Upload
max-alejandro
View
2.593
Download
8
Embed Size (px)
Citation preview
;=:J
·:. =:1
=:1
~
=:J
=x:. :~{
JJ '':1 I'
' I
AsouT THE AuTHOR
Brian Cooper has been practicing Hatha Yoga since 1970 and teaching full time since 1990. His first formal studies were at Yoga Niketan in Rishikesh in 1972. He holds a doctorate in Bio-Engineering and an advanced diploma in Thai Massage. These strands have come together to produce this manual. He was co-founder of the Edinburgh Yoga Centre and director of Union Yoga in Edinburgh. He is director of Teacher Training for Union Yoga, and executive consultant for Yoga Alliance UK. He is the founder of the eco-aware Shanti Griha Retreat Centre in the secluded north west of Scotland. Brian runs teacher training and yoga classes all over the world. You can find more information at:
• www.briancooper.eu • www.unionyoga.co.uk
RESOURCES
Other Harmony Classics
Yoga: The Art of Adjusting 2nd Edition
Hatha Yoga- The Report of a Personal Experience
Penthouse Of The Gods
Pranayama- The Yoga of Breathing
Yoga and Health
Yoga Week By Week
Autobiography of a Yogi
Union Yoga Publishings
Yoga Asanas- A Natural Method of Physical & Mental Training
Hatha Yoga -The Yogi Philosophy of Physical Well-Being
Advanced Course In Yogi Philosophy and Oriental Occultism
COOPER, Brian
BERNARD, Theos
BERNARD, Theos
LYSEBETH, Andre Van
YESUDIAN, Selvarajan and HAICH, Elisabeth
YESUDIAN, Selvarajan
YOGANANDA, Paramahansa
FREDERIC, louis
RAMACHARAKA, Yogi
RAMACHARAKA, Yogi
www.harmonypublishing.org
CoNCLUSION
This manual has shown the many ways to use adjusting to enhance asana practice.
Whatever the adjustment you choose, you should always use the correct approaches
and techniques as discussed in these pages. The adjustments shown are only a
cross-section of what is possible. Provided you carry them out properly, there is
really no limit to ways of adjusting, and the forms these can take is limited only by
the imagination. I hope this manual will give you the confidence, not only to
practise, but to experiment and develop your own approach to this skill. Adjusting
can be greatly enhanced by studying Traditional Thai Massage. Thai Massage teaches
sensitivity, awareness and understanding of the body like few other therapies can.
And of course the ultimate way of learning is through your own body. Do your asana
practice with the same mindfulness as you would carry out adjusting.
I 3 5
BACK B END I N G I Adjustments
To ensure correct shoulder opening, keep your student's arms approximately shoulder-width apart while the student lifts off the floor and also when they come back to the floor. Do this by pressing against their forearms using your hands or forearms. If a student has poor shoulder flexibility they will find this very challenging. In this case you can allow their arms to come a little wider in order for them to lift into position.
To help students lift from the floor, have them grab the adjuster's ankles.They can use this to push and get more lift. You can then assist them further by holding around their shoulders and pulling them up and towards you. The same adjustment can be done using a wall. The student places her wrists against the wall and uses this contact to push into theasana.
.]
~]
~]
.]
J
J
J
The actions using the wall can also be done using adjustments. Using a belt provides better and safer control compared to holding the student directly. The belt Is placed around the lower back just on the rim of the sacrum. The student starts dropping back as you hold the pelvis forward
and check that the student's legs are working strongly. Make sure they are breathing in the position and then instruct them to come back up under their own effort, only using the belt to prevent them falling back.
B A C K B E N D I N G I Adjustments
Gradually take the student deeper, allowing some movement in the pelvis. The adjuster can also stand on the student's toes to prevent the heels lifting as they come up.
B A C K B E N D I N G I Self Adjustments
This set of photographs shows how to work towards Urdhva Dhanurasana using a wall. The principle is to push evenly into the wall to open the shoulders and lift the pelvis away from the ground. The legs must work strongly and the breath must be smooth.
I 3 0 B A.:. B [ •• I.'·
Stay In the first position until there is no effort to hold it for at least twenty even breaths, then move onto the next position, gradually moving further down the wall.
In each position you should be able to come back up by moving the pelvis away from the wall without pushing through the hands.
J
J
J
J ]
]
J ]
]
]
J
J
J
Before attempting any adjusting in the backbends, it is important that the student is adequately
prepared. There is no point in, for example, helping someone drop back if they are not using their legs
to give proper support for their back, or not working correctly to open the shoulders. The classic signs
are legs bending almost immediately and pelvis tipped way off vertical. And most importantly, the
breath must remain strong and smooth throughout. The following photos show a few simple ways of
preparing for Urdhva Ohanurasana.
B' I B I"' I.'· 1 2 9
1:=1
j~
=t
:J ;~
:1
:=t
:=1
=:1
:1
:=J
:=J
:=t
CHAPTER
Back Bending
I 2 7
J
J
J
J ]
]
J
J
J
J
J
J
J
URDHVA MUKHA PASCHIMOTTANASANA
This is the balance version of Paschimottanasana. It emphasizes the lifting and lengthening of the back and the forward movement of the sternum which
was explored in Paschimottanasana. Without this action the asana is impossible because a rounded back will drag the body backwards.
124 PRIMA" SrRI!S As•"'
\
]
J ]
]
]
]
]
1 ]
]
]
]
]
URDHVA MUKHA PASCHIMOTTANASANA I Adjustments
OBSERVE
• The student is hanging with soft legs and not pulling sufficiently on the feet
PASSIVE ADJUSTMENT
• Push and lift with your right hand between the shoulder blades
• This is achieved by pushing your knee against the back of your hand rather than directly with the knee
• The left hand pulls the feet towards the head • Use a closing action between both your
hands to bring the chest forward and lifted
URDHVA MUKHA PASCHIMOTTANASANA
Foundation
Legs are straight and heels extended
Hands wrap around the outside edges of the feet
Balance on the sit bones, not the tall bone
What to do
Lift the sternum towards the legs
Lengthen out of the lower back
Either hold the outside edges of the feet or take a wrist
Pull strongly through the arms to bring chest to legs
Gaze to the toes
_]
_]
~
SUPTA PADANGUSTHASANA C I Adjustments
-------------------------
PASSIVE ADJUSTMENT
o This adjustment encourages the proper action of the raised leg by fixing the hamstrings near their insertion
o This also prevents the pelvis on the side of the raised leg from lifting from the floor.
Pa:H•or SERt£1 A~ANAS 121
SUPTA PADANGUSTHASANA C
120 PR!MARV StRifS AIAOAI
Foundation
Front leg stays on the floor and toes extend Raised leg stays close to the ear
Top of the foot of raised leg goes to floor and toes extend
What to do
Extend through the front leg
Move back of the knee to the floor
_]
.~
OBSERVE
• The side leg has not reached the floor
_]
SUPTA PADANGUSTHASANA B I Adjustments
PASSIVE ADJUSTMENT
• Use your foot to gently press down on the fixed leg
• Now rotate the thigh of the opening leg using both hands
PASSIVE ADJUSTMENT
• This is an inward rotation as shown which drops the sit bone down and Ulider and brings the outside edge of the foot to the floor.
SUPTA PADANGUSTHASANA B
Foundation
Both legs straight and heels extended
Hold the big toe with the thumb and forefinger
Hips remain level to each other and on the floor
Sitting bones remain grounded
Shoulders and shoulder blades remain in contact with the floor
What to do
Rotate the side leg medially until the entire edge of the foot is grounded
Extend strongly through the other leg
Gaze to the side
:_]
I\=:)
"=:J
OBSERVE
• The student does not have sufficient strength to lift towards the leg
SUPTA PADANGUSTHASANA I Adjustments
AcTIvE ADJUSTMENT
• Place one foot gently on the thigh of the leg on the floor to keep it down
• Take hold ofthe foot ofthe upraised leg • Pull the leg towards you and ask the
student to raise her head as close to the leg as possible
AcTivE ADJUSTMENT
• You can now slowly let go of the foot while asking your student to keep lifting the head to the leg
P<rM•<~ StAllS AsANAI 117
SUPTA PADANGUSTHASANA A
Foundation
• Hand is on the thigh of the leg on floor
• Heel of this leg extends
• Hold big toe of other leg with thumb and forefinger
• Both legs are straight
What to do
Extend the leg on the floor forward to bring back of the knee
towards the floor
Engage abdominal muscles to lift head to leg rather than leg to head
Keep both legs very active with heels extending and quadriceps engaged
a Gaze to the toes
_j
_]
~]
1
J
J
]
]
J
I -I
P' : • •' ' S £ r< I I •, A' -1 ll A ! 1 5
UPAVISHTA KONASANA
This is similar to Badha Konasana except the legs are now straight and wide apart. Good adductor flexibility is required, and if it is present, the pelvis
can tilt forward through its full range of movement without the thighs getting in the way. At this stage the hamstrings actually relax and the full expression of the a sana is achieved.
,_]
:=-:J
'_]
OBSERVE
• The student's feet are falling in • The student is allowing her legs to rotate
inwards because she is letting her tailbone lift • This will prevent correct lengthening
through the spine
UPAVISHTA KONASANA I Adjustments
PASSIVE ADJUSTMENT
• Stand with your heels very close to the inside thighs
• Move your feet back to fix the thighs in a more open position
• The tailbone will now be prevented from lifting • Use both hands on the mid-back to push
down and forward from the grounded pelvis
PASSIVE ADJUSTMENT
• Alternatively, use your hands to roll the thighs back
• Your knee can be carefully used to push down and forward on the lower back
UPAVISHTA KONASANA
Foundation
legs are straight and kneecaps are pulled up
Kneecaps face directly up
Hands hold outside edges of the feet with the thumbs pressing
inside big toes
Back retains its natural curvature
Neck is relaxed
What to do
Lift and open the sternum
Move forward from the hips
lengthen the lower back
Move the ribcage to the floor
Pull up on kneecaps
Roll the thighs back
Curl the tailbone back and under
Move the shoulderblades towards the tailbone
Use the grip on the feet to pull and lengthen the torso forward
Gaze between the eyebrows
J
J
J
J
:J
J
~
J
J
=:J
~
.J
~ P<!HR! SfRI!~ AlANA\ 111
BADDHA KONASANA
A forward bend which stretches the adductors but does not involve the hamstrings. To bring the knees to the floor in the upright position requires contraction of the
external rotators- the Piriformis and the Quadratus Femoris and relaxation of their antagonists, the adductors. Some of the adductors have a very similar action to the hamstrings and can limit anterior tilting of the pelvis. This will show in the same way as tight hamstrings in Paschimottanasana. The back will be rounded due to forcing spinal flexion at the expense of hip flexion. Students showing a rounded back should not be pushed deeper into the forward bend as this will place undue strain on the lumbar region.
~]
J
.J
:~
_]
-.J OBSERVE
• The student's knees are on the floor showing good abductor flexibility
• She can be helped to lift and lengthen out of her pelvis and move closer to the floor
PASSIVE ADJUSTMENT
• Hold the knees down gently using your legs • The left hand pushes down and forward
while the right hand pushes back and down on the tailbone
BADDHA KONASANA I Adjustments
PASSIVE ADJUSTMENT
• If the knees do not come easily to the floor do not press on them
BADDHA KONASANA
108 P~I•AR> SPI£5 Asnn
Foundation
Soles of the feet together
Shoulders away from the ears
Neck Is relaxed
What to do
Bring the knees towards the floor
Lift and lengthen through the spine
Hold the tailbone back and down
Move the shoulders away from the ears
Press the feet together to activate the external rotators
Gaze to the nose
J
J
=t J
J
J
:J
J
~
J
:J
~
=:J
I 0 6
When you enter a womb, you enter into a fresh body, and
start the journey of desires. But if you die alert, in that
alertness not only the body dies, all desires evaporate:'
OSHO
·-]
-]
__ ]
--]
.J
PASSIVE ADJUSTMENT
• Squeeze knees closer to give more space for the arms
GARBHA pI NDASANA I Adjustments
PAss 1 v E AoJus THE NT
• Pull the shoulder while pulling on the wrist • This is safer than only pulling on the wrist • Use your legs to support the student
from falling out of the asana • You can also stand behind and push the
shoulders to bring the arms further through
t'aamasana
What to do
Take the right leg first into Padmasana
·:=~
~
J
~]
PASSIVE ADJUSTMENT
• Work shoulders under legs by pushing down on the shoulders
PASSIVE ADJUSTMENT
• Squeeze upper arms towards each other • Keep lengthening through the spine
S U PTA Ku RMASANA I Adjustments
PASSIVE ADJUSTMENT
• Place left leg behind head first and fix it with your foot before taking the right leg across
SuPTA KuRMASANA
Foundation
Start as Kurmasana
What to do
o Take the left leg over the neck first
Keep extending the sternum forward
Reach back and hold a wrist
Gaze between the eyebrows
_]
~
_]
PASSIVE ADJUSTMENT
• Fix your knees against her shoulders • Put your hands just above the rim of the
pelvis • lift the hips high and encourage the
student to pull her knees towards her armpits
PASSIVE ADJUSTMENT
You can assist to lift into Handstand
• Continue the pull at the waist until her hips are above her shoulders
BAKASANA I Adjustments
PASSIvE ADJUSTMENT
• Ask her to straighten her legs and push strongly through the hands to straighten the arms
• You can also assist in bringing her from handstand into Bakasana, placing the knees high on the arms
Arms shoulder width apart
Knees high on the arms
Big toes touching
P;;J·~,.~( Sti\lf-', A~/.~A~ 99
............. "' ... ..,, "!::1"• .. a .. •:::ouu•~:::o, ~~ vvm a•:::ou :::ouuvv lfll'lava:~ana: tne stuaent wm e1tner nave oent legs or straight legs and a rounded back. Until the hamstrings have stretched, the student should be encouraged to lift and lengthen the back with the legs slightly bent, so the abdominals are still being worked. More flexible students should work on moving to the front edges of the sit bones.
~
OBSERVE
• The student is not working to lift her sternum and maintain the lordosis in her back
NAVASANA I Adjustments
AcTivE ADJUSTMENT
• Place your hands on her feet and push • Ask her to actively lift her sternum
towards you • The reaction from pushing the feet
provides the force to lift the back
n:t:l dlt: lt:Vt:l VVIUl Ult: t:yt::>
The back retains its natural curve
What to do
]
' ._l-, I .
~~ . k.J,~ \ -...-.....,_-:.:=>:-. ..... -
' >:'C""'3 ---~' / i::';; ~~-
Leg is comfortably in Padmasana
• Torso is upright
What to do
,_j
\~
Torso upright _ _. What to do
Drop the sit bone of bent leg
Torso faces the front
Sit bone moves towards the floor
outstretched leg.
_j
What to do
Draw the shoulders away from the ears
_ __..
Straight leg Is In line with the hip
• Torso is level over the outstretched leg
What to do
_J
]
• ~noUiaers ana torso remain level over tne outstretcnea leg
• Heel of straight leg is extended
What to do
Shoulders directly above wrists
Head hangs back
:_J
_J
~]
._J
_j What to do
Widen the shoulders away from the ears
Move the shoulder blades towards the tailbone
The role of the breath In forward bending: The interaction between breath and movement is especially clear in forward bending: On the inhale, the spine lifts and lengthens, and the pelvis tips slightly back, which puts increased tension on the back muscles. On the exhale, the pelvis tips forward, flattens the spine and relaxes the back muscles. The diaphragm lifts, which compresses the heart and reduces the heart rate. These responses can be ex loited during adjusting. The adjustments are more effective when carried out on the student's exhale_
_ _j
Feet are flat as if pushed against a wall, inside and outside edges in line
Sit bones are spread with the weight slightly towards the front
What to do
.-1 i
CJ I. I, ./
'·\.~.::.,·
"" . :..:_~~; ... _ .... :'_~;/:-,: _). ___ --
) ·'
Arms are actively stretched but the shoulders are relaxed
What to do
the internal and external rotators of the hip.
'...___.#/I
_ _J
Mrrn:o cue :oua1gnt over neaa
Torso and collar bones face front
What to do
""""!:1' '"'T ""'' •- •---"'- "''"' __ ..__, ,...,,_,' n' ,.,, ''- -'' ,_..,.,,.,._, ~ .. II I ..,V~I r vr t.l n;;;.;n;;; '-U~'f;~ Lilt; Ll U~ll3
are worked strongly, and can be worked even harder by squatting down still further. It is sometimes advised to tuck the tailbone under, but this is not necessary. ; ( I I
I
fT ' ~---J What to do
Drop the sitbones
Extend up throu h the s ine
_j
~]
leg straight and the chest open. The lifted leg can be bent to achieve this and straightened out over time. If the standing leg weakens or bends, all energy is lost and the asana collapses.
_ __.
_ _)
-,....,.,._, ---1 ,.._,,,un•~ u~ "' •uua.;,c:u•a
Grab the big toe with thumb and first two fingers
What to do
should feel evenly grounded. The hands press evenly together and are moved towards the neck which helps to lift and broaden the shoulders. The back should
not round, but lengthen over the front leg.
Neck relaxed __j
What to do _] Pull hip of front leg back to stay in line with opposite hip
_j
~711~'' -·- . -~:..;_-~·---~ ..-. ~ J 'r - ' ' ~, 'l.t.
... . ..
__j
__]
_j
The neck is soft
The back is flat
I lUlU. r\11'1;'1; I~ 111111111:' YYUII lilt: 111p
What to do
rolling open, before attempting to place the hand on the floor. Placing the arm inside the
bent leg gives more leverage to rotate the torso. Placing the arm outside the bent leg works
the legs harder and encourages the hips to open.
to fingertips _ _J
Head and shoulders are above the front knee
_J
.:=1 ·--.
. ......,
Head, shoulders, and torso are in line with front leg
• Head is above front leg, lower shoulder is directly above hand on the floor
What to do
• legs are straight and kneecaps are pulled up
• Weight is evenly distributed on both feet
diaphragm will be restricted and the breathing compromised. If the toes are being held, the legs
can be bent just enough to take strain off the back and allow the pelvis to tilt forward. The student
then has to work towards straightening the legs without losing length in the spine or straining
the back. Taking the elbows out as shown flattens the upper back and allows the shoulders to lift
r~>;~,rl
WHEN NOT TO ADJUST
• If the student is holding her toes but has to bend her legs, encourage her to straighten her legs without rounding her spine (see inset)
• There is nothing to be gained from adjusting in this position
PASSIVE ADJUSTMENT
For more flexible students:
• Stabilize using your hand on the sacrum
Push forward and down on the mid-back • Use your leg or knee to push into your hand
Lean in to use your weight to full advantage
RES I STANCE ADJUSTMENT
• Place your hands on the student's elbows and slowly start to push.
• The student pushes her elbows against your resistance
• Carefully match your push with the your student's
• Keep elbows in line with the shoulders
• Hold big toes with thumb and forefinger
What to do
! --, "-.... .. ~
"-:::""-~......_ L __ ,j _J - r'"'- -~~
('\ "'-" i· ---I " I /\ ', .\ : /\ _.., \ \ .._.r; i "'--,_ ~. " I i . ·'\ \ i (- - i .' I --I / , / \ \ I"""" ·, ~ \ J ' ( ; I '~ "' \\1- _, I ,\ I \ \ \I
I , " i ~-- -~~-----;".__, "---------~"-, I,,
\) \\ ) / .. ~ ( .~. J
.)) \ l,). / / _) ....____...:.:;-, ~~ - _ _!
_J
_]
:J
<J _]
OBSERVE
_] • The student is rounding her back
J
A 0 H 0 M U K H A S V A N A SAN A I Adjustments
PASS! VE ADJUSTMENT
• Pull just below the lower rim of the pelvis • Ask the student to work her hands
forward on the mat • Lean back using your bodyweight
PASSIVE ADJUSTMENT
• Clasp your hands on the lower back • Squeeze the arms to the buttocks • Shift your weight back
• Distance the feet from the hands so that by maximally stretching the legs
the heels are almost on the floor
What to do
• legs are straight and parallel
• legs begin hip-width apart
-. ~
nGitU~ '!;IIUUIIU 'C'YCIII7 Ull UU:!' IIUUitiiiiUUit:' IUI~IC'I::t 1-'UUIUII~ IUIYYGIU
• The neck Is comfortable and not forced past its natural extension
What to do
CHATURANGA 0ANDASANA
This asana means 'four-limbed stick posture' and the aim is to make the body as rigid as a stick, without
collapsing In any area. This makes It a highly active asana where opposing forces must be used intelligently
to counteract gravity. If you turn the page through ninety degrees you can see it is like Tadasana. The line
shown in the photograph runs through the centre of mass of the body, keeping the weight of the torso,
hips and legs evenly distributed. In Tadasana, the reaction from the floor keeps the body upright and allows
the student to find correct alignment. In Chaturanga Dandasana, the student has to achieve this against the
pull of gravity. To do this the body must be held rigidly, the pelvis must find Its neutral position, and the body
has to be stretched out from a central point at the navel, with the upper body held steady while the heels
are stretched in the opposite direction. This is what provides the necessary tension - like pulling on a
rope- to maintain the body firm and steady.
10 su~ SALLITATIO~ Su••• N•••s.••
~]
~]
~]
_]
OBSERVE
• Losing energy through the core
• Encourage her to engage abdomlnals and activate her legs
C HAT U RAN G A 0 AND AS AN A I Adjustments
RESISTANCE ADJUSTMENT ACTIVE ADJUSTMENT
• Verbally obtain good alignment • Pull back on ankles • Press gently on mid back • Ask student to pull away from you • Ask student to resist while keeping alignment
CHATURANGA DANDASANA
5 L' ft 5 At U l .\ i J J N S l Ill' A fj A l'f A) t. ~
Foundation
Tips of the fingers are in line with tops of the shoulders
Elbows and hands are In line with the shoulders
Forearms and upper arms approach a right angle to each other
The feet are hip-width apart and parallel to each other
The pelvis remains in a neutral position
What to do
Draw the shoulders back towards the tailbone
Keep the neck relaxed
Squeeze the elbows to the sides of the torso
Hold Uddiyana Bandha without tilting the pelvis or lifting the sit bones
Strongly extend back through the heels
Stretch out from the navel in opposite directions
Gaze between the eyebrows
_]
_]
_]
.=:J Surya Namaskar
~
::J CHAPTER 1 =:J
~
=:1
::=1
=:1
~
:=J
~
=:1
~
I~
BY MATTHEW SWEENEY
I am honoured to write the foreword for Yoga The Art of Adjusting. The detailed art of
adjusting Yoga postures has been accomplished in this book in a loving and practical format. It
also comes at a fortuitous moment. With the rapid increase of Yoga teachers all over the globe
during the last few years, greater understanding of the art of adjusting has been missing in
the printed form. I think Brian Cooper has done an excellent job of covering the key points of
adjusting most of the postures of the Primary Series of Ashtanga Yoga. He clearly explains the
main focus of each posture, the direction to take with each posture and eventually how to learn
to do each posture unaided without an adjustment. The visual aspects of each posture are
conveyed precisely in a step-by-step format giving the reader practical insight Into the
wonderful art of touch. Enjoy!
FOREWORD
YOGA THE ART OF ADJUSTING FOREWORD
1-=:J THE ART OF ADJUSTING CONTENTS
Foreword by Matthew Sweeney .......................... 05 Chapter 3 Primary Series Asanas -----------
Chapter 1 Surya Namaskar----------------- Dandasana ............................................................. 66
Paschimottanasana .............................................. 70 Chaturanga Dandasana ......................................... 08 Purvottanasana .................................................... 74 Urdhva Mukha Svanasana ..................................... 12 Ardha Baddha Padma Paschimottanasana .......... 76 Bhujangasana ........................................................ 14 Tr i ang Mukha i kapada Pasch imot tanasana ......... 80 Adho Mukha Svanasana ......................................... 16 Janu Si rsasana .................................................... 84
Marichyasana ........................................................ 88 Chapter 2 Standing Asanas -------------- Marichyasana C .................................................... 90
Marichyasana D .................................................... 94
Navasana ................................................................ 96 Padangusthasana .................................................. 22
Trikonasana .......................................................... 26 Bakasana ................................................................ 100
Supta Kurmasana .................................................. 102 Parivritta Trikonasana ...................................... 30
Pa rsva konasa na ..................................................... 35
Parivritta Parsvakonasana ................................ 38 Garbha Pindasana ................................................ 104
Padot tan a sana ....................................................... 40 Baddha Konasana .................................................. 108
Parsvottanasana ................................................... 44 Upavi shta Konasana ............................................. 112
Supta Padangusthasana A - C ........................... 116
Urdhva Mukha Paschimot tanasana ..................... 122 Utthita Hasta Padangusthasana ........................ 48
Utkatasana ............................................................ 52
Vi rabhadrasana 1 ................................................. 56 Chapter 4 Back Bending ----------Vi rabhadrasana 2 ................................................. 60
Back Bending ........................................................ 130
Conclusion ............................................................ 135
Acknowledgements
The production of this manual has been a joint effort from a dedicated team of yoga teachers and students. I would like to thank Victoria Bosso, Vicki Maggs, Shelley Osman, Kat Shaw, Dee Gates, and Caroline Walsh for their enthusiasm and patience in modelling for the photographs. I am especially Indebted to Aileen Bertram for the design and layout, and to Bruce Mackay for his skilful photography.
Disclaimer
This book Is Intended as an Instruction guide only. The author and publisher of this book are not responsible for any injury or consequences from using this book. You are advised to train with a qualified and competent teacher before using the techniques described.
First published In Great Britain In 2006 by Harmony Publishing 25 Rodney Street Edinburgh EH74EL Scotland
Copyright 0 2006 Brian Cooper
3rd Revised Edition 2010
Produced by Harmony Publishing
Design by Aileen Bertram Photographer: Bruce Mackay Brian Cooper has asserted his moral right to be Identified as the author of this work. All rights reserved. No part of this publication may be reproduced in whole or part or any form.
Printed and bound in Korea ISBN 978-o-9552412-9-1 _]
_]
~
~
~
~
:1
:=J I~
:1
=:1
~
~
=:J