CHAPTER 7. Class Planning

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Class Planning Sequencing

Planning and sequencing a yoga class is an important part of being a yoga teacher. There are endless ways to structure a yoga class. Planning and sequencing can be used as the basis for the design of an individual class or series of classes. An individual class can also be sequenced to build to a specific pose, like Ardha Chandrasana, Half Moon. Overall, when sequencing a class, the class goal or student outcome must first be considered. Once a goal or goals have been determined, the idea is to work backwards from the ultimate goal to the smaller steps that are needed to achieve the desired outcomes. By working this way, the teacher ensures careful and precise planning towards preparing the students physically, mentally and emotionally to be successful within the class, no matter the level of student. This creates an experience that can feel safe and supported for the practice of self-inquiry, radical acceptance, personal growth and transformation. Major Points to Remember When Thinking about Overall Class Planning: ● Begin where the students are, taking into account their physical ability along with their present level of energy, emotional state, and intellectual grasp of the material you are planning to present. This can be difficult if you teach a class that has a shifting body of students such as a drop-in class. However, having a basic plan for the typical range of student is advised. o What is the level of the class or ability of the students? If the class does not have a level, use the warm up and sun salutations portion of the class to observe your student’s abilities and how they respond to your directions and cues. What is the energy level in the room? If you have planned a class that has some arm balances sprinkled in, but by the third Sun Salutation half of the students are coming into child’s pose, you may need to adjust your sequencing. Being able to adjust your class plan to meet the students where they are is an important element of being a successful teacher. o What time of day is it? A sequence for an early morning class may require different needs than an early evening or late evening class. For example, an early morning class may need more time warming the body than a noon or evening class. The pace of the class may also be influenced by the time of day, which will affect how much material you teach. o Are there students with considerations? For example, if you have 10 students in the class, and 3 of them express sensitivity in their wrists, will you need to modify the sequence to fit their needs? Or, offer appropriate modifications to keep them safe? ● Plan logically for optimum benefit. Class sequences should follow a logical physical sequence that readies the body for peak poses. The energy flow of the class contains an arc with the peak poses coming towards the middle or second half of the class. Toward the end of the class the pace slows to release any physical tension to let the body and mind move towards relaxation during Savasana. A class that is too vigorous or too long can unnecessarily fatigue students and

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have them struggle in the poses, losing alignment and control, which can lead to injury. The temptation to overwork students is greatest in Vinyasa classes that double as a “workout.” As a teacher, plan smarter than that. ● Other factors to consider: o Do you need props for your class? Where do they need to be placed for the sequence? o How will you set up the room? Music? Lights? Fan? Temperature? o If you are planning to demo a pose, where will you do that? Think about how you will walk the room while teaching so students can see you. For example, during standing poses on the right side, you will need to walk to the left side of the room to demo a pose so students can see you. o Anticipate what you can cut from your class if you begin to run long. For example, if you have 3 waves of standing pose flows, and you are running short of time, what could you omit? And what is critical to your sequence? o Consider what poses may need modifications offered. Be ready with an option for your students to step a pose up or down. Basic Structure of a Yoga Class ● The Arc of a Yoga Class

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● The Basic Structure of a Class. Carefully plan all your classes properly and warm up the body in order to produce optimum results for students and guard against injury. The rest of the class should scaffold gradually to reach the overall goals/peak pose of the class and then gradually towards Savasana. Use all major muscle groups in a class. The flow or pace of the class is an important determinant in the overall experience. The pace may need to slow or accelerate depending on the student’s yoga experience, physical fitness level, energy level and personal goals. o Intention, Centering and Breath Awareness o Preparing, Opening and Warming the Body o Pathway to Peak o Exploring the Peak o Integration, Balance, Counterpose o Cool down o Savasana

● Pose Family- Within the basic structure of a class, you have all of the pose families to work with. Allow enough time to integrate poses from each category to create a balanced experience. o Seated Meditation, Setting an Intention, Breath Awareness and Pranayama o Warm Ups and Hip Openers o Sun Salutations- Classical, A and B o Standing Asana and Standing Balancing Asana o Core Integration and Arm Balances (optional) o Twists o Backbends o Forward Folds and Seated Asana o Inversions o Savasana

Templates for Yoga Classes- There are many templates that can be used to sequence a class. Each style of yoga has its own template- Ashtanga, Iyengar, Bikram and many others. As a beginning teacher, a template is a great way to use as a tool for sequencing classes to ensure a balanced and integrated class. The Certification Sequences in the Manual can serve as a template for you to use beyond teacher training. With a myriad of choices, as long as the pose succession is physically logical, your creativity is limitless. Sequencing Towards a Peak Pose Sequencing a class is one of the most creative and important parts of being a yoga teacher. A sequence is the order in which things are arranged. The sequence should be carefully considered to progressively warm up the body to prepare for more challenging poses and balance the nervous system. Every yoga class should flow like a beautiful song or story with a beginning, middle and end that takes the class to a new level of awareness, embodiment or ability. Another word for sequencing is Vinyasa – this is true whether you teach Hatha or Vinyasa flow yoga. Sri Krisnamacharya defines Vinyasa as a sequence of

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consciousness with a beginning, middle and end cycle – a wave with a cyclical arc through time and space. We can see our entire life as a maha (great) Vinyasa from our cellular beginning to the release of our last breath. Within sequencing we honor this evolutionary wave and work to integrate the natural energetic movement that mimics the timeless rhythms of the universe.

When planning on teaching a peak pose in class, you need to consider what actions to create in the body and which preparatory poses you can use to prime for the full pose. Look at the shape of the pose. Consider the following questions to sequence to a peak pose: ● What are the arms/ legs/ torso doing? ● What areas of the body need to be strengthened? What areas need to be stretched? ● What similar poses/ shapes do you recognize that can be taught to prepare the body for the peak pose? Consider 3-5 poses that will serve as preparatory poses for your peak pose. These preparatory poses can be from any pose category that is appropriate. ● Where in your sequence will you add the prep poses? ● What images will communicate the feelings, sensations, actions attendant in these poses? ● Does the order make sense?

Before having students practice Vashistasana, side plank, for example, have them do both shoulder openers and shoulder strengthening movements. A simple example of a shoulder opener is clasping hands behind the back or Garudasana arms (modification could be to hold opposite shoulders). An example of a shoulder strengthener is plank pose (modification - knees down plank). In side plank the arms are in “T”, so teaching warrior 2 or triangle can be taught to reach through both arms. And “modified side plank” (which may be the version of side plank for some of your students) can be taught as a warm up to prepare for the final version. Many poses can serve multiple needs in building towards peak poses. Plank pose warms and strengthens the shoulders, and also integrates leg strength and the core. Students need to have the opportunity in class to practice the same skills in different ways. What the teacher points out to students in each preparatory pose connects them physically and mentally to what they need to understand before performing the final pose. Beginners need lots of repetition with little change to the sequence while more experienced students can work on skills through a larger variety of poses or by practicing varied Vinyasas. Overuse of particular muscle groups should be avoided. It is also important to teach counterposes after the peak pose has been practiced. For example, Balasana is a good counterpose to Vashistasana. Counterposes are poses that would feel good for the body after the peak pose. Consider these questions: ● What will bring the body, mind and emotional state back to a neutral or balanced place? ● What poses will integrate the energetic effect of the peak pose? ● Consider 3-5 poses that will serve as counterposes. These poses can be from any pose category that is appropriate. At this point in the class, you are more than halfway, so the counterposes can also be asanas that begin to cool the body.

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Remember that yoga is an Embodied Practice. The best way to learn how to sequence to a pose is to practice your sequence for the pose. It is very different to practice your sequence versus simply writing your sequence down on a piece of paper. Notice the energetic effect of the sequence. How you feel during and after the practice may help you in determining if you need to make changes or edits in your sequence. Not all of your sequence needs to directly link to your peak pose. Some general warming and cooling poses are expected. Have an intention for the poses you are teaching. Why are you adding the pose to the sequence? Perhaps it is a preparatory or counterpose, or maybe it just “fits.” You cannot teach everything about the peak pose in one class. Focus on one or two elements of the pose. Keep it simple. Some of the best sequences are the most uncomplicated. There is no one way to sequence! Have fun with it!

Developing Your Sequencing Skills ● Look at sequences from experienced teachers or out of your resources. This is a good starting point and then you can get creative from there. ● Practice the sequence in your own body first. ● Understand that not every body will respond to the same sequence the same way. Imagine sequences in different bodies (large, stiff, hyper-mobile, age, injuries, etc.). ● Create or borrow a standard balanced class sequence that you use for every class and switch up the theme. ● Choose a theme and teach it for a week, modifying the sequence based on your students’ needs. ● Choose a theme for the month and change the sequence each week or each day you teach. ● Unpack a more complex theme over the course of several weeks or months (for example the yoga sutras or the chakras).

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Class Planning Sample Sequence Templates

Erich Schiffman sequence, from Moving into Stillness

1. Opening 2. Standing Poses 3. Salutations 4. More Standing Poses 5. Shoulders & Hips 6. Backbends 7. Forward Bends 8. Inversions 9. Twists 10. Finishing Poses

Rodney Yee sequence, from Moving Towards Balance

1. Starting Pose: could be Surya Namaskar, Down Dog, Uttanasana, Handstand – whatever gets you on the mat. 2. Standing Pose 3. Neutral Pose: a pose where the spine rests easily in its natural curves 4. Headstand 5. Backbends 6. Neutral Pose: possibly Supta Padangusthasana or Adho Mukha Svanasana 7. Twists 8. Neutral Pose 9. Shoulderstand (and Plow) 10. Forward Bends 11. Neutral Pose 12. Restorative Pose 13. Relaxation Pose

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Cyndi Lee Style

1. Sun Salutes (various) 2. Standing Poses 3. Balancing 4. Seated Poses 5. Backbends 6. Inversions 7. Restorative/Savasana

Jason Crandall Style

1. Openers/Warm-ups 2. Sun Salutes 3. Standing Poses 4. Inversions 5. Back Bends 6. Twists 7. Forward Folds 8. Closing

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Class Planning Sample Sequences Vasisthasana Sequence, by Marcia Miller

Have two blankets and a strap handy

Baddha Konasana (cobbler’s pose) Sit up on at least one long folded blanket. Many people, even experienced students may need 2. They should be high enough that the pelvis is able to tip slightly forward in an anterior tilt with the natural curve of the lower back maintained. The emphasis is on a wide opening across the pelvis rather than getting the knees to the floor.

Lay blanket to cover mat so it’s not sticky.

Lie down on back with legs extended

Bend R knee out to side bringing R foot up toward inner thigh of L leg. (looks like a lying down tree pose.) Lengthen it back out. Switch sides and repeat 4-5 times. Get in a rhythm with the breath and let movements have a sense of flow to them.

Supta Padangusthasana (leg up pose) with strap, R leg up toward ceiling and then over to R side. Keep back body firmly on floor so pelvis does not lift as leg goes to side. Again, focus on width inside pelvis and not getting somewhere with the leg. You lose this inner lateral opening if pelvis goes to the side with the leg. Switch sides and do on L side

Anatasana (Vishnu’s couch pose): Roll over to R side and extend legs long, resting head on R arm or folded blanket. Have body as close as possible to a straight line with weight toward front of hips not back.

Externally rotate the L leg, bending L knee up toward ceiling, slide foot as high up on thigh as possible (like tree pose lying on the side.) Top hand can be on the floor near chest to help with balance if necessary. Continue body in straight line lying toward the front of the hip. It’s OK if the body is rocking a bit as you balance—you will want to roll back toward the back of hip.

(optional) Take strap (without a loop in it) with left hand and place strap over the heel as you raise the leg toward the ceiling (not toward the head.) Spiral the leg into external rotation as much as possible with toes facing the head if possible. Keep leg upright for maximum width through pelvis. Keep extending the lower leg long and into the floor while flexing the foot. Stay here for several breaths as you relax any part of you not needed to maintain the pose. Roll over and switch sides (check eyes, jaw and throat.

Roll over and move into down dog (DD). With feet hip width apart create action in legs that would take feet apart. Pedal legs and lift hips off lower back and ribcage out of shoulders.

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DD with hips shifted to left to lengthen and open side body on R. Shift hips to other side

Walk up to standing forward bend (Uttanasana) and then stand upright, taking a moment to feel what you feel.

3-4 sun salutations with extra focus on plank pose creating toning through the belly and torso through pulling of hands and feet towards each other each time in the pose. Even in Bhujangasana (cobra) or Urdhva Mukha Svanasana (upward facing dog) keep a sense of toning in the belly.

Could also add in here 3-legged dog and movements toward or into wild thing.

Move to side plank on forearm. Create action that would bring forearm to feet and feet to forearm. Let torso, especially ribcage lift away from the floor as much as possible.

Between sides return to DD to lengthen side ribs and waist. If students would prefer to rest in Balasana (child’s pose) they can.

Now return to plank with hands in front of shoulders by several inches. Roll onto R hand and side of R foot with L foot on top of R or in front of it. Raise L arm toward ceiling or keep it up hip and lift chest. Lift rib cage and pelvis off the floor as far as possible. If useful or possible, take top leg (L) into tree pose. Keep lifting. If possible or useful, take hold of foot with L hand and raise toward ceiling. Keep lifting hips and ribs and open chest broadly and triumphantly, rolling chest toward ceiling as well. Leave enough energy to come out of pose gracefully, keeping all the actions of the pose in place.

Do other side.

After second side, lie on back and enjoy the residue of the pose for a few breaths. Then hug knees and roll to sitting.

Bharadvajasana (seated twist) to feel the length and opening of the belly after all that work.

One more seated twist of your choice.

Viparita Karani at wall with thighs strapped so that feet can be about 12-18 inches apart without having to work. If inversion does not feel useful at that point student could also do supported savasana (back and head elevated with hips on the mat. Strap mid-thighs together so legs are parallel and do not roll out. It feels good to contain the legs that way after all the lateral opening through the pelvis.

Why?

For this pose you need a lot of core strength but also external rotation of the hip if you end up taking the leg up. The wideness through the pelvis is not the only theme you could have here, but knowing how to make space in the belly and pelvis allows all the organs there to have room to do their work. This awareness is particularly helpful for people with reproductive or digestive issues. Can the body be strong AND have some space and softness in the belly/pelvis?

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For poses involving a lot of strength I find it helpful to learn to create the shape and the action of the pose before you have to use strength to hold it. So working into Anatasana gives the muscles and nervous system a “practice run,” and it’s a great balancing pose in its own right.

Through the various warm ups and other poses, each part of Vasisthasana has been prepped and will be ready to bring together in the final pose. With all these various ways of approaching the pose you can adapt this class to any level—even at the same time. Just invite people who can’t do more to continue to work in the place that is useful for them knowing they will be building the pose over time.

I like an open twist after this work to give the body a new experience and one that opens the belly and the spine without weight-bearing. It gives a sense of ease and freedom, as does Viparita Karani at the end. An easy, supported backbend feels great, as does the inversion. If the student does not want to invert or is on the menstrual cycle, then the supported Savasana is a great alternative. Not having the legs roll out feels so supportive after all the external rotation of the class. And even if the legs are apart in VK up the wall, they are still contained and not rolling out.

ENJOY~

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Vasisthasana Sequence, by Michele Vinbury

Side plank – Vasisthasana Class Level – 1&2 Class Style – Flow Class Duration – 75 minutes

Arc of the class

Getting Started - Pose Considerations:

Shape-

Arms: at a T, somewhat symmetrical in shape, if taking toe hold with top arm, one arm load bearing Similar poses for arm shape: Utthita trik, Vira 2, Ardha Chandrasana Spine: neutral, core engaged Similar poses for spine shape: Tadasana, plank Hips/Legs: asymmetrical, bottom leg as Tadasana, top leg eternally rotated and flexed at hip, abducted and elevated Similar poses for hips/leg shape: Vrksasana, Utthita Trikonasana, Supta or Utthita Hasta Padangustasana, Janu Sirsasana

Strength/Flexibility-

What needs to be open: shoulders, chest, hamstrings, calves, adductors What needs to be strong: shoulders, wrists, obliques, hip stabilizers

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Counterposes (what’s going to feel good after this): chest/shoulder opening, twists and side bends Thread needle Balasana with lateral flexion Prone, arms in cactus, shoulder opener/twist

Given all of this, what would I like the class to focus on?

Abs and the “cross” of the T in the pose: chest/shoulders/wrist (and fun – always fun).

Possible themes

Side Plank – something around seeing both sides, we often teach “change of perspective” classes with inversions, but this could be an interesting class on perspective as well.

Class Sequence - Opening/Warm-up

Begin lying down. Knees bent, shoulder blades arranged down the back, a slight dome to the chest, arms to T or cactus. Notice the broadness of the chest. Attention to breath for a few rounds – specifically softening, expanding on inhale and creating tone on the exhale. Windshield wipe the knees and then rotate each leg in the hips socket drawing big circles with the knee.

Roll to table with wrist forward of shoulders and move through a few cat cows. Have students find the point in between the two extremes where they are neither in strong flexion or extension. From neutral, take modified Vasisthasana, get the bottom shoulder blade integrated here – same feeling as the beginning of class, shoulder blades down the back and slight dome to the chest then focus on pressing floor away with bottom hand to avoid dumping into the wrists. Left and right.

Press back to down dog, pedal feet and then windshield wipe the feet (inside of left foot, outside of right just like side plank) to shift the hips for stretch through side body. Walk forward, Ardha Uttanasana, exhale Uttanasana, inhale rag doll up to Tadasana.

Sun Salutations

All Vinyasas through class cued with knees chest chin and Bhujangasana to take weight out of the wrists.

In sun salutes, reminder in plank to find tone in the belly - they don’t want the feeling of cow pose here. Same in down dog – sense of low ribs and hip points drawing toward each other and hip points moving together (like buttoning the top of jeans!)

Classical Salute 1, right foot step back Anjanayasana, inhale left arm reaches up, twist. Help students really get the bottom shoulder blade integrated here – same feeling as the beginning of class, shoulder blades down the back and slight dome to the chest (can they do this and keep tone the low belly too?). Both sides.

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Classical Salute 2, right foot step back Anjanayasana, inhale left arm reaches up, twist. Place top hand on left thigh, invite students to come any amount to pinky side edge of front foot and allow the left hand to externally rotate thigh. Both sides.

2 Surya Namaskar A, replace Tadasana with Utkatasana, second salute come down from down dog and do some wrist therapy in table top.

Standing Poses

From Tadasana, Vinyasa to down dog. Step right foot forward inhale to Warrior 2, exhale side angle. Have the arms at a T, bottom hand making contact with floor or block. Reaching from heart center down through the hand into the floor – feeling a rebound energy surging up from the earth through the bottom arm, heart and up through the top arm and hand. Find ease in the sides of the neck. Feel broadness across the collarbones (just as beginning of class). Keep this and reach the right sitbone toward the left inner ankle. As the tailbone lengthens, feel the low belly tone. On an exhale both hands down inside front foot, back heel lifts, a few breaths in a gentle lizard. Repeat second side.

Through Vinyasa. In plank have students playfully windshield wipe feet to activate side core.

Vinyasa to W2 with flamenco hands (wrist rotations) 3 breaths, inhale reverse warrior, straighten front leg, exhale Uttitha Trikonasana. Repeat second side.

Vinyasa to Anjanayasana right leg forward, keep left hand down, inhale right arm up = twist, lift the back knee (“high twisted lunge”) 3 breaths, inhale windmill to W2, exhale settle, inhale reverse warrior, straighten front leg, exhale Uttitha Trikonasana (2-3 breaths). Inhale reverse triangle, exhale bend the front knee and windmill arms, lift back heel, left hand finds the mat = high twisted lunge again, inhale and really shine the right arm up, broadening the chest. Exhale both hands down, release back knee to mat and shift between Anjanayasana and Ardha Hanumanasana. Use blocks here to prevent collapse in the chest. Repeat second side.

From Tadasana, open to wide legged stance, take Prasarita C. Come up, heel toe the feet together (students will be facing the long end of their mat, standing in the center of it.) Take Utthitha Hasta Padangustasana A. Right side: Left hand on left hip, take toe grip if available, have students plug head of right arm bone into the socket, then B, as you externally rotate right leg, feel too the right shoulder blade come down the back, possibly reach left arm out here (could lift fingers toward the ceiling like you’re pressing hand into the wall), feel the broadness of the chest…tone low belly and get taller. Transition to tree pose to the right, and Tadasana. Repeat on left.

Peak Pose

Top of mat, Vinyasa to down dog then plank. Move to Vasisthasana. Start in table, take wrist forward of shoulders and find solid foundation. First time through offer modifications to step pose down. Second time through (from plank) offer variation – top leg in tree or take the toe grip and extend leg up toward the ceiling.

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Brief virasana or child’s pose with wrist circles.

Peak (Mini) Sequence

You could teach this section as a fast flow or a slower flow depending on the energy and needs of your class: Vinyasa to Anjanayasana with left hand down twist, lift the back knee (high twisted lunge), inhale windmill to W2, exhale settle, inhale reverse warrior, straighten front leg, exhale Uttitha Trikonasana. Inhale reverse triangle, exhale bend the front knee and windmill arms, left back heel, twisting torso to find high twisted lunge again, left hand planted, right arm up. Take left hand a little more toward top of the mat, find a solid base, shoulder blades down the back, broadness in the chest, tone in belly. Step the right foot back as you swivel onto the pinky edge of the left foot, Vasisthasana. Press the floor away with your bottom hand. Option to reach top arm overhead toward top of the mat to enjoy a side stretch or step top foot behind for wild thing. Repeat second side.

Counterposes and Cool down

Come to belly, left cheek on mat, arms in cactus. Gaze to the right and bring right fingers to the mat about 12 inches in front of nose. Right elbow is pointing up toward ceiling. Slide your body a few inches to the right and bend the right knee, lift the right leg as you roll onto the left hip, right toes might touch the floor behind you. Breathe. Second side.

Thread the needle.

Roll over. Bridge pose.

Neutral Savasana.

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Vasisthasana Sequence, by Jenn Gebhart

For persons with Multiple Sclerosis and possibly for some TBI survivors

Share images of internal and external obliques and gluteus medius. Talk about how the pose requires these muscles as well as shoulder stabilizer muscles and inner thighs.

**Note: Position short edge of mat at the wall

Seated:

General warm up of shoulder rolls and move head side to side.

Theraband work to strengthen shoulders. Hold theraband in hands, palms facing up and elbows bent at 90 degree angle and tucked in at waist, from the shoulder blades drawing in toward spine, externally rotate arms, taking forearms to the sides. Repeat 10 times.

Supine:

Wind relieving

Core work to strengthen transverse abdominals, obliques and inner thighs.

● Place a block lengthwise and the narrowest width between the thighs. Exhale and hug thighs into the block noticing the strength of the inner thighs, toning of the pelvic floor and engagement of the transverse abdominals, “zipping up the low belly” while maintaining natural curve of the lumbar.

● Interlace hands behind head, exhale and curl head and shoulders up letting head rest in hands maintaining ease in the neck, pause with abdominals engaged on inhale, exhale, lower back down. Repeat 5-7 times and rest.

● Interlace hands behind head and engaging abdominals again exhale and curl up with a twist to right, pause in the twist on the inhale maintaining core engagement then lower down on the exhale. Repeat on left side. Repeat 5-10 times each side. Rest. Remove block and stretch arms overhead if comfortable.

Clam

● lie on side with strongest leg on top, knees bent at about a 45 degree angle and head supported with bottom arm.

● Press inner edge of top foot into bottom foot and externally rotate the leg, then lower. **Note-it doesn’t matter if they do the exertion on inhale or exhale, just

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notice have them notice and keep breathing, maintain engaged abdominals. Repeat 10 times.

● Roll to back and do a #4 to stretch ● Repeat on second side.

● If they cannot do exercise on second side, they can visualize it and it might help to physically rotate their leg and then the muscles can start to fire on their own.

● Roll to back and do a #4 stretch.

● Rest

Oblique/Hip Lifts **Note position of body so feet can touch wall when lying on the side

● On side with strongest arm on bottom, propped up on forearm, externally and internally rotate forearm with muscular engagement, shoulder blade firm on back. Knees bent at a 45degree angle, press into forearm, bottom leg and feet and lift hips. Repeat up to 10 times, rest and repeat on second side.

● Extend top leg, pressing foot into wall and lift hips.

All 4’s:

Cat/cow

Core engagement-block between the thighs and feel inner thighs, pelvic floor and core engaged. Remove block and imagine block for next exercise.

Opposite limb **Have a chair on the right side with seat facing mat.

● Extend right leg back, pressing foot into the wall, walk left fingers forward maybe lifting hand with palm facing midline.

● Place hand back down, take left shin out like a kickstand, externally roll left shoulder down the back be sure left wrist is slightly in front of left shoulder. Externally rotate right leg, pressing foot into wall and place right hand into chair.

● If able, student can extend right arm up to the ceiling.

Child’s pose

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Cool Down:

Supta Pandangusthasana and extend leg to its own side then just past midline.

Wind relieving

Savasana: Suggested set up- Supta Badda Konasana (cobbler’s pose): Round bolster with a blanket folded in half on top of it for thighs and rectangular bolster in front of it for feet. Soles of feet together, blanket on belly and blanket under head.

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No Goal Intermediate Sequence starring Vasisthasana, by Lara Falberg

Peak or goal pose classes are wonderful, but offering a well-rounded class that hits on all the various muscles, ligaments, joints, tendons, as well as the skeletal system guided by a theme (such as transitions, connection, ahimsa, etc) is another incredible way to go. It's my preferred method although I do enjoy teaching to a peak pose class every now and again.

** Warm up doing several Surya Namaskar A, B, and Classic. From downward facing dog, transition to child's pose.

● Child's pose, knees together, arms forward with forearms and elbows off the ground. ● Slither forward keeping elbows/forearms lifted into cobra pose. ● Lower chest and forehead to the ground, tuck toes and lift to plank pose. ● Hold plank for five breaths, and on an exhale move straight to downward facing dog pose. Shorten your dog pose (I call this Corgi dog). ● Lift your right leg (Three-Legged Corgi dog pose). ● Bend your right knee aiming it in the direction of the ceiling (or wherever you can). Come onto the fingertips of your right hand making a claw. Annie Carpenter calls this 'Cupcake' hand. I prefer Fireball hand. Feel the heat move into the fingertips and generate up into your raised palm. Now try to lift your Fireball hand a couple of inches from the floor and aim to maintain your balance. If you accidentally flip, no big. You were going there anyway. ● Flip Dog (some call this wild thing). Remember not to take your feet too wide. It creates compression in the lumbar spine. Aim for hips distance with the feet. Both knees can be bent or you can keep your left leg straight and right knee bent with the ball of the foot on the ground and the right heel lifted). ● Drop your hips to a hover about an inch or three away from the ground. Inhale as you lift back into flip dog, exhale as you drop back down. When you drop down, bring your right hand to your right kneecap and employ Jalandhara Banda (chin lock). ● From the hover, sit all the way down and straighten your right leg if it's not already. Bring your right arm to the inside of your right leg and reach back for a bind (Marichyasana A). Fold if that feels available to you. ● Unbind and lift back into flip dog. Transition to high crescent lunge pose. ● Move from high crescent lunge into warrior 3 pose. Do this three times, inhaling into warrior 3 and exhaling into high crescent. Use this for balance, breath control, and proprioception development. ● From high crescent, bring your right hand to the ground and your left arm high in a twist. Position your right hand where you want it for Vasisthasana (Side Plank). Roll onto the pinky toe edges of your feet and remain in this modification or heal/toe your left foot more towards the middle of your mat so your toes are lined up with your left hip. This is a great variation of lift our left foot and stack the arches of your feet with your legs together, Vasisthasana.

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● Hold for 3-5 breaths. Transition to plank. ● Plank to child's Pose. Repeat on the other side.

Finish the sequence with nurture. Transition from child's pose to hero's pose (Virasana). Bring your knees wide sitting back on your heels (or a blanket or block). Lift into a mini-backbend. Go for subtle. Move into Sukasana and take a gentle twist on each side. Stretch your legs long and fold forward (Paschimottanasana). Last stop, Savasana. Revel in all the feels.

Chapter 7. Class Planning 20 Yoga on High © 200-hour Teacher Training Manual

Vasisthasana Sequence, by Anne Weidinger

Level 1 & 2 60 Minute Class

Opening & Warm Up

Constructive Rest Position on back. Feet stepped in with knees pointing up.

Supta Utthita Padangushtasana

Knees to chest. Rock and roll to table top- all 4’s. Cycle through cat/cow. Reach right arm forward and left leg back. Hold 3-5 breaths. Switch sides.

Thread the needle: From table top, inhale reach the right arm up, exhale lower the right shoulder down to the mat, threading the right arm to the left. Pause here a few breaths. Inhale back to table top.

Adho Mukha Svanasana.

From Audho Mukha Svanasana: Modified Vashistasana- Lower the left knee down to the mat, spin the right foot flat, open the body to face right, inhale raise the right arm up. Hold 3-5 breaths. Exhale into plank pose, Adho Mukha Svanasana. Repeat left side.

Walk to the top of the mat. Samastitihi.

3 A’s- first one slow with modifications.

2 Dancing Warriors, inhale Utkatasana, exhale Uttanasana, Inhale half lift, exhale Chatturanga, inhale Urdhva Mukha Svanasana, exhale Adho Mukha Svanasana. Inhale right leg into 3 Leg Dog, exhale step the foot forward, inhale high crescent lunge, exhale Virabhadrasana B, inhale Reverse Virabhadrasana, exhale hands to the mat. Vinyasa to Adho Mukha Svanasana. 3-5 breaths. Other side.

From Adho Mukha Svanasana, inhale right leg into 3-leg dog, exhale, step the foot forward, lower the back knee down into Anjanyasana. Inhale, reach the arms up. Hold for a few breaths. Exhale hands to the mat, shift the hips back into a runner’s stretch. Option to stay here or to move back and forth from Anjanyasana to Runner’s Stretch. 3-5 breaths. Shift forward, into Anjanyasana, inhale hands to Anjali Mudra, exhale twist to the right. Options for Twist: Hook left elbow to outside of right thigh, extend the Arms to “T” (Left hand inside or outside of right foot), lift back knee away from mat. 3 Breaths. Vinyasa to other side.

Standing Flow

From Adho Mukha Svanasana, inhale right leg into 3-leg dog, exhale Step the foot forward, inhale Virabhradrasana A (1 breath), exhale Vira B (1 breath), inhale, straighten front leg, exhale Utthita Trikonasna. Hold 3-5 breaths. To exit: exhale, bend the front knee, inhale Reverse Virabhradrasana, Exhale hands to mat and step back to Audho Mukha Svanasana. Step the feet together at the back of the

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mat. Shift forward and open the body to face the right. Stack the feet together. Inhale, reach the right arm up into Vashistasana. Variations could include the Modified Version from the warm up, or stepping one foot in front of the other. Hold for a few breaths. Exhale Audho Mukha Svanasana to Child’s Pose. Repeat Left side.

Walk or Hop the feet to the top of the mat. Samastitihi.

Pada Hastasana

Step a quarter turn to the left to wide legged stance, cue arm position for Prasarita of your choice. 3-5 breaths. Inhale lengthen the spine half way, pivot to the front of the mat and walk the right foot out wider into lizard pose. 3-5 breaths. Inhale step forward into Malasana – wide squat. Hold 3-5 breaths. Keep feet wide as you fold forward. Toe heel your feet underneath you and inhale stand up. Repeat other side.

Vrksasana with arms to “T,” right and left.

Utthita Hasta Padangushtasana, right and left.

Vinyasa to Audho Mukha Svanasana. Repeat Standing Flow, adding Ardha Chandrasa after Trikonasana. Finish in Audho Mukha Svanasana.

Second opportunity to repeat Vashistasana from Audho Mukha Svanasana. To step it up, slide the right leg up into Tree Pose, or reach down for the right toes with the right hand and extend the right leg up to the ceiling. To step it down, lower the left knee down to the floor and repeat the modified version from the warm up. Child’s Pose.

Janu Sirsasana A, Marichiasana C, Navasana, Purvottanasana (or modified upward facing table top) 5 breaths. Repeat second side.

Paschimottanasana 5-10 breaths.

Step feet in so soles of feet are on the mat and knees point up. Reach arms forward. Count of 5 to lower onto your back.

2-3 x Progressive bridge pose to Urdhva Dhanurasana (option).

Knees to chest, optional happy baby pose.

Supine twist

Salamba Sarvangasana and variations/ modifications.

Savasana

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Class Planning Themes and Inspiration

Class Themes Not all asana classes need to be centered around asana. Teachers can create a series of classes around themes, such as the yamas and niyamas or particular yoga sutras, introducing those themes at the beginning of the class and working them into the body of the class. A class theme is a thread that is woven throughout a class sequence. Creating a class theme helps narrow down the focus so that you are not tempted to share everything you know in one class. You can ask your students to consider the class theme as they practice or periodically direct their attention to it. Ahimsa is a great theme to use, especially with new beginners who may be striving too hard and being self-critical. Periodically reminding students to keep the practice “sthira and sukha,” steady and comfortable, can be a great way to use philosophy as a thematic thread. As you will see below there are endless themes and topics that you can weave through a yoga class. Themes can help you share the deeper aspects and all 8-limbs of the ancient lineage of yoga. ● Teach themes that make you feel excited and inspired ● Teach themes that are relevant ● Limit yourself to one theme per class ● Simple themes are better – don’t overcomplicate ● Create a core message that is no more than two sentences that is provocative, heart-felt and succinct ● Ensure themes are inclusive of the entire class ● Teach themes that have a paradox or a complimentary opposite

Finding Inspiration Where do you draw your creative inspiration? As you continue to develop as a teacher it will be important to inquire within yourself and research your interests and inspirations and then teach from this experience. When you feel or know something deeply this is translated and transmitted to your students. They feel your passion, knowledge and energy—never underestimate the power of your presence when you teach from a deep place of knowing. Honor your natural talents and gifts. Align your teaching with your own unfolding and yogic journey. ● Personal meditation and yoga practice ● Take other teachers’ classes ● Workshops, conferences, festivals ● Always a student ● Read books on all topics: anatomy, yoga, philosophy, poetry . . . ● Journaling ● Nature ● Relationships ● Personal failures and successes

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● Other physical disciplines

General Themes Effort and Surrender Abundance Gratitude

Giving and Receiving Prana Simplicity

Listening Sankalpa Luck

Focus Strength and Stillness Smiles

Dedication Beginner's Mind Part of the Body

Stillness Balance Play

Foundation Courage Precision

Discipline Vulnerability Mindfulness

Integrity Lotus (beauty from mud) Use of Props

Yoga Sutras 1.2 Yoga chittavritti nirodhaha – yoga stills the fluctuations of the mind

1.12 Abhyasa vairagya tannirodaha – happiness is obtained through a strong practice and letting go of the fruits of your practice.

2.1 Tapas svadyaya ishvarapranidhani kriyayoga – the practice/action of yoga is a disciplined offering to something bigger.

2.46 Sthira sukham asanam – your asana or seat should be both steady and comfortable.

Chakras

Muladhara – pelvic floor – earth – instinct, security, survival, potential, food, matter

Swadisthana – sacrum – water – change, movement, pleasure, emotions, sexuality, desire

Manipura – navel – fire – power, autonomy, will, energy, technology, self-esteem

Anahata – heart – air – love, breath, balance, relationship,

Vishudda – throat – ether – self-expression, sound, vibration, communication, creativity

Ajna – brow/pineal gland – light – intuition, sight, imagination, vision

Sahasrara – crown – consciousness – thought, knowing, understanding, meditation, universal connection

Koshas

Annamaya kosha – earth – physical layer

Pranamaya kosha – water – energy layer

Manomaya kosha – fire – mind layer

Vijanamaya kosha – air – wisdom layer

Anandamaya kosha – space – bliss layer

Yamas

Ahimsa – non-violence

Satya – benevolent honesty

Aparigraha – non-hoarding

Asteya – non-stealing

Bramacharya – to behave as a student of god

Niyamas

Saucha – cleanliness

Santosha – contentment

Tapas – discipline

Swadyaya – self-study

Ishvara pranidhana – offering to something bigger

Hindu Gods and Goddess Stories

Durga * Hanuman * Shiva * Nataraj * Ganesha * Saraswati

5 Elements

Earth * Air *Fire * Water * Space/Ether

The 5 Vayus

Om Pranavaha Namaha – I honor the life force that dwells in all of creation

Om Prana Swaha – I honor the “in-drawing, rising energy”

Om Apana Swaha – I honor the “downward rooting flow”

Om Samana Swaha – I honor the energy that “contracts to the core”

Om Vyana Swaha – I honor the energy that “expands omnidirectional from the core”

Om Udana Swaha – I honor the energy that “rises and moves outward’

Class Planning Class Planning & Sequencing Worksheet

Type of Class:

Level:

Theme of Class:

Peak Asana(s):

What are the arms/legs/torso doing in the peak pose?

What similar poses/shapes do you recognize that can be taught to prepare the body for the peak pose?

Where in your sequence do you add the prep poses?

Preparatory Asanas Relationship to Previous and Subsequent Asanas

How is the peak asana explored and how is the theme of the class integrated? Variations of peak pose? How would you step the pose up or down?

What counterposes will you use to integrate and balance the energetic effect of the peak pose?

Other considerations: modifications and assists for each pose.

Class Planning & Sequencing Worksheet

Type of Class:

Level:

Theme of Class:

Peak Asana(s):

What are the arms/legs/torso doing in the peak pose?

What similar poses/shapes do you recognize that can be taught to prepare the body for the peak pose?

Where in your sequence do you add the prep poses?

Preparatory Asanas Relationship to Previous and Subsequent Asanas

How is the peak asana explored and how is the theme of the class integrated? Variations of peak pose? How would you step the pose up or down?

What counterposes will you use to integrate and balance the energetic effect of the peak pose?

Other considerations: modifications and assists for each pose.

Class Planning & Sequencing Worksheet

Type of Class:

Level:

Theme of Class:

Peak Asana(s):

What are the arms/legs/torso doing in the peak pose?

What similar poses/shapes do you recognize that can be taught to prepare the body for the peak pose?

Where in your sequence do you add the prep poses?

Preparatory Asanas Relationship to Previous and Subsequent Asanas

How is the peak asana explored and how is the theme of the class integrated? Variations of peak pose? How would you step the pose up or down?

What counterposes will you use to integrate and balance the energetic effect of the peak pose?

Other considerations: modifications and assists for each pose.

Class Planning & Sequencing Worksheet

Type of Class:

Level:

Theme of Class:

Peak Asana(s):

What are the arms/legs/torso doing in the peak pose?

What similar poses/shapes do you recognize that can be taught to prepare the body for the peak pose?

Where in your sequence do you add the prep poses?

Preparatory Asanas Relationship to Previous and Subsequent Asanas

How is the peak asana explored and how is the theme of the class integrated? Variations of peak pose? How would you step the pose up or down?

What counterposes will you use to integrate and balance the energetic effect of the peak pose?

Other considerations: modifications and assists for each pose.