CHAPTER 3. Asana

Chapter 3. Asana 1 Yoga on High © 200-hour Teacher Training Manual

Asana Warm-ups

Sanskrit English Level

1 Hugging the knees/extending the arms and legs All

2 Number four hip opener All 3 Supta Padangusthasana Nose to knee pose Level 1

4 Vyaghra Kriya Cat-cow / “tiger action” All

5 Arm up the wall Level 1 Parsva Urdhva 6 Hastasana Standing side bend with lifted arms All

7 Parighasana Gate Pose Level 1

Hugging the Knees/Extending the Arms and Legs • Ask students to lie on their backs on the floor with their knees bent and notice the breath— when they are inhaling and especially when they are exhaling. Have their hands rest on their bellies. • As they exhale, ask them to hug the right knee to the chest. As they inhale, have them lower the leg and rest the hands back on the floor. With the next exhalation have them hug the left knee to the chest and as they inhale have them lower it again. Ask them to continue in this same rhythm based on their own breathing pattern. • Once students have the rhythm, which generally takes several repetitions, ask them to reach the arms out overhead as they inhale and to extend the leg along the floor, if that is comfortable. Repeat this action, keeping the rhythm going for a while, so that students can find the different parts of the action. It is initially confusing to do any action in coordination with the breath. Offer verbal images of the knees squeezing the breath out of the body or the body opening like a flower with the arms and legs extended so that the breath feels like it is being pulled inward. Orient the students in the room so that you can make directional references (stretch your arms toward the back wall, for example) and they can know whether or not they are moving their bodies correctly.

Chapter 3. Asana 2 Yoga on High © 200-hour Teacher Training Manual

Continuing the Practice • When the theme is the natural curve of the spine, have students discover what their backs are doing in each of the different stretches. When the knees are hugged, the back tends to round and flatten into the floor, and when the arms are over the head the back tends to arch. For someone in good health this is fine, but those with any back pain should try to keep the natural curves intact. • During the weeks when you are encouraging movement in the ribcage in breathing, direct students’ awareness to the ribs. • Have students notice if they tend to speed up or lose their focus of attention. • This is a great pose to learn to coordinate movement with the breath. Finding the natural rhythm of the breath and then moving with it is very different from hugging the knee and then remembering to exhale at the same time.

Number Four Hip Opener • Start this pose the first week of class as everyone has tight hips and many people have sore backs. • Have students lie on their backs with the knees bent. Open the right leg toward the floor and then cross the right ankle over the left knee. (No matter what language is used, someone will be confused; demonstrate this action to get the crossover right.) The right ankle should be on the left leg with the foot off the leg. For some people this first part is enough of a stretch, though most people will be able to go further. • If students are comfortable ask them to knit the fingers behind the left knee and bring the leg toward the torso. For increased body awareness, ask them to notice all the places that they are tensing unnecessarily. The jaw, the belly, and the shoulders are always good places to mention. Ask them to find the location of greatest sensation in their bodies, and sometimes ask them to describe what it feels like. • To bring your students out of the pose ask them to return both feet to the floor. For students who are very tight in the hips and who cannot take hold of the left leg there are several things they can do to relax: • Give them a strap to put around the leg • Put the foot on a block and have them relax the arms on the floor. The height of the block is determined by the tightness of the hip. The tighter the hip, the lower the block.

Continuing the Practice Ask students to notice and try these things: • Are they shifting to one side? (They always are.)

Chapter 3. Asana 3 Yoga on High © 200-hour Teacher Training Manual

• Are they rounding their backs? (They are.) The number 4 warm up is a good pose to use to focus on the natural curves of the spine. Ask students to lengthen into the natural curves of the spine a little. In order to do this they have to let go of the leg a little. • What is the difference between allowing an opening to occur, supported by the breath, and overworking the hip area, thereby creating tension? • Can students allow a little movement in the pose as the breath comes and goes? • Are they actually allowing the opening to be in the hip or are they overworking somewhere else, probably by moving the pelvis into posterior rotation, in order in order to avoid the hip opening. They are trying to relax very strong muscles. • Is there contentment (santosha) and non-violence (ahimsa) in the pose? • After students come out of the pose, have them observe the sensations in their bodies as they rest for several breaths. Heat? Relief? Tingling? Relaxation? How is the breath?

Supta Padangusthasana (leg up pose) • Have students lie on the back. Those who prefer can have the knees bent and the feet flat on the floor. • With a strap in hand, on an exhalation bend the right knee and put the strap around the sole of the right foot. • Extend the leg up toward the ceiling with an angle between the leg and the floor of around 90 degrees. • Some students will be so tight in the leg and hip that the raised leg does not reach up to 90 degrees. Trying to get the leg in the air creates more upper body tension than is beneficial. One solution is to have students bend the knee of the up leg. • Straighten the arms without tensing them or hyper-extending the elbows. Keep the shoulders on the floor. Loop the strap around the hands once so that the hands do not have to grip. • Keep both buttocks on the floor and extend through the down leg with the toes pointing up toward the ceiling. • Relax the body, and then relax the leg a little more. Hold the pose about 30 to 60 seconds depending on your students’ capabilities. • Lower the leg and do the other side. • You might do each side again. • This pose allows the students to explore moving into sensations of discomfort (not pain!) with full awareness. As long as the breath can remain relatively calm they can continue to deepen the stretch into the hip area. Then they can invite the breath into the hip so that it relaxes into rather than resists the opening. • In this pose students can learn to stretch one area (the leg) fairly strongly without asking other body parts to work as well.

Chapter 3. Asana 4 Yoga on High © 200-hour Teacher Training Manual

Continuing the Practice • Watch for the natural curves of the spine. The side of the lifted leg is often flattened as the student strains to get the leg closer to the body. • Focus on keeping the rest of the body even on the floor instead of placing all attention on the leg that is stretching up. • Allow a little movement with the breath. • Keep the belly relaxed. • Let the top of the femur extend away from the torso. • This is a great pose to learn our tendencies—am I pulling vigorously on the leg, or am I so floppy that nothing is happening? • Feel any amount of opening in the hip by reaching the raised foot toward the ceiling while keeping the back of the hip on the floor. You can show the sock stretch here. (In order to stretch a sock, it is necessary to anchor one end of the sock and stretch the other end away from it. If you simply lift the whole sock toward the ceiling, there is no stretch.) • Like many of the other warm-ups that we teach, this one can be done lying on the floor or even in bed. If a student does not have a lot of energy for their practice they can still do something. • As students get more familiar with the pose you can ask them to feel the effect of internal and external rotation of the femur in the hip socket. This helps them to prepare for the standing poses and releases very tight muscles in the hip area. Say something like this: “As the leg is up in the air, supported by the strap, turn the leg in the hip socket so the toes point toward the front door (or whatever in the room gives them external rotation.) This is called external rotation. Now, rotate the leg in the other direction so that the toes point toward (whatever is internal rotation.) This is called internal rotation. Go back and forth between the two directions several times.” Explain that this movement helps to stimulate the flow of synovial fluid in the joint itself, which helps keep the hip “juicy.” Using the whole range of motion of a joint helps to keep it healthy. • Another helpful variation is one in which the student is close to the wall (short end of the mat along the wall) so that the foot of the leg that remains on the floor can press into the wall. This focuses attention on parts of the body that may at first seem irrelevant in the pose. As the foot presses into the wall, the extended lower leg should not roll to the side; it stays grounded with the foot straight up toward the ceiling. This variation also helps students recognize if they are pulling too hard on the raised leg which causes the lower leg to come off the floor and roll to the side. • Another variation uses a doorway. Lie down in a doorway with the down leg along the floor through the doorway and the up leg resting on the doorframe. No arm support is required and the entire leg can relax into the door support without being dragged down by gravity. When going to the doorway might interrupt the flow of the class, you can stand in front of a student's raised leg and let it rest on your hip inviting the student to let the leg go.

Chapter 3. Asana 5 Yoga on High © 200-hour Teacher Training Manual

Table Top Pose • Come to all fours. Hands shoulder width apart with the wrist crease just slightly ahead of the front of the shoulders and the fingers spread evenly. Keep the feet and knees hips width apart with knees directly below the hips. Experiment with keeping the toes tucked under (dorsiflexion) as in down dog or placing the tops of the feet into the floor (plantar flexion) as in up dog. • Warm-ups from this position include: extending one leg or one arm at a time, extending opposite arm and leg, moving into plank pose with shoulders directly over the hips and strongly engaged legs, lifting one leg in bring the ankle in line with the hips and shoulders while pressing into the floor through the ball of the opposite foot and cat-cow. • This is a great place to teach the actions for plank pose: pressing the floor away with your hands, engaged abdominals, natural curves of the neck, engaged pectoralis and serratus. It is an easy spot to teach the arm actions for downward facing dog (internal rotation of the forearms and external rotation of the upper arms).

Cat-Cow (Vyaghra Kriya) “Tiger Action” • Start in table top. • Use simple, specific directions to get gentle undulating movement from the vertebral column. To increase body awareness, invite students to notice what is happening in different places in the body. For example, even though the directions are for moving the hips, if they actually do what you ask, they will feel a lot of movement in the neck and shoulders. Sometimes it is necessary to demonstrate this pose. A simple use of touch is this: from behind the student, put a hand on each side of their waist. Help the back to round up, and then help it to arch. • Another cat/cow variation starts from the same basic position on hands and knees. Have students swirl the hips around in a circle, both in clockwise and counterclockwise directions. Include feeling that a spoon coming out of the navel is stirring a huge pot under them. (It sounds silly, but it works and they always laugh.) After the movement has stopped, invite them to notice that there is still some inner swirling even though the outer body is now quiet. • By the second or third week of practice, have students combine up-and-down and swirling movements so that as they go back in a circle on one side they are doing cat, and as they sweep around forward on the other side they are doing cow. Most of students can do it and the ones who are confused still get a lot of wiggling.

Continuing the Practice – Working into the Sun Salute • Another variation of cat/cow is very helpful in teaching the movement students need to get down to the floor in the Sun Salutation. It also helps them learn more about coordinating movement with the breath. In this variation, students start from the hands and knees position. As they curl the tailbone under and round the back they move the torso back from the hands towards the back of the room. As they lift the sitting bones and roll the back into

cow pose they bring the torso forward again. This one is best to demonstrate before having students perform. • Cat/cow is a great way to take your students into downward facing dog pose. From cat pose they can come up with the broadness of the shoulder blades, and the cow pose really facilitates the lifting of the sitting bones. Try it with them both ways. Arm Up the Wall Arm up the wall is a delightful warm-up that helps to create axial extension, an opening in the side ribs and body, an understanding of the proper movements of the shoulder girdle, and the ability to feel differences in the left and right sides of the body. This warm-up can illustrate many of the themes you will develop with New Beginners Hatha Course. • Have your students stand with the right side toward the wall. Let them know they do not need much room between people and it is easier to see them if they are closer together along one or two walls of the room. • Have them bring the right arm up the wall as far as is comfortable and lightly press the fingertips into the wall. • Have them raise their heels up a few inches off the floor so they can move the fingertips a little further up the wall. Have them keep the fingertips at the same place on the wall as they descend the right foot back onto the floor. Let the opening be along the side body. • If a student has a shoulder limitation this pose can be done with the back of the hand to the wall and/or the arm a little forward of the body along the wall. • Be sure to have students keep the weight over the feet; there is a tendency to swing the pelvis forward. • Breathe into the side ribs on the side nearest the wall. • To come out of the pose, bring the arm forward along the wall to lower it. Have them turn their backs to the wall and feel the effects of the stretch. • Teach students to allow the shoulder blade to lift up with the arm. This prevents dislocation of the shoulder and also supports opening in the side ribcage. Let them know that the trapezius muscle (the top of the shoulder) does not have to contract as this happens. • Invite students to feel as though they are breathing as if through shark gills as an image for the side body. • See if they can feel the spreading of the ribcage toward the wall as they breathe. • Help them to increase body awareness by feeling the differences between the two sides as they come out of the pose. One side will feel longer and lighter, more alive. The arm on that side is often visibly longer. • Invite them to notice where the breath goes in the body while they are in the pose, and where it goes the moment they come out of the pose.

Lateral Flexion or Side Bending poses These poses serve as a wonderful counterbalance to forward and back-bending poses and twists. During lateral flexion the ribs move closer together towards the side of the body that is in flexion, while the opposite side of the ribcage expands and the ribs move farther apart. When done while standing, the legs and feet should root powerfully into the floor to stabilize the trunk. If performed as a seated pose, the sitting bones and pelvis must remain strongly grounded into the mat. The pelvis should remain in neutral position, without an anterior or posterior tilt. During side-bending poses, the arms can be held over the head, out to the sides or down along the side of the body. Side bending can be easily added to many seated poses to vary asana positions and a welcome muscular release. Beginning students can comfortably experience side bending and enjoy a gentle sway side to side if done in a Vinyasa-like manner. Lateral flexion can also be a nice way to practice balancing with students who are new to yoga. Keep a careful eye on students to eliminate any twists in the spine during lateral flexion.

Parsva Urdhva Hastasana - Side bend with arms/hands upward. Coming in: Begin in Tadasana. Inhale, reach the arms out and up over the head, palms facing each other. Exhale, root into the floor equally through the feet. Inhale, lengthen the spine keep reaching up towards the ceiling. Exhale, bend the torso to the right. Feel the opening of the left side body as the head is kept in line with the spine. Keep the both feet grounded with Tadasana legs. The head and pelvis tip to the right creating a long lateral arch. Stay in this shape for a few breaths. Coming out: Inhale, reach back up overhead. Exhale release the arms to Tadasana. Repeat on the other side.

Parighasana - Gate pose Coming in: Begin in table position. Step the right foot out to the side, leg straight. Bring the shoulders over the hips. Press the top of left foot into the floor. Lift the arms out to the side of the body parallel to the floor. Turn the left palm to the ceiling and reach the fingers straight up overhead. Keep reaching through the left arm as you bend the torso to the right. Place the right hand on the right leg. Keep the torso facing forward without twisting. Lengthen the spine through the crown of the head as you continue to breath through the length of this lateral arch. Keep the weight centered on both legs. Stay in this shape for a few breaths. Inhale up shoulders over hips with arms parallel to the floor. Exhale bend to the left, away from the extended right leg. Place the left hand on the outer left thigh, a block or the floor. Coming out: Inhale up shoulders over hips with arms parallel to the floor. Return to table position. Repeat this on the other side.

Additional Warm-up and Therapeutic Exercises Points to Consider: Consideration should be taken into account to increase students’ core body temperature to a certain extent before proceeding with the main points of the class. Ranges of motion (ROM) activities are advisable and can be performed in such a way to promote energized relaxation. These exercises also prepare the brain for more complicated movements and increase one’s focus.

Some of the work below is influence by the practice of somatics. All work should incorporate the proper use of the breath. • Tactile stimulation: Body tapping, rubbing, brushing, swinging, squeezing or shaking. • Core-distal movement: Extending or stretching body parts away from the body’s center/core and then folding inward towards the core. This can be done lying down, sitting or standing. • Head-tail movements: Moving the head (top of the spine) and the tail (bottom of spine) in a variety of ways including cat/cow on hands and knees or standing with bent knees. Also add in side curves (right ear to right side of pelvis, left ear to left side of pelvis; and right ear to left side of pelvis and left ear to right side of pelvis). • Range of motion (ROM): Gentle circling actions of all major joint areas. This can include flexion and extension, adduction and abduction actions. • Upper/lower body half movement: Small knee bends, lifting the arms up and down, etc. This can be done standing, sitting or lying down prone or supine. • Right and left side of body movement: Knee bends, lifting the arms up and down, etc. Or joints can move in a circular pattern. This can be done standing, sitting or lying down. • Tracking: Eyes follow the movement of the arms/hands fingers in various pathways. Following the hand moving from left to right across and in front of the body is good for reading and attention. • Cross-lateral: Any movements that bring one limb across the centerline of the body to meet the opposite limb. • Pelvic tilts: Can be done lying, sitting or standing. Pelvic tilts should include forward, backward, right, left, up and down tilts. Include a circling motion of the pelvis with tilts to further release the low back, psoas and hips. • Sternum drops (warms up pectorals and trapezius): In table position, gently release the sternum towards the floor and then return to table position. Scapulae move slightly together on the lowering action. Be sure that the movement does not become cat/cow like in nature. The elbows should not bend. • Vestibular: Simple walking in a circle focusing the eyes on a specific spot. • Psoas pull: Lie on the back with the legs extended. With a slight action, gently draw the leg in towards the hip without bending at the waist or the knee. The action should be felt in the transverse abdominals and should not become a gripping quadriceps movement. This exercise works well with a partner. Invite one partner to softly hold the leg while the other partner draws the working leg inward. The partner holding the leg should look for the proper actions within the body and provide feedback for the other partner. • Psoas lunge: Can be done with or without using blocks under the hands. In this lunge, one leg is forward, with the knee bent, foot on the floor; the back leg can be straight or the knee can be on the floor. Should be held for at least 30 seconds per side. Raise the arms for an added opening. Side bends of the torso can also be added to this exercise. • Arm circles (angel wings): Can be done lying down, sitting or standing. Begin with the arms down along the side body; swing the arms out sideways, away from the midline and over the

head. Swing the arms back down toward the feet (when standing, lying down) or toward the floor (when sitting). • Bow and arrow: Lie on the back with the knees bent, arms extended straight out from the shoulders, palms toward the ceiling. Bring one arm across the chest leading the movement with the hand so that the palm of the gesturing hand meets the palm of the other hand resting on the floor. (You will need to pick the shoulder of the gesturing arm off the floor to do this.) Move the gesturing arm back across the body to end with the back of the hand resting on the floor. The pelvis and legs should remain grounded the whole time. This is an upper body twist, which also warms up the shoulders and arms. • Pectorals and neck release: Lie on the back with the arms shoulder level, in T-shape, with the palms towards the ceiling. Slide the right arm upward towards the head, then bend at the elbow like a salute; lower back to the starting position. Turn the head from side to side once. Repeat the whole sequence. This exercise can also be done standing with the back against the wall. • Feet: Foot swipes, piano toes, toe fans and doming. o Foot swipes: This exercise is done seated, with the knees bent, feet flat on the floor, heels in line with the sitbones. Rotating the foot on the heel, point the toes toward the 1:00 o’clock position. Press the whole foot on the floor, especially the big toe metatarsal, and draw the foot back into the 12 o’clock position. Keep the foot on the floor during the exercise. o Piano Toes: This exercise can be done seated or standing. Lift all five toes off the floor and lower each down, one by one, starting with the baby toe. Repeat and reverse the order of lowering by starting with the big toe. o Toe Fans: This exercise is done seated. Lift the toes off the floor, spread them apart and bring them together again like a fan opening and closing. o Doming: This exercise is performed while seating. With the feet flat on the floor, draw the toes in towards the heel. The arch of the foot should lift like a dome.