + U + M – which are said to symbolise past, present and future, as well as walking, dreaming and deep sleep.

In addition, there is a fourth part that transcends the other three, just as the ultimate reality pervades the empirical world but also transcends it.

The sage who composed the Mandukya Upanishad equated Om with the Self (atman). He believed that he who has fully realised the hidden meaning of Om has also realised the Self. Which is to say, that one is enlightened or liberated.

GURU

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OM ASATOMA

LOKAH SAMASHTAH

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GAYATRI

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PURE BODY |

JEWEL |

WISDOM |

UNITY

OM SYMBOLISES THE PRACTITIONER’S IMPURE BODY, SPEECH AND MIND. IT ALSO SYMBOLISES THE PURE EXALTED BODY, SPEECH AND MIND OF A BUDDHA. MANI, MEANING JEWEL, SYMBOLISES THE FACTORS OF METHOD: ALTRUISTIC INTENTION TO BECOME ENLIGHTENED, COMPASSIONATE AND GUIDED BY LOVE. PADME, MEANING LOTUS, SYMBOLISES WISDOM. PURITY MUST BE ACHIEVED BY AN INDIVISIBLE UNITY OF METHOD AND WISDOM, SYMBOLISED BY THE FINAL SYLLABLE HUM, WHICH INDICATES INDIVISIBILITY “THE SIX SYLLABLES, OM MANI PADME HUM, MEAN THAT IN DEPENDENCE ON THE PRACTICE OF A PATH WHICH IS AN INDIVISIBLE UNION OF METHOD AND WISDOM, YOU CAN TRANSFORM YOUR IMPURE BODY, SPEECH, AND MIND INTO THE PURE EXALTED BODY, SPEECH, AND MIND OF A BUDDHA.” — TENZIN GYATSO, 14TH DALAI LAMA

BUDDHA DHAMMA SANGHA BUDDHA DHAMMA, BUDDHA DHAMMA SANGHA HE (Praise to the enlightened one, his teachings and the spiritual family and seekers of truth)

GATE GATE PARAGATE GATE GATE PARAMGATE, PARASHAM GATE, BODDHISWAHA (Going, going on beyond to the other side, always becoming Buddha)

GANESHA SHARANAM GANESHA SHARANAM, SHARANAM GANESHA (I seek refuge in you Lord Ganesha, remover of obstacles)

SRI KRISHNA SRI KRISHNA GOVINDA HARE MURARE, HEY NATHA NARAYANA VASU DEVA (Oh beautiful Lord Krishna! You are the divinity that draws our hearts to yours)

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PRANAYAMA

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PRANAYAMA Pranayama is the art of breathing; it leads to greater control of the mind, resulting in greater emotional stability and concentration. Pranayama bridges the mind, body and soul and serves as a vehicle to a journey of self realization: a state of joy and happiness.

Pranayama, as traditionally conceived, is a term with a wide range of meanings. Patanjali defines pranayama as “the regulation of the incoming and outgoing flow of breath with retention.” It is to be practiced only after perfection in asana is attained.

Pranayama also denotes cosmic power, or the power of the entire universe, which manifests itself as conscious living being in us through the phenomenon of breathing.

The word pranayama consists of two parts: ‘prana’ (life force) and ‘ayama’. ‘Ayama’ means “to stretch, extend, expand, lengthen, increase breadth, regulate, prolong, restrain and control” and describes the action of pranayama.

The grossest manifestation of prana in the human body is the motion of the lungs. This motion acts like a flywheel that sets other forces of the body in motion. The practice of pranayama is to control the motion of the lungs, by which the prana is controlled. When the subtle prana is controlled, all gross manifestation of prana in the physical body slowly come under control.

THE SCIENCE OF BREATH

There are many different pranayama techniques, just as complex as the study of asanas.

According to raja yoga, there are three main types of pranayama:

The autonomic nervous system (ANS) is the part of the nervous system which controls involuntary functions. It is composed of two sections, the parasympathetic nervous system (PNS) and the sympathetic nervous system (SNS). The SNS activates our stress response (the ‘fight or flight’ response) and is associated with higher energy utilisation, while the PNS counteracts the stress response and is associated with relaxation, energy conservation, digestion etc.(rest and digest).

1.

2.

3.

In many chronic illnesses, including anxiety disorders, the autonomic balance is impaired, with an overactive SNS and underactive PNS.

Puraka (inhalation) Rechaka (exhalation) Kumbhaka (holding the breath), which is further divided into: • Antara Kumbhaka (withholding the breath after inhalation) • Bahar Kumbhaka (withholding the breath after exhalation) • Keval Kumbhaka (spontaneous withholding of the breath)

The subtle control of the three parts – puraka, rechaka and kumbhaka – requires practise and dedication with the purpose of channelling prana, using breath as the vehicle, into the spine, out to the nervous system, and into and between the cells of the physical and ethereal bodies.

What does this have to do with breathing?

Our breath is a key modulator in balancing the SNS and PNS, which means we can utilise certain breathing practices therapeutically to restore balance in the ANS. The flexibility of our ANS switching between sympathetic and parasympathetic response can be measured by our heart rate variability (HRV). Good tone and flexibility tend to denote a healthy ANS. Using breathing practices that switch between faster and slower breathing patterns when practiced correctly and with care can rapidly increase HRV and induce greater autonomic tone. Very specific slow breathing rates (also called ‘paced

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respirationâ&#x20AC;&#x2122;) normalise and tone activity of both the SNS and PNS. Breathing more deeply and expanding the diaphragm also stimulates the PNS and influences autonomic status. Interestingly, the act of inhaling is a sympathetic process, while exhaling is parasympathetic.

By mixing together practices that cause activation (sympathetic) and practices that ease the system (parasympathetic), we can help to reboot our entire nervous system. The outcome is improved

release of neurotransmitters, responsible for positive feeling, and a reduction in the release of stress hormones. The better our nervous system operates, the more likely we are to feel good, physically, emotionally and spiritually.

Current research at Harvard University indicates the alternating activation of the sympathetic and parasympathetic system also leads to increased neuroplasticity and may be an important factor in preventing disease such as Alzheimers.

PRANAYAMA EXERCISE. 1 YOGIC BREATH/ COMPLETE BREATH/ 3-PART BREATH NATURAL BREATHING

1.

Sit in a comfortable meditation posture such as Sukhasana (Easy Pose) or alternatively lay in Savsana (Corpse Pose)

Image: Hatha Yoga Pradipika

This is a very simple technique to familiarise practitioners with their own breath pattern. Simply becoming aware of the breath is sufficient to slow down the breathing rate and establish a more relaxed breathing rhythm.

6.

Observe the natural and spontaneous breath.

Developing total awareness of the rhythmic flow of breath in and out of the nose. Being aware of the cooler breath on the inhale and the warmer breath on the exhale

Bring your awareness to the ribcage, observing the expansion and relaxation of this area

7.

Bring your awareness to your abdomen and observe how it rises on inhalation and lowers on exhalation

3.

DO NOT TRY TO CONTROL THE BREATH!

8.

4.

Become the observer. Bring your awareness to the throat. Observe the flow of breath in the throat area

Now bring your awareness to the whole breathing process from the nostrils to the abdomen and continue to observe in this fashion

5.

Bring your awareness now to the chest area and observe the breath as it flows through the trachea and bronchial tubes of the lungs. Be aware of the lungs as they expand and retract

9.

Practise for 10-15 minutes, ensuring to bring awareness to the whole body as a unit before completing the practice as a whole and returning to natural breathing

2.

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DIAPHRAGMATIC BREATHING (PT.1) This practice enhances the action of the diaphragm rather than relying on the action of the ribs. When the diaphragm is healthy and functioning well, the breath can be more efficient.

The diaphragm is a dome-shaped sheet of muscle separating the lungs from the abdominal cavity. On inhalation the diaphragm moves down, pushing the abdominal contents down and out. On exhalation the diaphragm moves up and the contents of the abdominal cavity move inward. Abdominal breathing is the most efficient and natural way to breathe but tension, poor posture, tight clothing and lack of training often means it is no longer automatic.

1.

Lay in Savsana and relax the whole body

2.

Place your right hand on the abdomen just above the navel and your left hand over the centre of the chest

3.

DO NOT TRY TO CONTROL THE BREATH!

4.

Imagine you are drawing the breath directly in and out of the navel.

5.

Observe the right hand moving up on inhalation and down with exhalation. The left hand remains almost still

6.

Do not force the movement, let the abdomen completely relax.

7.

Do not move your chest or shoulders.

8.

Continue to observe like this for 5-10 minutes, relaxing completely

9.

Make sure to bring awareness to the whole body as a unit before completing the practice as a whole and returning to natural breathing

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THORACIC BREATHING (PT.2) This practice uses the middle lobes of the lungs by expanding and contracting the ribcage. It uses more energy than abdominal breathing but the same quantity of air is exchanged. This is the kind of breathing associated with physical exercise and stress.

When combined with abdominal breathing, the body can obtain more oxygen. When only thoracic breathing is in constant use, stress and tension become the mainstay.

1.

Sit in a comfortable meditation posture such as Sukhasana (Easy Pose)or alternatively lay in Savsana (Corpse Pose)

2.

Bring your awareness to the â&#x20AC;&#x2DC;natural breathâ&#x20AC;&#x2122; for some time, and focus on the sides of the chest

3.

Abandon abdominal breathing/diaphragmatic breathing and inhale by slowly expanding the

ribcage. Observe each of the ribs as they move upwards and outwards. Expand the chest as much as possible 4.

Exhale by completely relaxing the muscles of the chest

5.

Observe how the ribs draw together and inward as the air is expelled from the lungs

6.

Breathe slowly and deeply in this way, not using abdominal breathing and with complete awareness. Pause slightly at the top of each inhalation and exhalation

7.

Continue this practise for five minutes, observing the spontaneous breathing pattern

8.

At the end of the five minutes, bring awareness to the physical body as a whole and bring your awareness back into the room before gently opening the eyes

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CLAVICULAR BREATHING (PT.3) This practice is the final stage of three part, total ribcage breathing and expansion. It occurs after the thoracic inhalation has completed. On maximum inhalation, the upper ribs and collar bone are pulled up by the muscles of the neck, sternum and throat.

In this exercise, only the upper lobes of the lungs are used.

more until you feel the breath in the upper lungs and the base of the neck 6.

Observe how the collar bone and shoulders move up slightly NB: this requires a little bit of effort

7.

Exhale slowly, first releasing the base of the neck, the upper most part of the chest and the lungs, then relaxing the whole ribcage and chest

8.

Continue this practise for five more breaths.

Observing the effect of this type of breath and the spontaneous breathing pattern

9.

After the five breaths, bring your awareness to the physical body as a whole, being aware of your surroundings before gently returning to natural breathing

Clavicular breathing occurs during extreme physical exertion and conditions such as asthma.

1.

Lay in Savsana (Corpse Pose) and relax the whole body

2.

Bring your awareness to the ‘natural breath’ for some time, and focus on the sides of the chest

3.

Begin ‘thoracic breathing’ and continue for a few minutes

4.

After a few minutes, on the next inhale, fully expand the ribcage

5.

At full expansion of the ribcage, inhale a little

CONTRAINDICATIONS/SENSITIVITY/CAUTIONS: •

Anxiety and hyperactivity disorders

•

Heart disease, high blood pressure

YOGIC BREATHING/ COMPLETE BREATH Yogic breathing is used to maximise inhalation and exhalation by utilising the previous three techniques. It brings control of the breath and increases oxygen in the system and can correct poor breathing habits/patterns.

4.

When the ribcage is fully expanded, inhale a little more incorporating ‘clavicular breathing‘ – some tension will be felt in the muscles of the neck

5.

Ensure that the rest of the body is relaxed and observe how the bottom, middle and upper lobes of the lungs are in action. (This is one inhale. The three-part breath should be smooth, and without strain)

6.

Begin to exhale – reversing the action of the inhale

7.

Relaxing the lower neck, upper chest. The whole ribcage moves down and in. The diaphragm moves up toward the chest. Pull in the abdominal wall to empty the lungs as much as possible (This is one exhale.)

8.

The three-part breath should be smooth and without strain.)

9.

Hold the breath out for a few seconds at the end of the exhale.

This breath calms the nerves, making it very useful at times of stress and high emotion.

Contra-indication: a daily practice of yogic breathing will help correct improper breathing habits but it is not advised to be performed continually. Three months of daily practice is said to be sufficient to cure poor breathing habits.

1.

2.

Sit in a comfortable meditation posture such as Sukhasana (Easy Pose) or alternatively lay in Savsana (Corpse Pose) and relax the whole body Inhale slowly and deeply, allowing the abdomen to expand fully (abdominal breathing)

10. This is one round of yogic breath

3.

TRY TO BREATH SO SLOWLY THAT LITTLE OR NO SOUND CAN BE HEARD

11. Start by practising 5-10 rounds and slowly progress to 10 minutes daily. NEVER STRAIN!

Observe the inhale as it reaches the bottom of the lungs. Once abdominal expansion is complete, begin to expand the ribcage and chest up and out (thoracic breathing)

12. At the end of the practice, bring awareness to the physical body as a whole and the room before gently opening the eyes and returning to natural breathing

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Image: Richard Hittlemanâ&#x20AC;&#x2122;s Yoga 28 Day Exercise Plan

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PRANAYAMA EXERCISE. 2

inhalation. This is the first way to expand your breath

UJJAYI VICTORIOUS BREATH

6.

Feel your heartbeat. Inhale over approximately three to five heartbeats and exhale over the same amount. This is the second way to expand your breath during inhalation as well as exhalation

7.

Lift your arms while inhaling and lower them while exhaling. The way your breath adjusts to the movement (vinyasa) is the third way to expand your breath

8.

Now let your hands rest in your lap while you let your breath flow. Experience the effect of your breathing. By expanding your breath, you absorb prana (energy). You might even feel a delicate tingling in the back of your throat. As your practice becomes more refined and advanced, the quality of your breath will become more subtle and you will become more in touch with the prana

9.

Concentrate on the turning point between inhalation and exhalation. Make sure you keep your breath flowing and your throat open. This is the basis for an ongoing flow of energy

Ujjayi pranayama can soothe the nervous system and calm the mind.

The Gheranda Samhita says that a practitioner of ujjayi pranayama overcomes diseases caused by phlegm, nervous disorders, indigestion, dysentery, consumption, cough, fever and enlarged spleen.

1.

Sit down with your spine upright and close your eyes. Inhale slowly through your nose and exhale through your mouth

2.

When exhaling, ‘HHHHHAAAA’

3.

From now on, keep your mouth closed while exhaling. Generate the same sound as before but this time with your mouth closed. The position of your throat is unchanged and natural. Make sure the sound originates from your throat and not from your nose

4.

5.

produce

the

sound

Now maintain the same throat position while inhaling, producing the same murmuring sound Begin to balance your inhalation with your exhalation. Balance the sound, quality and length of your breath. You’ll probably notice that your exhalation is longer and stronger.

Therefore, expand and emphasise your

10. Now slowly open your breath and return to normal breathing CONTRAINDICATIONS/SENSITIVITY/CAUTIONS: There are other progressive levels of ujjayi which include breath retention but these are not advisable for anyone with: •

Anxiety and hyperactivity disorders

•

Heart disease, high blood pressure

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PRANAYAMA EXERCISE. 3 NADI SHODHANA ALTERNATE NOSTRIL BREATHING HAND POSITION/NASAGRAI MUDRA •

Take the right hand and hold in front of the face, with the palm facing you

•

Gently rest and relax the index and middle fingers on the forehead between the brows

•

The thumb hovers above the right nostril, the ring finger over the left nostril

•

Completely relax and fold the little finger.

The ring finger and the thumb alternate to compress the left and right nostrils, controlling the flow of breath

5.

After five breaths, breathe five times in and out through both nostrils together. (This constitutes one round)

Continue this practise for five rounds or for three to five minutes, observing each breath and making sure there is no sound as the air passes the nostrils Never strain!

STAGE 1/ COUNTING 1.

Begin to control the duration of each breath, counting the length of the inhale and exhale in each nostril and both nostrils together

2.

Each inhale and exhale should be of equal length. Start with a count of three and increase progressively without strain or sound through the nostrils

3.

As you continue to practise over several days, you will notice that the breath will respond and lengthen

4.

When you reach a count of 10 without strain, then move onto Stage 2 Never strain!

Image: pieceofhealth.com

STAGE 2/RATIO 1:1 1.

Begin with equal inhalation and exhalation using the ratio 1:1, i.e. equal inhale and exhale

2.

Close the right nostril with the thumb and inhale through left nostril, counting to where the inhalation ends comfortably

3.

Close the left nostril with ring finger and release the pressure of the thumb on the right nostril, exhaling for same number of counts as the inhale

4.

Inhale through the right nostril keeping the same count

5.

At the end of the inhale, close the right nostril and open the left, exhaling through the left nostril for the same count. (This constitutes one round)

6.

Practise this for 5-10 rounds

7.

Once this can be completed without strain and is comfortable, increase the count by one and continue to do so until the count of 10:10 is attained Never strain!

PREPARATION PRACTICE 1.

Sit in any comfortable seated meditation pose. Keep the head and spine upright. Relax the whole body and close the eyes

2.

Practise ‘yogic breathing’ for some time, before adopting Nasagrai Mudra with the right hand, relaxing the left hand on the knee in Chin Mudra

3.

Close the right nostril inhale and exhale five times through the left nostril at normal rate.

Bring awareness to each breath

4.

After five breaths, release the right nostril and close the left nostril. Inhale and exhale five times through the left nostril at normal rate.

Bring awareness to each breath

CONTRAINDICATIONS/SENSITIVITY/CAUTIONS: There are many progressive levels of Nadi Shodhana which include breath retention but these are not advisable for anyone with: •

Anxiety and hyperactivity disorders

•

Heart disease, high blood pressure

•

Bipolar disorder

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PRANAYAMA EXERCISE. 4 KAPALBHATI SKULL SHINING BREATH This pranayam is cleansing on the lungs and respiratory system and is therefore good for people with respiratory disorders. It balances and strengthens the nervous system and tones the digestive and internal organs. It purifies the nadis and removes sensory distraction, and energises the mind.

1.

Sit in any comfortable seated meditation pose. Keep the head and spine upright. Hands resting in Chin Mudra or on the knees

2.

Relax the whole body and close the eyes

3.

Start with ‘natural breathing’

4.

Exhale through both nostrils, forcefully contracting the abdominal muscles.

The inhalation that follows should be spontaneous, involving no effort/passive

5.

Complete 10 of these rapid breaths. (This constitutes one round)

6.

Allow the breath to normalise and repeat up to five rounds. The rapid breath should come from the contraction of the abdomen – the shoulders, neck and face should remain relaxed

7.

Kapalbhati reverses normal breathing, which uses active inhalation and passive exhalation.

This means it has profound effects on the nervous system

Image: allspirituals.com/wp-content/uploads/2015/02/kapalbhati.jpg

CONTRAINDICATIONS/SENSITIVITY/CAUTIONS: •

Anxiety and hyperactivity disorders

• •

Bipolar disorder Heart disease, high blood pressure

•

Hiatus hernia, menstruation, abdominal ulcer, Crohn’s disease, ulcerated colitis

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MEDITATION

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THE MEDITATING MIND

profound experience of transcending the physical and mental boundaries of their own individual self.

Meditation has served as a traditional Eastern technique to transform consciousness and gain higher insight by focusing attention and introspectively observing one’s own mental processes.

The relatively limited research with advanced meditators suggests that these deep states, often subjectively different from the ordinary waking state of consciousness, may have a partial basis in activity at both ends of the brainwave frequency spectrum.

Some research now suggests that regularly practising meditation may also benefit health and well-being by helping to calm the mind and body. With encouragement from the Dalai Lama, neuroscientists are currently studying the meditating brain to learn more about how it works, how it changes, and how it can promote mindbody health.

Various forms of meditation are known to exist, but most forms can be generally grouped into one of two classes for the simple purpose of distinction (see table).

The first class is often called ‘concentrative meditation,’ focusing attention on a particular object, image, word, sound or bodily process, such as breathing. The second class is often called ‘mindfulness meditation,’ which involves expanding attention in a passive way to allow broader awareness of one’s own mental processes. Or as Jon Kabat Zinn, the founder of the Mindfulness Based Stress Reduction programme, puts it: “Mindfulness means paying attention in a particular way; on purpose, in the present moment, and non judgementally.”

This inner focusing can help filter out extraneous distractions that can potentially interrupt the exploration of higher mental states and the attempt to gain insight.

The boundaries between these two classes are not fixed, as some forms of meditation blend techniques from both classes. Recent research suggests both share one important commonality: they appear to be beneficial for health and wellbeing.

Some advanced meditators have spoken of entering “deep” or “higher” states of meditation, an experience that has also been described in yogic lore and Buddhist spiritual tradition. During such states, many meditators can often have a

Aside from calming our minds, research tentatively suggests that the long term, regular practise of meditation may help slow the thinning of cortical tissue in the frontal lobes/regions of the brain that naturally occurs with age.

Some deep states appear to be linked with slow frequencies – associated with deep relaxation, low arousal and the waking-sleep threshold – while others are associated with fast frequencies – associated with complex cognitive thought processes.

For about 2,500 years, Buddhism has offered a spiritual means of personally exploring the inner self and contemplating the nature of the mind using techniques of deep introspection. At its heart, Western psychology shares this same focus of exploration and contemplation using empirical techniques.

Even though they may take different perspectives, psychologists Roger Walsh and Shauna Shapiro (2006) have argued that there is much that the two disciplines can learn from each other. For example, the findings from psychology and neuroscience can aid Buddhists in more deeply exploring their first-person insights and mental states, while Buddhists can offer psychology and neuroscience a broader perspective on introspection and subjective experience, two things that are vital in linking the workings of the brain to mental behaviour (Barinaga, 2003).

The study of meditation is one way that this path of knowledge can be facilitated. Upon accepting the Nobel Peace Prize in 1989, His Holiness the Dalai Lama stated: “Both science and the teachings of the Buddha tell us of the fundamental unity of all things” (Knight, 2004, p. 670). If a mutual consideration of these two disciplines can lead to a unity of knowledge and perspective, it might just lead to a greater advancement in our quest to better understand the human mind.

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Originally derived from ancient Hindu culture, various types exist (e.g., Tantric, Hatha, Kundalini, Qigong, Sahaja, Nidra, Samatha). Each type utilises its own techniques in body posture (asana), breath control (pranayama), focused image or idea attention (dharana), and contemplation (dhyana) to move toward a goal of achieving the state of Samadhi, a union with the "Universal Self."

A form of religious contemplation seen in Christianity, Judaism, and Islam, wherein a devout practitioner focuses their attention on a certain phrase or prayer from a given religious text (e.g., the Bible, the Koran) with the goal of opening themselves to, and attaining oneness with, a certain divine entity (e.g., God, Christ, Allah).

Yoga Meditation

Meditative Prayer

A practise derived from the Theravada Buddhist tradition of Thai and Burmese culture, wherein the practitioner passively observes their present thoughts and bodily sensations with the goal of increasing equanimity, a state of passive acceptance that relies on awareness of these thoughts and sensations.

Vipassana ("Insight") Meditation

YOGAHAVEN â&#x201E;˘ TEACHER TRAINING

Originally derives from the Mahayana school of Buddhism found in Chinese, Japanese, and Korean culture.

Following the philosophy of Zen Buddhism, the practitionerâ&#x20AC;&#x2122;s goal is to enter Satori, a state of enlightenment in which they become fully attuned to the reality both inside and outside their body, and they gain the ability to ask the appropriate questions concerning these realities. To gain the insight needed to understand the answers, the practitioner practises meditating on a traditional riddle or puzzle (known as a koan).

Zen Meditation (Zazen)

Mindfulness:

A 20- to 30-minute practise usually done twice daily, in which the meditator focuses attention on a specific word, image, or sound (called a mantra) that is traditionally obtained from the Sanskrit language. Originally derived from ancient Vedic tradition by Maharishi Mahesh Yogi.

Brief Description

Transcendental Meditation (TM)

Concentrative:

Class/Form

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PANCHA KLESHA/

5 CAUSES OF SUFFERING The word ‘klesha’ has been translated in many ways, including “hindrances, obstacles, veils” and is a term used in Indian philosophy to denote ‘poison’. Put simply, they are patterns or distortions of mind and perception, effecting how we think, act and feel.

In the second chapter of the Yoga Sutras, Sadhana Pada, Patanjali identifies five main ‘poisons’ that hinder meditation and the path to spiritual growth.

•

is the misconception of our true reality, believing that the temporary is eternal, the impure is the pure, and pleasure to be painful This false representation of reality is the root klesha and produces the four other kleshas

•

Asmita (I-am-ness)... is the identification of ourselves with our ego.

We create a self-image of ourselves that we believe is us, but it is not us. This self image can contain both external (I am poor) and internal (I am a bad person) false projections.

We become trapped within these projections

The first stage of working with the kleshas is to simply acknowledge them. Reflection promotes self-awareness, self-understanding and selfknowledge, to uncover and see the kleshas and their roots as well as how they create suffering.

The practice of yoga helps us to identify, control and uproot or unravel these patterns, so that we may see the reality of the world and our own true nature.

Avidya (ignorance)...

•

Raga (attachment)... is the attraction for things that bring satisfaction to oneself. Our desire for pleasurable experiences creates mindless actions and blindsided vision. When we cannot obtain what we desire, we suffer.

When we do obtain what we desire, our feelings of pleasure soon fade and we begin our search for pleasure again, becoming trapped in an endless cycle

•

Dvesha (repulsion)... is the opposite of raga, it is the aversion of things that produce unpleasant experiences.

If we cannot avoid the things we dislike, we suffer. Even thinking about unpleasant experiences produces suffering

• Image: specialyoga.org.uk/wp-content/uploads/2015/04/kleshas-mindfulness-ingrid-sanchez.jpg

Abhinivesha (will to live)... is the deepest and most universal klesha, remaining with us until our deaths. We know that one day we will indeed die, yet our fear of death is deeply buried in our unconsciousness

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VRITTIS/

5 FLUCTUATIONS OF THE MIND Patanjali begins the Yoga Sutras by defining yoga as “citta vrtti nirodaha”(Yoga Sutra 1.2). This is often translated simply as “yoga is the ability to calm/direct/restrain the fluctuations of the consciousness/mind.”

Patanjali describes the five fluctuations/functions of the mind (vrittis) as having the potential to be painful or non-painful.

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Viparyaya (misconception)... is false knowledge based on the deceptive appearance of that object. We see the world subjectively; the way we want to see it. The Sanskrit word for ‘the world’ is “prapancha”

Vikalpa (imagination)... is an idea that we create in our minds.

Other translations of vikalpa include “doubt, indecision, daydreaming.” The mind cannot distinguish between what is real or imagined.

The idea that we are what we believe ourselves to be means our imagination can heavily influence us – causing happiness or suffering in our life. For example, if you say to yourself, “I am strong”, then you may be strong; if you say to yourself, “I am weak”, then that we will be

Pramana (right knowledge)...

How do we know if what we have obtained is correct knowledge? Patanjali gives three ways of determining whether something is correct knowledge. One is direct perception (pratyaksha) when we understand something ourselves through our senses. We see a rose and know what it looks like from our own sight. Another is inference (anumana); we smell the familiar smell of the roses when we come home and infer that someone has picked us roses. The third is testimony (agama) that comes from a reliable source; traditionally it means scriptural testimony, although in daily life it can be described as using discernment when obtaining information

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– ‘pancha’ meaning “five senses” and ‘pra’ meaning “perceiving through” – we see through our perception of the five senses.

We see what is relevant to us which is conditioned by our own biases

The ‘power of positive thinking’ has been taught for thousands of years as a key to controlling the mind. Through imagination we can liberate ourselves from suffering or create suffering for ourselves

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Nidra (sleep)... is commonly translated as “deep, conscious sleep” or “state of emptiness”. In nidra, the mind is directed inward, operating at a very subtle level. Deep, restful sleep is essential for our mental and physical well-being.

The depth, quality and amount of sleep can negatively or positively impact our mood, concentration and behaviour throughout the day. Observing how well our mind operates

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after good or poor sleep enables us to make good sleep hygiene.

Patanjali’s Yoga Sutra 1.10 states: “Deep sleep is when the mind is overcome by heaviness and no other activities are present.” When the mind is not in the first three vrittis then it can sleep. The heaviness may also occur as a result of boredom, exhaustion or stress BKS Iyengar says that, “Sleep is the nondeliberate absence of thought-waves or knowledge.” The Yoga Sutra 1.10 has also been translated as “deep sleep is the absence of reasoning, the absence of other thoughts and all other modifications of mind are suspended” or simply “sleep is a process based upon the absence of cognition.”

In nidra, or deep sleep, the mind is not conscious at all. We cannot therefore explain the experience of ‘dreamless sleep’ as there is no awareness of deep sleep itself

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Smriti (memory)... is the “recollection of experienced objects” as explained in the Yoga Sutra 1.11. All conscious experiences leave impressions on the individual and are stored as memories.

It is not possible to tell if a memory is true, false, incomplete or imaginary. Think of how different two people’s recollection or story of the same event can be Memories can bring pleasure, anger or sadness etc. and influence our present situation more than we are aware. Holding certain impressions may prevent us from experiencing the now without bias, judgement or criticism

Patanjali describes these five fluctuations/functions to enable us to recognise them and learn how the mind works – almost like stepping out of ourself, observing the functions of the mind, without becoming attached, upset or frustrated by them, just simply becoming the observer.

Once we are able to observe without reaction, we may more easily differentiate the mind and all of its fluctuations from our true nature.

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MEDITATION PRACTICES 1. MINDFULNESS OF BREATH Mindfulness is a practice, both formal and informal.

It’s a way of being in awareness in any given moment. It is a form of meditation practice that dates back to the time of Guatama Buddha.

Mindfulness differs from some types of meditation in that there is no effort or concentrated effort to clear the mind and reach the one pointed blissful state. That is not to say this may not happen as a result of the practice. Mindfulness meditation is about accepting the mind as it is, without engaging.

We observe the mind as it is and as it arises. We are not making effort to stop thoughts or thinking which some would say is an impossible and futile task. Mindfulness meditation is observing what is happening as it happens without engaging in preferences or judgement.

EXERCISE One of the most simple ways to begin to cultivate mindfulness is through mindfulness of our breath.

This is not the only way but is a good starting place for many.

THIS IS THE PRACTICE. It does not matter if you ever reach 10. It is also important to remember that judgement is not necessary.

We are just noticing when our mind wanders and then gently encouraging our mind back to the counted method practice of noticing the breath

A great quote from Jon Kabat-Zinn is perhaps a good place to start in terms of intention: “It’s about living your life as if it really mattered, moment by moment by moment by moment.” – from his Greater Good film.

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Start by paying close attention to your breath and using a counted method to help stay focused. We are going to count from one to 10, the count increases only on exhale. i.e. inhale (normally), exhale (normally) and count one; inhale (normally), exhale (normally) and count two etc.

If at any point you notice you lose concentration or the count, or notice that your mind has wandered onto something other than the count of the breath, just notice and begin the count at one again

3.

If you reach the count of 10 then we start all over again at one There are other levels to this practice but this is the simplest and often most effective in building mindfulness into daily life.

TIMING To begin this, try for 5-10 minutes only…try to build it into your day anywhere: at your desk, on the train, walking to work etc.

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2. WALKING MEDITATION Walking can be another wonderful opportunity to cultivate mindfulness. Movement can strengthen our awareness and sometimes is a more accessible object for meditation than the breath.

stepping — lifting, stepping. You will notice, as with sitting meditation, that the mind wanders many times. No problem. Just keep bringing it back to the sensations of lifting and stepping, and to the knowing of that sequence •

Formal walking meditation techniques vary in different streams of Theravada Buddhism. In the Burmese tradition and on Insight Meditation retreats, meditators usually walk alone, rather than in a line or a circle, as is done in other Buddhist traditions.

The invitation is to walk back and forth between two points about 20–30 feet apart, which helps us to let go of “getting somewhere.” We practice walking just to walk. Choosing a place to practice at the beginning of the walking period also eliminates spending most of our time deciding where we should walk.

When you have selected your place, divide the walking meditation into three parts. During the first part, perhaps 10–15 minutes long, walk a little more slowly than you would normally. During the second, also about 10–15 minutes long, slow down even more. In the third part, the remaining time you walk, move quite slowly.

NOTE: One foot should not leave the ground until the other has been fully placed.

When turning on your path, keep the same momentum, pace, cadence, awareness and labelling •

Use labelling to say descriptive words very softly in your mind as you perform the actions of walking meditation. For example lifting, you say, “Lifting”; when you are stepping, “Stepping”; when you are shifting, “Shifting.”

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When you are walking, your primary focus is on the sensations of walking. Sometimes you will notice that you are not focused on walking but rather on seeing or hearing — a very common experience. When that happens, stop walking just note, “Seeing” or “Hearing,” and come back to walking again.

It is also fine, instead of breaking your walk into three stages, to choose one of the paces and walk back and forth at that speed.

If, during formal practice, you want to look at something, acknowledge this intention, stop walking, look at what you want to look at, then, when you are ready to continue walking again, begin focusing once more on the steps

EXERCISE •

Begin by acknowledging your intention and your commitment to cultivating mindfulness through this practice

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Choose a comfortable hand position that you can maintain e.g. fingers gently interlocked in front of the pelvis

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Keep your eye gaze toward the floor about 2ft in front, without dropping the head, to avoid neck strain

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In the first segment of your walking meditation, allow your awareness to focus on the sense of stepping on the ground. Notice the sense of stepping on the earth: stepping, stepping, stepping

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The last sequence is lifting, stepping, shifting — lifting, stepping, shifting. In this segment, slow down enough so that you really notice the shift of weight and the gradations of pressure that happen from one foot to the other.

Start to notice the details of the experience.

IMPORTANT •

It is not uncommon to feel dizzy or light headed. If you do, stop, bend your knees and fold into a small forward bend, resting your arms/hands on the thighs. If near a wall, rest with your back against the wall with knees bent

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If you feel overwhelmed at all, feel free to walk, stomp, pace much faster but keep to the designated track you have chosen. Return to the walking meditation once ready

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On the following page are other examples of labelling you may wish to use

Slow down enough so that you notice the lifting of the foot and then the stepping of the foot on the ground. Lifting, stepping — lifting,

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Image: mettarefuge.files.wordpress.com/2010/03/phases-of-steps-in-walking-meditation.jpg?w=588

3. THE PANJ SHABD: SA TA NA MA The Panj Shabd represents the bij syllables of Sat Nam (“I am truth”). ‘Panj’ means “five” and expresses the five primal sounds of the universe: S, T, N, M, A. It’s pronounced with the long ‘aa’ sound: SAA, TAA, NAA, MAA and sung in a simple melody.

This meditation brings a total mental balance to the individual psyche.

1.

Sit in a comfortable seated meditation pose.

Lightly holding Jalandhara bandha (optional) Close the eyes, meditate at the brow point

2.

Inhale deeply and on exhale begin the following chant; SA TA NA MA with the appropriate finger movements: SA TA NA MA - normal speaking voice (voice of humans) - five minutes

3.

SA Totality (Knowledge) All that ever was, is or shall be

SA TA NA MA - whisper (language of lovers) five minutes SA TA NA MA - silent (language of god the infinite) - 10 minutes (keep the hands going and the tongue moving)

TA Creativity (Wisdom, intelligence, patience) The Principle of Creation

SA TA NA MA - whisper (language of lovers) five minutes SA TA NA MA - normal speaking voice (voice of humans) - five minutes Listen to the sound inside the head, without the finger movements - one minute 4.

Inhale deeply, raise the arms up in the air and vigorously shake the arms and fingers, you can also involve the whole body and spine if you like. Exhale fully

5.

Relax in Savasana for a few minutes

NA Creativity (Vitality, energy of life) Destruction or Death

MA (Ability to communicate) Regeneration and Birth This is the cycle of creation. From the Infinite comes life and individual existence. From life comes death or change. From death comes the rebirth of consciousness to the joy of the Infinite through which compassion leads back to life.

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KRIYAS / SHATKARMAS

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THE 6 SHATKARMAS The purpose of yogic cleansing exercises, known as ‘kriyas’, is to assist nature to remove waste products in the body. The Hatha Yoga Pradipika, which was written in ancient times, prescribes the various kriyas. All kriyas are especially beneficial when combined with fasting; helping to speed up the detoxification process.

2. BASTI

To most of us in the West, the ancient yoga cleansing techniques may seem alien and a little unusual or even scary. However, they are an important part of the yoga tradition.

3. NETI 1.

JALA NETI (WATER)

The Sanskrit word ‘shatkarma’ means “internal purification”. These cleansing processes purify the body so that pranayama and meditation may be pursued without discomfort, fatigue or interruption.

2.

3.

4.

SUTRA NETI (THREAD) GHRITA BASTI (GHEE) DUGDHA BASTI (MILK)

LARGE INTESTINE CLEANSING

1.

2.

JALA BASTI (WATER) STHALA BASTI (AIR)

NASAL CLEANSING

They are also an opportunity to reveal the reality of the body; the blood, pus, waste etc.

“Dhauti, bati, neti, trataka, nauli and kapalabhati; these are known as shatkarma or the six cleansing processes.

“These shatkarma which effect purification of the body are secret. They have manifold, wondrous results and are held in high esteem by eminent yogis.” – Hatha Yoga Pradipika, Chapter 2, Ver. 22-23

1. DHAUTI

4. TRATAK

STEADY GAZING

4 X INTERNAL CLEANSING ANTAR DHAUTI 1.

2.

3.

4.

VATSARA (PLAVANI) VARISARA (SHAKHA PRAKSHALANA) VAHNISARA (AGNISARA KRIYA) BAHISKRITA (RECTAL CLEANING)

DANTA DHAUTI 1.

2.

3.

4.

JIHVA (TONGUE) KARNA (EAR) KAPALRANDHRA (FRONTAL SINUSES) CHAKSHU (EYES)

1.

2.

ANTAR TRATAKA (INTERNAL) BAHIR TRATAKA (EXTERNAL)

5. NAULI KRIYA ABDOMINAL CHURNING 1.

2.

3.

4.

DKSHINA NAULI (RIGHT) VAMA NAULI (LEFT) MADHYAMA NAULI (MIDDLE) NAULI CHALANA (CHURNING)

HRID DHAUTI

6. KAPALBHATI

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2.

3.

‘Kapala’ means “skull” and ‘bhati’ means “shining”.

This is a process used to clean the lungs and to strengthen the fire element. In the same as the carburetor of a car is cleaned by forced air, here we clean the lungs by pumping out the breath, which allows the blood to be oxygenated with the fresh air. This process helps to stimulate the front part of the brain.

VASTRA (CLOTH) DANDA (STICK) VAMAN (KUNJAL AND VYAGHRA KRIYA)

MOOLA SADHANA 1.

RECTAL CLEANING

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AYURVEDA BASICS BALANCING AND UNDERSTANDING EACH DOSHA CAN HELP TO CREATE A FOCUS FOR A YOGA PRACTICE THAT IS HEALING FOR THE INDIVIDUAL CONSTITUTION

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VATA DOSHA (AIR/ETHER) Emotions and abilities: Fear, insecurity, anxiety, creativity and flexibility

Imbalance: Insomnia, worries, gas, constipation, underweight and cracking joints

Organs and sites: Colon, pelvic cavity, bones, brains and skin It is important to warm the joints up sufficiently before practice.

1.

Pranayama – ujiayi, full yogic breath, abdominal breath, nadi shodhana – so hum, staying in the gap between two breathes. Focus more on retention of breath gradually and do not force

2.

Strengthening – poses that built strength, stability and flexibility

3.

Grounding – always bring awareness to grounding through feet, stability in each pose, focusing on lower chakra poses

4.

Open and strengthen pelvic floor – focus on poses that increase the prana to the hips. Take the femur bones back and ground them in the hip socket

5.

Strengthen the back of the neck – practise poses that release and strengthen the back of neck muscles

6.

Gentleness – be mindful not to strain

7.

Sufficient rest – rest between poses, hatha yoga is more appropriate.

8.

Practice antirheumatic poses – designed to warm up every joint in the body and release excess vata

Image: s-media-cache-ak0.pinimg.com/736x/29/da/87/29da871d4cf2c020d9a54fa31d98d96e.jpg

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PITTA DOSHA (WATER/FIRE) Emotions and abilities: Ambition, irritability, jealousy, anger, aggressiveness, frustration, concentration, a thirst for knowledge, determination and strength

Imbalance: Diarrhoea, ulcers, acid indigestion, migraine headache inflammatory problems, skin rashes and red eyes

Organs and sites: Liver, spleen, heart, brain, blood, eyes, skin, small intestine, secretion and sweat Warm up the abdominal area before practice when Pitta is elevated.

1.

Breath focusing on longer exhalation than inhalation, slow gentle breath around the solar plexus, Sitali and Sitakari (cooling breaths), Chandra Bhedan (left nostril breath), Anuloma Viloma pranayama, Bahir Kumbhaka in Ujjayi

2.

Balance effort with surrender – noncompetitive practice without trying to achieve the perfect pose. Balance of inaction with action. Rest between poses

3.

Softness – soften temples, eyes, and mind. Bring love, calmness and acceptance to practice

4.

Open the navel area – focus on poses that open the navel and release revitalizing energy around the liver

5.

Twisting – twists help elimination in the liver and alleviate anger, relieve exhaustion.

6.

Coolness – practise in a well-ventilated room, completing the session with forward bends and twists

7.

Practise the digestive and abdominal poses – designed to strengthen the digestive system and eliminate energy blocked in the abdominal area

8.

Other adjustments for Pitta include: taking gaze downward, inward, lift the skull and lengthen the neck, let the entire rib cage area soften. Use 60% of your ability in each pose

Image: s-media-cache-ak0.pinimg.com/originals/43/57/3e/43573e0d96013d8833b3332255ecfcaf.jpg

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KAPHA DOSHA (WATER/EARTH) Emotions and abilities: Attachment, greed, love, calmness, faith and lethargy

Imbalance: Sinus and bronchial congestion, slow digestion, overweight, sluggishness, asthma, diabetes, cold, cough, dullness of mind, greed and depression

Organs and sites: Lymph nodes, breast tissues, chest, lungs, sinus, mouth and throat Do vigorous, energising warm up if Kapha is elevated 1.

Increase heart rate – choose challenging asanas and use short rests.

Do rapid and vigorous sun salutations

2.

Breathing – bring breath all the way to upper chest, Ujjayi pranayama, Kapalabhati, Surya bhedan, Bhastrika, Bhramari

3.

Open chest – use poses that raise the arms overhead

4.

Lift the pelvic floor – lift the energy of the pelvic floor up to chest and head with Mula bandha.

5.

Lift inner ankles in standing poses – engage upper thighs and lift inner ankles to bring upward energy in each pose.

6.

Back bends and twists – these help move and lift energy into stomach and chest

7.

Practise vigorous standing poses – energising in each pose.

8.

Practise energetic asana to move stagnant energy and move energy upward to release energy block in the spine, and activate the lungs Image: s-media-cache-ak0.pinimg.com/736x/99/c1/4f/99c14f0ad1f10d42cc449a9aa6540068.jpg

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ALTERNATIVE SEQUENCES

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Mindfulness

By Thich Nhat Hanh • • • •

Designed as stretching breaks between long periods of sitting meditation.

Now an integral part of his retreats Based on yoga and tai chi movements Effective exercises to reduce mental, physical, and emotional stress.

Ensure to smile with the mouth and the eyes as you do the exercises!!!

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