V onferenc YogaInternational.com/Spring · OM. Gayatri Mantra Shanti Mantra. Hari Om Tat Sat. Reach arms wide, palms up and open to the sky— prana mudra. to say “yes” to the

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Sianna ShermanBhakti Fusion of Form and Flow: Alignment Based Vinyasa Featuring: Masood Ali Khan

Opening:Begin by chanting OMGayatri Mantra Shanti MantraHari Om Tat Sat

Reach arms wide, palms up and open to the sky—prana mudra to say “yes” to the gift of life, “yes” to embodiment.

Reach up for temple mudra: “My body is a temple.”Bring your hands to the third eye: “My mind is a crystal.” Bring your hands to to your heart: “My heart is blissful.” Repeat this flow 3x

Garuda (eagle) mudra at heart n Close eyes, feel pulsation n Rocking and undulating spine n Add in arms: “Opening your heart wings, then giving yourself a hug”

Seated cresent flow, side to side

Coming through the center and listen to how your own body wants to move/express itself

Inhale, reach wide and upExhale, Temple mudra: “My body is a temple.”Third eye: “My mind is a crystal.”Heart: “My heart is blissful.”

Downward facing dog; walk in placeWalk back to forward foldWide forward fold; roll upFloat arms up and then down through heart

Spinal waves (“waves of breath”)Arms wide and back up, then draw hands down through heart and move into an offering flow (prayer flow)

Vessel mudraHands down through heart

Tips for keeping low back safe/creating optimal curve in low back with support from abdominals


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Half surya namaskars (sun salutes) with attention to low back support n 3 rounds

“Relax into your breath, listen to your body, and create the alignment to support the natural radiance of your being.”

Fearless heart namaskar (abhaya hridaya namaskar) n Inhale, arms up n Exhale, fold n Inhale, halfway lift n Exhale, step left leg back, knee down n Inhale, anjaneyasana n Exhale, downward facing dog n Inhale, plank n Exhale, knees down, chest halfway, lift your shoulders n Inhale, cobra n Exhale, downward facing dog n Inhale, left leg up n Exhale, step forward n Inhale, anjaneyasana n Exhale, forward fold n Inhale, halfway lift n Exhale, forward fold n Inhale, rise up n Exhale, hands to heart—to the root of your fearlessness!

Repeat, stepping right foot back and forwardFinish in vessel mudraHands come down through heart

Tip: Two things that will help with axial extension are a lateral opening in the side body and basic rotations in the spine (twisting).

Standing crescents with chin mudraThen amplify it: Krishna’s crescent

Vessel mudraFold

(Flow) n Inhale, halfway lift n Exhale, chaturanga n Inhale, upward facing dog n Exhale, DFD n Inhale, right leg up n Exhale, step through into high crescent lunge n Then hands to front thigh; push down to lift belly up and move into your twist

variation


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l “Sphere of love” mudra with hands l Reach heart wings from center; earth and sky n Circle top arm back and around n Downward facing dog—peddle your feet n Inhale, plank; rock forward and back between fingertips and toes, establishing a

sense of proprioceptive awareness n Exhale, chaturanga n Inhale, upward facing dog n Exhale, downward facing dog

Repeat on other side: n Inhale, left leg up n Exhale, step through into high crescent lunge n Then hands to front thigh; push down to lift belly up and move into your twist

variation l “Sphere of love” mudra with hands l Reach heart wings from center; earth and sky

Add in pranic flow from downdog: n Downdog (tiger paws) to updog, bypassing chaturanga, three times n Downdog, bend knees, attending to low back (tiger pounces) n Uttanasana n Inhale, halfway lift n Exhale, forward fold n Support lower back as you inhale, rise up

Exhale, to the root of your heartTemple mudra: “My body is a temple.”Third eye: “My mind is a crystal.”Heart: “My heart is blissful.”

Utkatasana sweepsAdd in heel lifts

(Flow) n Inhale, rise up n Exhale, forward fold n Inhale, halfway lift n Exhale, chaturanga n Inhale, updog n Exhale, downdog n Inhale, right leg up n Exhale, step right leg through to high crescent l Sweeps in high crescent 3x l Exhale sweep out, inhale up n Add in balance challenge to crescent flow 3x: l Exhale, draw the left knee up, arms back sweep forward to standing balance


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l Inhale, lengthen back and reach up n Exhale, downward facing dog to upward facing dog (bypassing chaturanga) l Inhale, left leg up n Exhale, sweep left leg through to high crescent l Sweeps in high crescent 3x

Shakti waves in downward facing dog

n Inhale, right leg up n Exhale, step through n High cresent, reaching arms out wide, sweeping them forward and back up l Alternating arm on top l Shhh sound on exhale n Circle down and step back n Flow, downward dog to upward dogRepeat other side

Come all the way down to belly: full danda pranam (offering pose)Cobra breakdown + safe backbending tips

Downward facing dogUttanasana Halfway liftExhale, forward foldInhale, rise upUtkatasana, hands to heart

Balance work:Pulse through virabhadrasana III (warrior III) variation n Stand on your right leg—elbows out to side. n Bend both knees and lift left knee up and back—draw forearms together. n Exhale into virabhadrasana III (warrior III) variation with knees bent and elbows

out to sides. n Inhale, pulse forward, forearms together; keep knees bent the whole time.Repeat 3x, then other side

n Garudasana into “Garuda nest” into vira III variation to virabhadrasana I with garuda arms, right knee bent

n Inhale, open to virabhadrasana II (warrior II) n Arm sweeps: Lean back and sweep right arm around; lean forward and sweep

left arm around n Exhale into humble warrior n Inhale, rise up n Exhale, downward facing dog n Inhale, upward facing dog n Exhale, downward facing dog: inhale, lengthen spine; exhale, bend knees n Uttanasana


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n Inhale, halfway lift n Exhale, forward fold n Inhale, rise up through utkatasana; exhale, hands through heartRepeat garuda/warrior flow on other side

Wide stance; reach up, sphere mudraTemple mudra: “My body is a temple.”Third eye: “My mind is a crystal.”Heart: “My heart is blissful.”

Prasarita padottanasana (standing wide-legged forward fold) with hip hinge to decompress spine Option for sirsasana (headstand) IILower back to prasarita padottanasana

Inhale, halfway liftExhale, bowHands to hipsInhale, rise upFeet together

Inhale, halfway liftExhale, forward foldDownward facing dog to vasisthasana (side plank)Downward facing dogOther side

Downward facing dog to three-legged dog to “wild wild thing” Both sides

Downward facing dog to vasisthasana with top leg lifted: knee bent or leg extended variationDownward facing dogBoth sides

Vajrasana (“thunderbolt pose”/kneeling) with garuda mudra

Next form: downward facing dog to easy form of visvamitrasana Both sides

Then link the two: Downward facing dog to vasisthasana with top leg up into visvamitrasana flowBoth sides

Downward facing dogChild’s poseAll fours:


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Chapa (“sugar cane bow”) forms n Leg extension, knee bent, pulsing n Then opposite hand to little-toe side of footRelease, other side

Vajrasana with garuda mudra

Ustrasana (camel) with block starting in sphere mudra

Sit back to heelsPulse with breath through heartOption to move into flow of laghu vajrasana (“little thunderbolt” pose)

Lie on backSetu bandha (bridge) flowOption for urdhva dhanurasana (upward bow pose) with block

Supine vessel mudra

Half happy baby variation into “around the world flow” on both sides

Happy baby, option for supta upavistha konasana (supine wide-angle pose) flow

Garuda twist Self-hugRocking forward and back“Mantra missile” twist

Savasana

Lokah samastah sukhino bhavantu(May all beings everywhere be happy and free.)


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Julie GudmestadKeeping the Lower Back Safe in Forward Bends

Introduction n Lower back injuries due to forward bending in yoga. n During Julie’s 35 years of experience as a physical therapist, she’s observed

forward bend-related back injuries in students. l Sometimes a student pushes too hard. l Sometimes a well-meaning teacher pushes them to go too far. l Sometimes students have a pre-existing condition that predisposes them to

injury. l Sometimes the injuries are not too serious. l Other times they’re very serious; student may even have to stop doing yoga. l Injuries can be expensive—in the financial sense, and in the sense that you

might have to stop doing something that you love. n In this workshop, we’ll look at poses that can be problematic and their

substitutes. n It make take a year or two to prepare your body, or your students’ bodies, to

safely do forward bends.

Anatomy OverviewReview of basic structures. n Where is the sacrum? How do you find the sacrum? n Lumbar vertebrae.

The position of the sacrum and the pelvis affect the lumbar spine. n The position of the pelvis is something we can affect in our yoga practice. n The orientation of the pelvis will affect the position, the alignment of the pelvis,

and ultimately the health of the lumbar spine

Orientation of the pelvis in forward bends. n Anterior tilt: Top of the pelvis moves forward; increases the curve in the lumbar

spine. A normal lumbar spine should have a little bit of backbend/anterior tilt. n Posterior tilt: Top of the pelvis moves back; sacrum tips down; tailbone goes

down; flattens the lower back, takes away the normal curve, and puts a little bit of flexion in the lumbar spine. Can eliminate or reverse the normal curve of the spine.

n Normal pelvic alignment: Pelvis should be tipped forward several degrees; top of the sacrum tipped forward of the tailbone.

n Concern with forward bend: When the sacrum/spine is flat, it’s going to put more pressure on the discs of the lumbar spine.


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Spinal discs. n When we take away the normal curve of the spine, it will pinch the front edge of

the disc, push the material of the discs back, and can actually cause ligaments to tear. This can either put a bulge on the disc, which puts pressure on the nerve, or it can push the “goop” inside the disc out, which can chemically irritate the nerve or put pressure on it.

n Herniated disc. l Can be a serious injury. l Pain can be a signifier. Can be local back pain, but can also follow the

course of the nerve root down the leg all the way down to the foot.

Red Flags for teachers that a potentially serious injury has happened.(If you see these, refer your student to a professional who is a qualified healthcare provider. Teachers should not attempt to diagnose, but should have the student come out of the pose, and then refer them to a qualified provider.) n Sharp, shooting pain going down the leg. n Numbness and tingling down the leg. n Weakness in the leg. n Unusual bowel and bladder problems (usually not being able to go). n Shooting electrical pain (“feels like burning,” “feels icy” (different than foot

falling asleep).Have students come out of the pose and not come back until the issue is addressed.

Other problems n Strain of back muscles. l “Garden variety” back strain. l Not only in forward bends, but yoga poses in general. n Torque. l Teeter-totter explanation. l Distance X weight = the force pushing down. l From the waist up is typically half of our body weight. When centered,

spine vertical, true half of weight is centered over the pelvis, but when we lean forward, the weight/amount of force increases. When combined with spinal flexion, more distance, more compression on lumbar spine.

l Sun salutations: Arms overhead (long lever) will increase the weight/compression on the lumbar spine. A beginner could strain or re-strain back.

Tight Hamstrings. n Pulls down on sit bones, contributes to flattened lumbar spine/pelvis/sacrum. n If someone is doing a lot of crunches/ab work (or just sitting slumped over for

many hours each day) combined with tight hamstrings, it can result in a pretty “stuck” pelvis/posterior tilt.

n Hinging comes from lower spine (instead of pelvis). l Tight hams + short in the front sets the stage for too much flexion in the

lumbar spine.


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n How do hamstrings get short l A lot of sitting. l Aerobic activity like running, vigorous walking, cycling, hiking. l Weight training activities that involve hamstring strengthening. n You need to regularly stretch hamstrings, or over decades they will get shorter. n We need to stretch hams, but over time, forward bending can put strain on the

low back.

A look at a standing forward bend. n Utthita hasta padangusthasana (extended hand-to-big-toe pose): The one pose

Julie has seen the most/worst injuries from. n If a person is more flexible, in a standing forward bend the pelvis/spine will

rotate over the femurs and the hamstrings will stretch.

Forward bends that can be problematic. n Honing in on the hamstrings. l What problems they cause, and how we can work with them to safely and

happily do seated forward bends.

Supta padangusthasana (reclining hand-to-big-toe pose). n People should have at least 90 percent of hamstring flexion to be ready to do

forward bends. l Goniometer (tool physical therapists use) to measure joint range of motion

(ROM). l If you have 90 degrees of hamstring flexion and the person sits up, that

means the pelvis can come to a vertical position. l In order to come to a good forward bend the pelvis has to rotate forward. l A lot of people coming to yoga do not have 90 degrees. This can be the

case for a beginning or experienced student. It’s very common for athletes. 45 degrees is not unusual for tight/active people.

n Supta padangusthasana example of 45 degrees. n Seated example of 45 degrees.

Why Julie doesn’t necessarily subscribe to bending the knees in forward bends. n You’re putting your hamstrings back in a shortened position; it’s not going to be

the nice, long, relaxing stretch the hamstrings need.

For teachers: looking at the angle of the sacrum in forward bends.Example: Upavistha konasana (seated wide-angle forward fold). n Sacrum tilted backward: more strain on lumbar. n Only hinge forward when there’s enough leg flexibility to keep the sacrum

aligning forward. Until then, stay upright. Perhaps even put a chair in front of the person.


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Healthy Ways to Prepare for Forward BendsTools for people with tighter hamstrings. n Generic goal: get to 90 degrees. n If you want to make progress, you have to stretch the tight places most days. n Set up the stretch so your body is not in pain. l When in pain, muscles tighten up to guard themselves. That’s the opposite

of what we want. We want the muscle to relax and let go. n It’s important to hold the stretch for longer. Recent research shows that in order

to stretch enough to lengthen connective tissue, you have to hold a stretch for 1.5 to 2 minutes or longer. That length of time is not just relaxing, but beneficial. It’s not just about getting contracting fibers to let go, but holding a steady, moderate pull for longer.

Utthita hasta padangusthasana with the weight of the leg supported. n Chair-seat height is good for a lot of people to start with. n If it’s available, it’s great to stand against a wall: both hips and the back of the

head should touch. n Start with just standing before the forward bend. n Don’t let the leg that’s up turn out. n Be on the center of the heel. If you pull the ball of the foot up/press the heel out

too much, some tighter people who need the hamstring stretch will just feel the calf stretch.

n Some really tight people will benefit from putting a block against the wall, heel on the block, ball of foot on wall (facing the wall), arms up, and just hinge/angle forward while keeping hands on the wall (not rounding forward).

n Even if the back is not against the wall, it’s important for teachers to give lots of cues about standing tall.

Doorway stretch: supta padangusthasana in doorway. n GREAT for tight hamstrings! n One of the significant benefits of asana practice is to change movement

patterns and postural habits from pathological to healthy. n Remember: A person with tight hamstrings tends to have enhanced lumbar

rounding. n The goal is to break up unhealthy patterns. n The leg weighs more when it’s out at an angle. Remember torque: A person has

to work hard to balance the weight of the leg. If left to their own devices, they often bend the bottom-leg knee, push into the foot on the floor, and posteriorly tilt the pelvis to draw the lifted leg in closer, resulting in more force on the lumbar spine.

n Option: Use a doorway or pillar, and you no longer have to struggle with a belt. n The quality of the stretch is very different this way—more relaxing. n Great for cyclists and runners. n As time goes by, a person will gradually slide in closer to the wall. n Why not do both legs up the wall? l Legs up the wall is a wonderful restorative pose, but, one leg at a time is

better if you’re trying to increase hamstring flexibility.


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l With both legs up, both sides are pulling up on the sitting bones, pulling the pelvis into a posterior tilt. Often, people slide in too close to the wall, hamstrings pulling on sitting bones, pulling the pelvis into a posterior tilt.

l For increasing hamstring flexibility, Julie recommends doing one leg at a time.

l If you want to do both legs, roll up a bit of your mat and place the mat roll under your low back, behind the navel. The sacrum should be off the mat on the floor. Butt can/will be further from the wall for people with tight hamstrings.

ConclusionRemember, the human body tends to follow the path of least resistance by calling the stronger muscle to do the job. If we’re not aware, we can overcompensate. We tend to mobilize what’s already mobile, and keep stable what’s not as mobile. Weaker places stay weak, stronger parts stay strong, and we can continue with our muscle imbalances. Be less attached to fancy forward bends, and instead do these exercises and focus more on addressing muscular imbalance. This will prepare you for more “fancy” forward bends and support your health and wellness and set the stage for the more subtle goals and practices of yoga.


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Cyndi LeeAll You Have to Do Is Show Up: Release Expectations and Just Practice

Dharma Talk“All you have to do is show up.” What does that really mean? n Sometimes it’s not so easy, but the first thing is just getting there. Then it gets

deeper. n In yoga and meditation, showing up means showing up for the forms in practice.

Not spacing out; being precise and clear. n Cyndi first got this instruction when she went to her first Rohatsu retreat (a Zen

retreat).

Story about this challenge n The form of this retreat is like an intricate dance. Many details; you learn it once

and then you’re on your own. n During a dokusan (a private interview) with her teacher: “All you have to do is

show up and surrender to the forms.

The word “surrender” n Synonyms: “abandon,” “chicken out,” “withdraw,” “demure,” “yield,” “relinquish,”

“submit”...They all seem kind of depressing. n But another way of thinking of it—the Pali word sadha—means to have faith. n Sadha goes into the word sadhana. Sadhana is the path, the practice. n Faith that the practice will show up for you if you show up for it. n But it’s hard to have faith in something if you haven’t felt its effects yet. n Just do the technique; just show up and do it. If we don’t have faith in the

technique yet, we have to have faith in the practice.

Dukha means stress, discomfort, dis-ease, square-peg-in-a-round-hole feeling.We come to yoga because we have this sense of uncomfortableness. We’re given a sadhana, a path, and then we want to change it.

Antonyms of “surrender” include: “victory,” “fight,” “win”This is what we already know how to do so well. Our practice is to recognize that and to surrender to the actual methods and techniques that are given to us.

How practice is like watering a plant

Study: Thinking about other great people who have stepped on the path: “I’ll have what she’s having.” n Book: Buddha by Karen Armstrong n “Maybe those forms work. Maybe I could have faith in this practice/in these

forms, because I’ll have what s/he’s having.”

It’s not about peak experience. It’s about being “part of this ballet.”


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First Yoga Sutra: Atha yoganusasanam n Now is yoga/Yoga is now. n There’s a lot of different ways this is interpreted, but one way is if you’re

integrated in body, breath, and mind, you’re in now. Not the past, not the future, the present. You are surrendering to the form.

Ground > Path > Fruition n Through the practice we experience the fruition. n Our practice is not about getting it “right,” feeling awesome, or feeling crummy,

or any particular experience; it’s about surrendering to the experience that you’re having, that’s happening.

You start with faith in your teachers, and when you start to get results you begin to have faith in the process, and eventually, faith in yourself. “I can show up and when I show up I start to feel different in the right way.”

Short Mindfulness Meditation Practice Placing, recognizing, re-placingTwo techniques for showing up:Doing the form/technique and surrendering to the technique. Gathering your mind, body, and breath together again and again.

Asana PracticeStart in vajrasana (“lightning bolt pose”/kneeling)

Theme: “All You Have to Do Is Show Up”Aiming to integrate mind, body, breath, throughout practice and paying attention to precision of alignment throughout asanas and transitions.

Rubbing thighsSacrumRub hands together, slow it down until you feel your palms on each other—tingling/aliveness

Chant OM 3X

Mini pranayama practice: palms on thighs, breathing in and out for 6 counts

Walk out to hands and kneescat/cow—rippling through spine like you’re doing a walking meditation along your spine

Downward facing dog

Inhale, cowExhale, downward facing dog—check in and ground.


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Flow: n Right leg up, three-legged dog n Step through n Inhale, three-legged dog n Exhale, step through n 3x, then stay in lunge n Exhale, twist right n Downward facing dogRepeat on other side

Downward facing dogWalk hands to feet: uttanasana (standing forward bend)Bend knees; roll up

This whole practice as a form of a walking meditation

Wrapping fist with other hand just below belly button and walk to top of matFeet together or sit-bone-distance apart

Arms overhead; hold opposite elbows for shoulder stretch.Then lift toes up, then press toes down.Palms in, press palms together, straighten arms, and side-bend.Change hands.Repeat on other side.

Reach arms up and lower down straight through to heart.Flow through this a few times.

Sun salutes: n Fold forward n Lunge, right leg back n Downward facing dog n Plank n Knees, chest, chin n Cobra n Downward facing dog n Lunge, right leg forward n Uttanasana, press palms together and rise upRepeat, stepping left leg back and forward

Variation: n Fold forward n Halfway lift on fingertips (flat back) n Place left hand below center of chest, twist to right, right arm comes up n Exhale, fold n Inhale, flat back n Repeat on other side, right hand below chest, twist to left


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n Exhale fold n Inhale, flat back n Exhale, jump/step to downward facing dog n Inhale, plank n Knees, chest, chin, or chaturanga n Upward facing dog or cobra n Downward facing dog—find your breath and check in

Jump or step forward

Inhale, flat backExhale, fold

n Inhale, utkatasana (chair pose) n Next exhale, lift right foot; hands to hips l Inhale, utkatasana l Exhale, left leg comes up l Utkatasana l Right leg comes up l Utkatasana l Left leg comes up l Utkatasana n Right leg comes up, twist to the right n Utkatasana n Left leg comes up, twist to the left n Utkatasana n Exhale fold forward n Flat back n Downward facing dog n Plank n Vinyasa n Downward facing dogJump/step forward n Inhale, flat back n Exhale, forward fold n Inhale, utkatasana n Exhale, rise up, lift left leg again, and come into garudasana (eagle) legs; hands

at heart n Step back into virabhadrasana I (warrior I) n Virabhadrasana I and a quarter n Virabhadrasana I and a half n Virabhadrasana II (warrior II) n Downward facing dog n Inhale left leg up, exhale step through n Inhale, virabhadrasana I n Take the whole exhale to come into virabhadrasana II


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n Inhale, sweep right arm up and over; exhale, downward facing dog

Walk feet to hands n Inhale, utkatasana n Exhale, stand all the way up, right leg up n Garudasana legs, hands to heart n Inhale, virabhadrasana I n Take the whole exhale to come into virabhadrasana II n Right arm up and over, downward facing dog n Inhale right leg up n Step foot between hands n Inhale, virabhadrasana I n Exhale, virabhadrasana II n Into trikonasana (triangle pose) n Rise up to virabhadrasana II n From vira II, step back to garudasana legs with hands at heart (left leg over) n Step back and repeat: warrior II to garudasana

Utkatasana to tadasanaRise up on toes, low squatHands down, jump or step to DFD

n Inhale left leg up, exhale step through n Inhale, virabhadrasana I n Exhale, virabhadrasana II n Into Trikonasana—explore “yoga don’t” n Inhale, come up n Exhale, virabhadrasana II n In slow motion: come around into garudasana (right leg wrapping over left) n Step back and repeat: vira II to garudasana

Tadasana n Hands to chest in prayer n Inhale, arms up n Exhale, fold n Inhale, flat back n Exhale, downward facing dog n Inhale, right leg up n Exhale, step foot through hands n Back knee down (“proposal pose”—different from anjaneyasana) n Inhale, arms up n Exhale, twist to right, arms open n Inhale, untwist n Repeat, then bring palms toward each other in the twist; left elbow outside of

right knee. Look down at right big toe; option to bring left hand to the floor or a block outside the foot, right arm up. Option to lift back knee

n Exhale, downward facing dog


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n Inhale, left leg up n Exhale, step throughRepeat on other side: n Proposal pose n Inhale, arms up n Exhale, open arms out, twist to left n Inhale, untwist n Exhale, twist again n Palms toward one another to touch; right elbow outside of left knee; look at left

big toe; option to bring hand to floor/block, left arm up. Option to tuck back toes, lift back knee

Exhale, DFD

n Inhale to plank n Lower down for 5 counts l Turn head to side n Tune into the feeling of your breath, of your heartbeat on the floor n Turn head the other way n Hands under shoulders; back to hands and knees

Right leg forward, pigeon [seated flow]: n Come onto forearms—bring left forearm across the top of the mat. n Come into thigh stretch/twist option. n Release, come all the way down into pigeon forward fold. n Walk your hands under your shoulders and lean onto right hip, swing left

leg around in front of you, step your right leg across. Yogi’s choice. Stay like this or you can tuck your left foot under (without sitting on it) for ardha matsyendrasana (half lord of the fishes pose/ seated twist) variation—a small/minimal twist after a deep twist.

n Right leg around behind you, and spin belly around to the left and walk around, lowering upper body for “starfish twist”—a very deep twist.

n Inhale lengthen spine, scoop belly to the left. n Lean onto left hip, swing right leg around; cross ankles, quick balance on sit

bones with right leg crossed over; snap fingers. n Rock forward, and then come right back into downward facing dog.Repeat the flow on the other side: n Pigeon, right forearm across, thigh stretch twist option. n Untwist, come all the way over into pigeon forward bend. n Walk hands under shoulders, swing your left leg around, right leg tucks under

for a gentle ardha matsyendrasana. n Lean to the right, swing left leg behind you into starfish twist. n Swing left leg around; cross ankles (left over right), balancing on sit bones; snap

fingers.

Plant hands, downward facing dog.

Inhale, plank


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Exhale, lower five counts onto bellyDhanurasana (bow pose) n First one with flexed feet n Release head to side n Shake hips out n Repeat once more; option to hold with externally rotated arms n Take three counts to come out of it n Shake hips out

Flip over onto back n Bend knees, feet wide, knees in n Hug self: wrap right arm over left n Slowly roll head side to side n Change, other arm on top

Then arms outWindshield wiper legs right and left; repeat/flow through sides

Then roll all the way onto right; come to seated.

Sit on blanket with legs extended.Hold a block.Reach block forward, draw arm bones back, press into block; imagine it coming from the midpoint of the upper arm bones.Reach block up overhead and then back to center.Release

Option for tarasana (star pose) with block between feet n No pulling on your feet—a “yoga don’t” n Bow forward; rest forehead on block n Rise up

Twist right to left in easy cross-legged position (sukhasana)

Salamba sarvangasana (shoulderstand) n Yogi’s choice: Shoulderstand with blankets or viparita (inverted action

pose/“legs-up-a-wall” pose) with legs up an “invisible wall” and block under sacrum

n Ankle circles

Halasana (plow pose) or baddha konasana (bound angle pose/“butterfly”) on back.Slowly roll down from plow, or, if using a block, one foot to the floor, then the other.

Scootch back so pelvis is on blanket, or scootch a blanket under the pelvis if you weren’t using one alreadyFeet in baddha konasanaA few breaths here


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Bring hands to outer legs to draw them together Savasana with props of choice n “Stonehenge” options n “The way to show up for savasana is to relax. Your mind is there like a big blue

sky and thoughts will pass through.”

Roll onto right side, head last to come up as you walk up to sitting. Remember the practice as “walking meditation.”

Seated for closing OMs.

May all beings have happiness and the causes of happiness.May all beings be free from suffering and the causes of suffering.May all beings never be parted from freedom’s true joy.May all beings dwell in equanimity, free from attachment and aversion


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Gary KraftsowYoga Therapy: Working with Depression

The complexity and multidimensionality of depression n Depression is a multidimensional condition that impacts individuals who are

suffering at a multidimensional level. n We will examine each dimension individually. n At each level, we will look at characteristic symptoms of depression that

manifest in each of these dimensions and methods/strategies for working with and transforming those symptoms.

The Spectrum of Depression n Major (acute, single, or multiple episodes) n Dysthymic (mild, chronic unhappiness) n Double depression (includes major and dysthymic) n Bipolar (a chronic fluctuation between manic and depressive states) n Acute (response to life situations, situational) n Seasonal Affective Disorder (SAD) (symptoms of depression in relation to

absence of light) n Prenatal or postpartum depression n Depression associated with medical condition or medical treatments

Characteristic symptoms n Major: acute and intense l Neurophysiological complications l Individual should be under the care of a medical professional n Characteristics that cross over from major depression to other cases of

depression l Dysphoria (excessive discontent, unhappiness) l Anhedonia (inability to experience pleasure) l Inability to think or concentrate l Psychomotor retardation/agitation

Complexity in multidimensionality of depression n Actions, situations, thoughts, emotions, physical states mutually influence each

other. n Circular effect of these symptoms manifesting in different dimensions of life. n Yoga therapy interventions have to find a way into this system and begin to

affect change. n Yoga therapy can begin at any level; once we begin we can affect the entire

system.

Preface to general management principles:Remember: Serious conditions require the support of professional mental health care practitioners. n We can know the seriousness of a condition by several factors:


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l Frequency, duration, severity l Impact on life functioning n Starting point of effective therapy varies from individual to individual. l The key: Begin working with the dimension that’s most accessible and then

manage the symptoms that can be managed.

General Management Principles: n Appropriate increase of exercise levels (preferably in nature or in community) n Dietary counseling (adding some things; reducing some things) n Appropriate levels of rest and sleep n Self-care rituals n Techniques to build self-confidence n Social engagement; giving to others n Connect to sources of inspiration and play n Cultivate faith

n Education about seasonal changes n Light boxes n Regularity n Problem-solving strategies n Concrete goal setting n Focus on what can change n Pets, plants n Connect to sources of inspiration, play, fun n Change perception and attitude (reframe perspective) n Redirect focus n Explore the emotion to see what’s underneath

Yoga Therapy: The Integrated PracticeWhen we’re talking about specific yoga therapy strategies, we’re talking about sadhana, personal practice, and the integrated personal practice. The integrated personal practice, from a traditional yoga therapy perspective, will include: n Breath-centric āsana n Seated breathing: prān.āyāma n Self-reflection n Mantra/chanting n Meditation n Guided relaxation n Ritual and prayer

An integrated practice will include all or most of these elements.

Symptoms of depression that manifest on an anatomical and/or physiological level (Not everyone who has depression has all of these symptoms, nor is it necessarily the case that someone who has these symptoms necessarily has depression.)l n Back pain n Muscle aches and joint pain


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n Chest pain n Headaches n Exhaustion and fatigue n Lethargy, sleep issues n Reduced activity n Decreased pleasure n Decreased libido n Gastro-intestinal distress n Changes in appetite and weight n Dizziness or lightheadedness n Psychomotor retardation n Concentration and memory issues

Methods for addressing these anatomical and physiological symptoms n Breath centric āsana to manage pain n Work with the autonomic nervous system (ANS) to lift energy through breath

centric āsana and prān.āyāma l Prān.āyāma emphasis toward br.m

. han. a n Stimulating interest in some form of physical activity, however simple (walking,

a simple asana practice) n Specific methods l Early morning exercise l Contralateral adaptations in asana l Āsana: positions (start lying on back and move progressively toward

standing), directions (backbending and lateral bending direction) l Breath adaptation: chest inhale (as opposed to belly inhale), lengthening

the inhale and introducing breath retention, specialized prān.āyāma techniques (refer to Yoga International “Pranayama Unlocked” digital course for more information).

l Chanting: from soft to progressively louder, lower pitches to progressively higher pitches (more information in the soon-to-be released Yoga International digital course on meditation with Gary).

n Br.m. han. a: Loosely equivalent with sympathetic nervous system (SNS) activation

l Techniques which support br. m. han. a direction include: inhale and retention,

chest expansion, backbends, lateral flexion, standing postures, flow combinations, engaging larger muscle groups

n Lan.ghana: Loosely equivalent with parasympathetic nervous system (PSNS) activation

l Techniques which support lan.ghana include: exhale and suspension, belly inhalation, forward bends and twists, supine postures, relaxation

n The key to influencing the anatomical and physiological symptoms of depression is to work with these ideas of br. m

. han. a and lan.ghana.

l Adapt and apply these tools depending on the situation you are in.

n 2 examples of adapting these tools to the individual: l Someone physically sedentary (or depleted), mentally depressed: n Move from lan.ghana to br. m

. han. a


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n Lengthen inhale n Short retention l Someone physically agitated, mentally depressed n Move from br. m

. han. ato lan.ghana

n Lengthen exhale n Short retention

For more information at this level refer to The American Viniygoga Institute’s professional yoga therapist training program.

The inner dimensions

Antah.karan. a: The inner controller l Viyoga: De-link/separate l Thought, mood, behavior

Two key ideas: n Svabhāva l Sva—“self,” “one’s own” l Bhāva—"character” l Svabhāva refers to the character and habitual nature of our own thought,

mood, and behavior. l Svabhāva includes the unseen conditioning (sam. skāra) that lies beneath

these patterns and gives birth to them. n Svarūpa l Sva—“one’s own” l Rūpa—“form” l Svarūpa refers to our “true nature”: Purus. a or Ātman l Knowledge of True-Self (Ātmavidyā) takes us beyond identification and

attachment l Ātmavidyā is the highest goal of Yoga

Svabhāva of thought in states of depression n Svabhāva l Self-concept as “Knower” l Habit/patterns of thought l Ideational response l Perception and misperception l Mental constructs: worldview; beliefs; interpretations l Sam. skāra—memory and conditioning

n Examples of characteristic thought symptoms in states of depression: l Pessimism l Apathy, indecisiveness l Delusional thinking l Suicidal ideationSvarūpa of thought—buddhi s'akti


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n Examples of characteristics of awakened intelligence l Ekāgra—undisturbed, attentive, concentrated l Vidyā—knowledge l Prajñā—wisdom l Viveka—discernment, discrimination l Pratibhā—intelligence l Prātibha—intuition l Ātmāvidyā—Knowledge of true, real Self l Enables us to gain control of our minds and its modifications

Yoga and yoga therapy methods that were adapted to help us move from the symptoms of depression to buddhi śakti, our highest potential of thought: n Pat.hana—studying sources of inspiration to help us understand who we truly are n Dhāran.ā—one-pointed focus l Begin to master the mind l Improve concentration and memory n Dhyānam—meditation to deepen self-understanding l Vicāra and Ātmā vicāra—inquiry l Svādhyāya—self-reflection l Pratipaks.a bhāvanam—cognitive reframing; reframing life-story l San.kalpa—Determination and setting intention n Samādhi—merge with something higher than ourselves l Ātman or Īśvara (true Self)

n It may seem strange to think of samādhi as a method. l Remember that in yoga there’s sadhana (practices) and siddhis (state or

accomplishment). l We often think of samadhi as a state or accomplishment, but there are

many practices that can help us move toward that state.

Strategies to begin to work with dhāran. ā, dhyānam, and samādhi: n Awareness of one’s thoughts l Starting point: train attention which itself requires developing willpower

necessary to master the mind. l Study one’s own thoughts/cognition, feelings/emotions, behavior/actions. n Discrimination between thoughts l Pure and impure l Helpful and disturbing

Svabhāva of mood/feeling in depression n Svabhāva l Self-concept as “Feeler” l Habits/patterns of mood/feeling/emotion l Emotional response: desire/attachment/aversion/fear l Emotional memory l Sam. skāra n Characteristics of depression at the level of mood and feeling


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l Sadness l Grief l Despair l Emptiness l Helplessness l Hopelessness l Worthlessness l Shame

Svarūpa of mood/feeling—bhāva śakti (power of emotion at its highest level) n Sama—tranquility n Titiks. a—endurance n Śraddhā—faith n Bhakti—devotion n Priya—love, passion n Sukha—happiness n Ānanda—unconditional joy

Methods for influencing mood and feeling: n Chanting n Mantra n Meditation n Devatā Yoga n Prayer n San. gha l Right relationship l Right association

Strategies for beginning to work with mood and feeling: n Troubling feelings/emotions such as sadness or fear should lead you to question

why you have them in the first place. l The teaching is that they are all based on a fundamental

misunderstanding—avidyā. n Examine them one by one honestly. n Recognize that we are neither our symptoms nor our feelings/emotions. n Uncover sources of fun or pleasure. n Uncover, and connect to, or engage in, what nourishes.

Power of faith and prayer n Faith: a place where the mind (thought) and the heart (feelings and emotions)

converge and become one. n This is not mindless, ill considered, or dogmatic: It’s a place where the heart

finds rest and peace. n Prayer links thought to emotion. Prayer gives us strength to forgive ourselves

and others. n Prayer helps us feel connected to sources of nourishment and inspiration.


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Svabhāva of behavior/action in depression n Svabhāva l Self-concept as “Doer” l Habit/patterns of Behavior Action Response: n Instinct n Engage/avoid n Strategize l Sam. skāra—behavioral memory and patterns

Characteristic symptoms of behavior/action in depression: n Loss of interest, particularly in self-care and appearance n Social withdrawal and isolation n Reduced activity n Self-centeredness n Crying episodes n Eating disorders n Self-injury n Inability to function

Svarūpa of behavior/action—San. kalpa śakti (the power of intention) and kriya śakti (the power of action). n Pat.hana—study n Sādhana—personal practice n Dama—self-restraint n Tyāga—renunciation n Uparati—cessation n Sevā—service n Pun. ya—meritorious action

Methods that would help us achieve this: n Ongoing personal practice (sādhana) including Devatā Yoga n Self-restraint n Impulse control n Selective renunciation n Rituals of self-care n Selfless service

Strategies to apply these methods: n Analyze your habitual patterns of behavior n Identify behavioral patterns you wish to change l Notice their habitual nature l Develop a strategy n Discover the root of the impulse n Investigate its basis n Systematic and progressive reduction n Complete elimination n Refinement and elevation


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n Replace it with something better n Selective renunciation—tya-ga—strengthens our will and commitment n Gary shares story of studying in India, learning about tyāga l He learned that tyāga is not necessarily about giving up what is “bad” for

you—that’s just intelligent; it’s about giving up what you’re attached to. n Determination to overcome dysfunctional patterns is the starting point. n Commitment l What are you committed to start doing? n Commitment l What are you committed to stop doing?

Resources n “Yoga for Depression: An Integrated Practice” by Gary Kraftsow n "Pranayama Unlocked" n Soon to be released digital course on meditation n The American Viniygoga Institute’s professional yoga therapist training program

A Yoga Therapy Sequence for Depression

Savasana Throughout this practice, until you reach the standing poses, Gary recommends that you keep your eyes closed. n Turn palms up l Take a moment to pay attention to your habits of thought. l Try to come to a state of relaxed, alert, mindful present awareness. l Link attention to sensation. l Notice the differences between the peripheral nervous system and the

parasympathetic nervous system. l Notice your energy level. This practice is designed to influence it. n Turn palms down l Bring attention to tip of nose. l Intentionally and progressively deepen the inhale and lengthen the exhale. n Movement occurs through the medium of the breath. If the breath is six seconds

long, the movement happens through that six seconds for every posture. n Wherever you are in the breath cycle, inhale fully, then exhale fully. n Inhale 4 counts as you flex both ankles simultaneously. n Exhale 4 counts as you relax both ankles simultaneously. n Repeat (4 count). n Increase inhale to 5 counts, raise both arms as you flex both ankles. l At the end of the inhale hold your breath (and the pose) for 2 seconds. l Stretch from your fingertips to your heels. n Exhale (5 counts) as you lower your arms and relax your ankles. n Repeat (5 count, 2 count). n Last round: Inhale 6 counts as your raise both arms and flex both ankles. l At the end of the inhale, retain your breath (and hold the pose) for 4

seconds. n Exhale 6 counts as your lower your arms and relax your ankles. n Repeat (6 count, 4 count).


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n Check in; feel shift in energy.

Dvipada pitham n Bend knees, place feet close to your sit bones, sit-bone-width apart n Inhale, then exhale fully n Inhale 5 counts, press into feet and lift pelvis n Exhale 5 counts as you come down n Inhale pelvis up, lift your arms overhead n Pause one or two seconds n Exhale lower arms and spine, sacrum and palms touch floor simultaneously n Inhale pelvis up, lift arms overhead n Pause one or two seconds n Exhale down n Last time: Inhale up, exhale down n Pause

Roll to side, stand on your kneesVajrasana n Inhale, exhale fully n Inhale and raise arms wide, out to side, overhead n Exhale 4 counts, bend forward, tightening belly, rounding lower back, sweeping

palms behind you, backs of the hands on the sacrum, forehead on floor n Inhale 4 counts, leading with chest, take arms out wide, rise up n RepeatVajrasana variation n Stand on knees, bend forward, take arms out in front of you—palms and

forehead on floor n Pause n Inhale come forward, onto hands for chakravakasana l Shoulders down, scapula back n Exhale, tighten belly, round low back, bend elbows, forehead to floor n Inhale, lift chest and raise arms, back to standing on knees Repeat vajrasana variation (5 counts) n Exhale down 5, lowering palms and forehead n Inhale 5 counts, come forward into chakravakasana n Exhale 5 counts, round back to child’s pose n Inhale 5 counts, come up to standing on kneesLast round, 6 counts n Exhale down 6 n Inhale forward 6 n Exhale back 6 n Rest in child’s pose

Sit up and then stand (keep eyes open for standing poses)Virabhadrasana I (adaptation) n Feet two or three inches apart n Feet directly under knees and under hips (stacking joints)


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n Step back with right leg n Ankles stacked vertically below your knees, which are stacked vertically below

your femurs n Arms at your side n Inhale, exhale fully n Inhale bend front knee and take arms out to side, adduct scapula, push chest

slightly forward of hips n Hold your breath one second n Exhale out of the position, straightening front knee and lowering arms to the

side n Inhale back into virabhadrasana adaptation (arms out to the side) n Hold breath for 2 seconds n Exhale out of the position, straightening front knee and lowering arms to the

side n Last time: Inhale back into virabhadrasana adaptation n Hold breath 3 seconds n Exhale out of the position, straightening front knee and lowering arms to the side

Inhale, raise arms straight forward and overhead, bend front knee into a classic virabhadrasana n Hold breath 4 seconds n Stay there, in classic virabhadrasana, exhale, bend both elbows, adduct scapula,

push chest further forward n Inhale raise arms, hold breath 4 seconds, arch further back n Stay there, exhale, bend both elbows, push chest forward n Inhale raise the arms, hold breath 4, arch a little more n One last time, exhale bend elbows, inhale raise arms, hold breath 4 as you arch

further n Slowly exhale out of posture

Bring feet together, coming to the top of mat n Pause, feel energy

Repeat adaptation on other side, stepping left leg back n Then pause in tadasana, accessing br. m. han. a

Adaptation of ardha utkatasana n Inhale, exhale fully n Inhale 4 counts, raise arms overhead n Exhale into half squat, bending knees until hips are at knee-level, palms on floor,

chin down, belly and chest on thighs n Inhale 4 counts, lift your chest and arms like you’re sitting up in a chair n Pause n Exhale back into half squat, belly and chest on thighs, palms on floor n Inhale 4 counts, come all the way to the top, back to the starting point n Exhale 4 counts, lower arms n Inhale 5 counts, raise arms overhead n Exhale 5 counts, half squat


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n Inhale 5 counts, keep your hips knee-level, lift chest and arms n Exhale back into half squat n Inhale, 5 counts, come all the way up, lift chest and arms and then rise up n Exhale, 5 counts lower arms n Last time: Inhale 6 counts, raise arms n Exhale 6 counts into squat n Inhale 6 counts, lift arms and chest like you’re sitting onto a chair n Exhale 6 counts, into squat n Inhale 6 counts, come all the way up, first chest and arms, then rise up,

straightening legs n Exhale, 6 counts lower arms n Pause and feel strength; big muscles have engaged, you’ve deepened the

respiratory rhythms

Come down to hands and knees for a combination of chakravakasana and downward facing dog n Begin in child’s pose, inhale to chakravakasana n Pause, hold breath a second, curl feet, exhale to downward facing dog n Inhale to chakravakasana, hold breath, uncurl feet n Exhale back to child’s pose n Inhale forward to chakravakasana n Pause, hold breath a second, curl feet n Exhale into downward facing dog n Stay a breath, inhale deeply, arch upper back, exhale in position n Inhale down to chakravakasana n Hold breath, uncurl feet, exhale child’s poseRepeat flow 2 more times (adding a breath each time) n Inhale forward to chakravakasana, hold breath, curl feet n Exhale to DD and stay 2 full breaths n Inhale back to chakravakasana, hold breath a second, uncurl the feet n Exhale to child’s pose n Last time: Inhale back to chakravakasana, hold the breath, curl the feet n Exhale to DD and stay 3 full breaths n Inhale back to chakravakasana, pause, uncurl feet n Exhale to child’s pose, rest

Sit up on knees, pause and feel upward movement of energy


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Lie on stomach for a combination of ardha salabhasana and salabhasana n Place palms by mid to upper ribs, elbows up, forehead down n Inhale fully, exhale n Inhale, lift chest and right leg n Hold breath 2 seconds n Exhale back down, forehead and leg to floor n Inhale, lift chest and left leg n Hold breath 2 seconds n Exhale back down n Inhale lift chest and both legs n Hold breath 2 seconds n Exhale back downRepeat 2 more rounds (adding a breath each time) n Inhale fully, exhale n Inhale, lift chest and right leg n Hold breath 3 seconds n Exhale back down, forehead and leg to floor n Inhale, lift chest and left leg n Hold breath 3 seconds n Exhale back down n Inhale lift chest and both leg n Hold breath 3 seconds n Exhale back down n Last time: Inhale fully, exhale n Inhale, lift chest and right leg n Hold breath 4 seconds n Exhale back down, forehead and leg to floor n Inhale, lift chest and left leg n Hold breath 4 seconds n Exhale back down n Inhale lift chest and both legs n Hold breath 4 seconds n Exhale back down

Pause a moment and then roll onto back

Bend knees and bring thighs toward chest, each hand behind its own respective knee.This pose will be an adaptation of supta padangusthasana n Inhale, exhale fully n Inhale, raise heels to ceiling as you straighten your elbows n Exhale, bend knees, bend elbows, pull thighs toward belly as you stretch your

low back n Inhale, raise heels to ceiling as you straighten your elbows, stay one breath l Exhale and soften knees, inhale and extend heels, straighten knees more n Exhale, bend knees, bend elbows, pull thighs toward belly as you stretch your

low back


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Another round n Inhale, raise heels to ceiling as you straighten your elbows l Exhale, subtly soften knees, relax the ankles l Inhale extend the legs straighter, flex the ankles l Exhale, subtly soften knees, relax the ankles l Inhale extend the knees, flex the ankles nThird exhale, bend the knees and pull the thighs back toward the bellyLast time: nInhale, raise heels, stay three breaths: l Exhale, subtly soften knees, relax the ankles l Inhale extend the legs straighter, flex the ankles l Exhale, subtly soften knees, relax the ankles l Inhale, extend the legs, flex ankles l Last time, soften the knees as you exhale l Inhale extend the legs, stretch l Exhale the legs down, bend knees, bend elbows, pull thighs toward belly l Place palms on the floor, one foot then other to floor, extend both legs

straight

Lateral adaptation of jathara parivrtti nMove your right leg 6 inches to right nMove left leg in stages until it’s aligned with right leg nInhale raise left arm overhead to the floor nExhale 4 counts, inhale 4 counts, stretch left arm l Exhale 4, inhale 4 (stretching arm more) l Exhale 5, and inhale 5 (stretching hand further) l Exhale 5 , inhale 5 (stretching hand further) l Exhale 6, inhale 6 (stretching hand further) l Last time: exhale 6, inhale 6 (stretching hand further) nExhale lower left arm nMove legs slowly back to center, step by step, a little bit at a time nPause and feel energy on left side of torso

Repeat lateral adaptation of jathara parivrtti on the second side

Bring knees to chest, hands behind knees for adaptation of urdhva konasana nInhale, exhale fully nInhale, extend legs toward ceiling nExhale, place hands on the insides of knees, palms facing outward nInhale, open your legs as wide as you comfortably can nExhale, slowly close legs, resist a little with your arms nInhale open your legs nStay one breath, exhale and soften knees, elbows, and ankles l Inhale, extend knees, elbows, ankles l Exhale close legs with resistance l Inhale, open, stay two breaths l Exhale, soften knees, elbows, ankles, subtly


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l Inhale, extend knees, elbows, ankles l Exhale, subtly soften knees, elbows, ankles l Inhale, extend knees, elbows, ankles l Exhale close legs with resistance l Last time: inhale open, stay 3 breaths l Exhale, subtly soften knees, elbows, ankles l Inhale, extend knees, elbows, ankles l Exhale, subtly soften knees, elbows, ankles l Inhale, extend knees, elbows, ankles l Exhale, subtly soften knees, elbows, ankles l Inhale, extend knees, elbows, ankles l Exhale, close legs with resistance l Inhale, take hands behind knees l Exhale bend elbows, draw knees to chest, rest feet on the floor

Dvipada Pitham nArms extended at side, feet hip-width apart nInhale fully, exhale nInhale pelvis up, arms overhead, to the floor nExhale, lower nRepeat this flow four times

Apanasana nRight foot off floor, right hand on right knee nLeft foot off floor, left hand on left knee nHolding knees, inhale straighten elbows nExhale tighten belly, bend elbows, pull thighs toward belly nRepeat 3 more times nInhale feet back to floor nExtend legs straight

Savasana nFeel vibrations, listen to deeper quality of vibration nNotice change in energy level

Br.m. han. a prān. āyāma practice


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Roger ColeAligning and Strengthening the Hips and Knees

“Believe me, the stretch will come!” n Alignment and strengthening are often neglected in yoga.

You’ll also find that this practice quiets the mind as well.

Key terms defined: n Front hip crease. n Quadriceps. n Hamstrings.

The Practice Virasana (hero’s pose) sitting on block with overhead stretch n Sit on the front edge of the block—not way back; feet parallel. n Knees are parallel; they don’t have to touch. n Vertical alignment of the body. n Your knees are meant to bend all the way. Hyperflexion, like in the “official”

virasana, is not necessary for healthy knees. Many people will benefit most from blocks. Find the setup that best supports your knees.

n Feet: There’s a tendency to turn the toes inward, ankles puffed out. You want your feet to point in the same direction as your knees.

n Balance the trunk in such a way that the mind becomes quiet. l Notice thoughts and feelings without judgment. l Allow the delicate vertical alignment of the pose to support you in such a

way that you’re physically still and mentally still.

Transition into tadasana (mountain pose) n See the link between alignment and mental quiet. n “As we learn to align the legs, we’re learning to quiet the mind.” n Alignment of the legs in tadasana. l Middle fingertips to hip creases, push in. l If the thighs and pelvis come forward, you’ll feel a hardening sensation. l The opposite: an anterior tilt of the pelvis creates a softening. l Move back and forth and feel the hardening (posterior pelvic tilt) and

softening (anterior pelvic tilt). l Each time you move through, you pass through the place of alignment. l Then move back and forth between the posterior and anterior tilt without

your middle fingers on your hip creases. Little by little, make the tilts less and less each time, finding the place of alignment between “mushiness” and “hardness.”

Adho mukha svanasana (downward facing dog) n Setup: Middle fingers straight ahead; hands shoulder-width apart; knees hip-

width apart; lift sitting bones (lumbar concave); lift knees and keep them bent.


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n Shoulders back; extend arms; contract quadriceps; lift sit bones. n Continue to contract quads as hard as you can. Start to straighten the legs

without losing the concavity of the spine.

Return to tadasana n Hamstrings = “knee-bending muscles” n Quadriceps = “knee-straightening muscles” n When the quadriceps overcome the hamstrings, the knees straighten. n Keep the quadriceps and hamstrings contracted, and slowly straighten legs.

Back to downward facing dog n Slight lift of sitting bones. n Lift knees. n Contract quadriceps. n Rotate arms and reach. n Contract quadriceps and hamstrings at the same time, but slowly let the

quadriceps overcome the hamstrings so that the legs straighten.

Applying these principles to sirsasana (headstand) n Option: Practice tadasana with hands in headstand position. n For headstand: Lightly folded blanket under head. n In headstand: if you move your feet behind you without moving your pelvis,

you’ll feel a stretch on the front of your hip creases; if you move your feet forward and your hips back, you’ll feel a “mushiness.”

n Continue to move back and forth, then find the point right in the middle where the hip creases are neither stretching nor too soft. The legs become vertical and the pose becomes very quiet, mindful, and meditative.

n We can use the position of our legs in relation to the pelvis to create alignment to create a quiet mind, which leads into a spontaneous state of meditation.

n We can use the pose to get to what the heart of yoga is really about.

Virabhadrasana II (warrior II) n We want to work on quad strength in a way that holds the knee in alignment,

not misalignment. n Front knee in vira II: As you bend, make sure the knee tracks directly over the

foot so that you can see the foot. There’s no harm in the knee not going quite directly over the ankle (an angle greater than 90 degrees), but there IS harm in the knee going beyond the ankle (an angle less than 90 degrees).

l Eventually, you want the shin vertical, knee directly over ankle, but it’s okay if you’re not yet able to go that far.

l Unspoken caveat: You only want to move the hips and thighs in warrior II if it doesn’t move the knee out of alignment. Only turn the pelvis if the knee can stay in alignment and until the outer hip stops it from turning. Don’t try to turn the pelvis to match the legs.

n Back leg: The front hip crease of the back-leg thigh tends to push forward. Before you come into the pose, align the pelvis front to back, like in mountain and sirsasana, until the hip crease is “springy,” not hard or soft, then come into the pose and keep moving the back-leg thigh bone back enough that it doesn’t


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push forward. Avoid letting the back hip “hang.” n In warrior II: l Stabilize thighs—hip creases “springy.” l Back foot in, front foot out. l Bend front knee, look over front hand. l Experiment; find the place where the pelvis is balanced front to back.

Parsvakonasana (side angle pose) n The block goes outside of the front foot, by the outer front ankle. n Establish the turn of the feet, and back hip crease neutral. n Front hand on block; top arm over ear. n Back hip: find the neutral spot. n Press the front knee firmly back into the front arm. n Why the position of the hip creases is paramount in side angle pose.

Prasaritta padottonasana (standing wide-legged forward bend) n You can effectively strengthen your inner thighs in yoga. n Feet parallel; pull your feet as though you’re sliding them together on ice. n Engage quads; anterior tilt of pelvis, starting in a half forward bend. n Place hands under shoulders; lift chest without lifting chin. n Then let spine round forward. n Pull legs in, engage quads, lift arches of feet, and lengthen spine.

Trikonasana (triangle pose) n You’ll often encounter knee hyperextension. n How to straighten the knee safely and effectively (explore in tadasana). l In tadasana and trikonasana, the knees are straight, not microbent, not

really bent, but straight. l A microbend will protect the knees; the knees will be safe in a microbend,

but… l What about “don’t lock the knees”? Don’t force them to lock—there is an

anatomical locking that happens when you straighten your knees. l Hyperextension is when you straighten your knees so far that the line of the

shinbone goes behind the line of the thighbone, beyond 180 degrees. l If you’re not using the muscles, the ligaments of the knees take over. l We contract the quads, but we contract the hamstrings at the same time.

Why? The hamstrings are the “knee-bending muscles”; the quadriceps are the “knee-straightening muscles.” When you balance that, you can bring your knees in any position you want.

l When the bones are aligned, the ligaments are actually taut. l If you’re hyperextended, you have to stop yourself by using your muscles. l Bend your knees and engage your quads; let your quads be a little bit

stronger, but once the shinbones and thighbones align, use your hamstrings equally with your quads.

n In trikonasana l How do you access the front-leg hamstring? When you pull your feet

together like you’re on ice in this position, it will engage the front-leg hamstring. Then bend the knee and engage the quad to straighten the leg.


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l If you feel strain within the knee joint you’ve straightened too far.

n Coming into ardha chandrasana (half moon pose) from triangle n There’s a tendency to lift the standing-leg heel when you’re coming into the

pose, which turns the foot in. n There’s a tendency to shift all of the weight into the heel in half moon, so press

into the ball of the foot. n There’s a tendency to hyperextend the front knee, so come into the pose with

the knee bent and slowly straighten. n There’s a tendency to bring the lifted leg back, so you want to keep it in line:

adjust so the groin is “springy,” not soft—that will keep the lifted leg in line. n When coming into the pose: l Keep the front help stamped down. l Bend the front knee. l Hop the back foot in. l Bring your front hand forward to the little-toe side. l Float the back leg up; if the front knee is bent, contract the quad to start to

straighten. l Bring the back leg forward more if it’s back, so that the groin is “springy.” l Balance the weight on the heel and the ball of the standing-leg foot.

Trikonasana (revolved triangle) n You’ll need a block and a chair. Why? If the hamstrings aren’t completely

flexible, the trunk will flex and the whole pose goes off kilter. n It doesn’t matter how low you go as long as you keep your lines. n Alignment of feet as if you’re standing on a “tightrope” or max of hip-width

apart. n The back foot turns in a great deal or you won’t be able to turn the pelvis. n You can use a wedge if your heel lifts, or a chair for stability, if you don’t have a

wedge. n Hands to iliac crest, turn pelvis, bend at the hip joints, and place hands on chair

seat. n Keep concavity of spine. n Reach the back-leg-side arm across the chair seat, reach front-leg-side arm up,

and twist. n Gluteus medius and maximus both stretch when you turn the pelvis that way. n That’s good, but you also want to strengthen. You can do that by keeping the

front foot where it is, but resisting it out to the side. Do that, turn the pelvis, and stop before you feel compression on the inner thigh and hip area.

l Resist foot out, turn pelvis, then rotate from the lower rib cage. l If you resist the foot out and turn the pelvis until it stops, you’re stretching

and strengthening gluteus medius and maximus at the same time (a concentric contraction).

n Revolved triangle with a block l It’s not “You’ve succeeded if you touch the floor.” If you’re not contracting

the outer hip and hamstrings, you’re missing the strengthening components of the pose.


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l Block outside front ankle. l Turn back foot in (it’s more to the front than to the side), bend the front

knee, turn the pelvis, lift the sitting bones, straighten the front knee by contracting the quad.

l Resist the outer foot out. l Turn the pelvis into the pose, until it stops. l Turn the rib cage from the lower ribs more than the pelvis. l Then you can reach the arm up.

Return to virasana n Sitting bones on the front edge of the block; you can pull your toes apart with

your fingers; ankles in toward the body; heels in line with the block; thighbones parallel; knees not touching; pelvis balanced.

n Arms up, interlace hands, press palms up. n Balance pelvis left to right, trunk left to right, arms left to right, and lift straight

up. n Keep trunk upright; bring palms to thighs; lift head to neutral; if they’re not

already, close your eyes. n Balance the trunk like headstand and tadasana. That quiet balance that comes

whenever we’re aligned. Be mindful of each moment of the posture. n The practice is to maintain the best alignment that you can, balanced, open,

free, and easy.

Poses to release muscles that have been tightened by the standing practice

Bhekasana (frog pose) n Chin down, bend knees, bend heels toward buttocks, press down through the sit

bones, and keep the knees close to one another or the hips will tend to lift. n You can also turn the hands for the full pose.

Salamba sarvangasana (supported shoulderstand) n Setup: Four or five blankets stacked, folded edges slightly stair-stacked;

optional block to get into the pose. n Sit on the block, shoulders near, not on, the edges of the blankets, head on the

floor, arms alongside, hands on the floor. n Press down, lift hips up, hands on your back—it’s best if you can get hands on

skin for greater friction. n Open your chest. n Tailbone will tend to drop; draw it in. n Here too is a great opportunity to work with the hip creases. n Find that balanced, vertical place where you body is aligned and still and your

mind can become quiet. n To come out of the pose, bring the feet forward, reach your arms behind you, as

if to reach the floor, even if you can’t touch yet, and use the weight of your legs as a counterbalance as you lower your hips slowly, with control. Then roll to the side and come out.


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Gomukasana (cow face pose) n On a blanket: Left foot across to outside the blanket on the right side, and take

the right knee over the left knee and the right foot back alongside the body so your knees stack.

n Sit tall; no arms. n Find a neutral, upright pelvis so that it feels balanced, not pushing forward. n This pose releases some of the muscles we worked, but for a variation (for more

outer hip stretch), add an anterior tilt of the pelvis and hinge forward. n Push both feet into floor to resist the pelvis tilting forward and to let you come

into the pose with control.

Baddha konasana (bound angle pose) n If you can’t get your pelvis upright, position yourself up on a prop. n If prop is low enough you may get your hands beneath your feet. n Trick: Open your feet out like a book, then bring them back together, but don’t

bring them any more back together if the knees come up.

Supta baddha konasana (supine bound angle pose) n Setup: You’ll need five blankets, one belt. n Sit in front, not on the blankets behind you. n Draw legs into baddha konasana. n Bring belt buckle to the outside of feet; here the buckle passes under the feet

and it just barely emerges outside the feet; the belt wraps around the thighs, across the pelvis—not the waist—and then comes around so that you can buckle it and the buckle is above your ankle, not bothering you.

n The belt is as low as it can be on your pelvis. n The belt does not support your knees; the long blanket roll is supporting them.

Wrap the long blanket roll over ankles, under shins, and under hips—that’s why it’s so long.

n Head support goes under head and neck, not under shoulders. n As you get into the pose, get comfortable. Be careful not to tilt your head; head

is even; chest is open. n Your bones are literally moving closer to the floor; you can relax more and more

and more. n At this stage, you might find yourself settling into a spontaneous exhale that will

give rise to a nice, deep inhale, and the body and mind can settle into a state of deep restoration.

n You can remain here for a good while if you’re comfortable. You’ll be able to settle into deeper and deeper relaxation.

n When you’re finished, use your hands to draw your heels in, remove the belt, roll to the side, and sit; come upright.


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Doug KellerHealthy Neck and Shoulders

Intro to Anatomy

Features of neck and shoulder anatomy that will be incorporated into practice:Where the head meets the neck in the back—where we most often cause problems. n People tend to tilt the head back in a way that compresses the neck. n The head sits on top of the neck at a glenoid joint—can tilt back and forth. n When muscles at the base of the neck contract, the head tilts. Their job is to get

the head to go where the eyes do. n When the eyes lead, that leads to tension and a little compression. n Important cues for your yoga practice: l “Let the eyes be more passive (not leading).” “Head moves first.”

Hyperextension in the neck happens when the head moves forward. We often correct with the opposite action, chin tucking, but tucking the chin can be just as problematic as moving the head forward. n Hyoid bone: We want to position the neck thinking of moving from the hyoid

bone rather than from the chin. l “Swan’s neck” action. l We want to strengthen the deep neck flexors and relax the suboccipitals so

the neck lengthens “up through the crown.” n Are you a “chin poker” or a “chin tucker”? n Jalandhara bandha: Posturally, in asana practice jalandhara bandha is different/

more subtle than it is in pranayama. n Relationship between forward head and sleep apnea. n Flattening the neck/tucking the chin narrows the cervical spine and flattens it

further. If your tendency is to tuck, you want to actually move the head back slightly.

Two things to consider for neck: n Two-finger space at the back if forward head/”chin poker.” n “Three-finger check” if “chin tucker.”

The head moving too much in either direction is problematic. Want to find “sweet spot.” n Additional check for jaw.

Shoulders

Trapezius is both the most problematic and most useful muscle for the shoulders. n We use the upper traps to move the shoulders up and down. n If the shoulders are forward, it creates tension up into the neck and influences

how well the shoulders can move. n We want to bring the shoulders back into their proper place on the back so that

the traps can soften and the shoulders are free to move.


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n Trapezius check.n To get the shoulders more open safely, we want to take the heads of the arm

bones back, and it’s very helpful to have some support for the arm when you do that. In practice, we’ll work the traps in a number of ways, one of which involves holding a block, placing it behind the head with the block slightly tilted back. Wrap the fingers around the block, and turn the elbows parallel to each other as you gently press the head against the block. This provides the support to create space to draw the heads of the arm bones back and move the shoulders more freely. You can also tilt the head back slightly to open through the chest, and lift up through the arms, without tightening the traps.

n Shoulder rolls are really not effective to release the trapezius because rolling the shoulders up creates more tension.

l How to do shoulder rolls more effectively to bring greater strength and release tension in the trapezius.

n Key points for asana.l Always keep the head of the humerus in the same plane as the shoulder

blade.l Don’t let the arm drop below the shoulder (exceptions: poses like

gomukasana).n Biceps tendon/biceps tendonitis.

l The more the head of the arm bone comes forward, the more it compresses the head of the biceps tendon and irritates the shoulder overall.

l We often have to create arm rotations to get the biceps tendon out of the picture, to move it to a place that does not put pressure on it.

l Often we’re told that shoulder opening comes from external rotation, but we paradoxically have to do internal rotation to get the biceps tendon out of the way, then add external rotation without letting the head of the arm bone move forward. (Will address and show during practice.)

n Matsyasana (fish pose) variation with block at wall.

A Practice for a Healthy Neck and Shoulders

Keep in mind:n We’re looking at and understanding the connection between the upper arm and

shoulder blade.n Doug will ask you to bend elbows perhaps more than you’re used to—this allows

you to feel movement in the shoulder blades. Shoulder blades mimic the actions of the hands themselves. The more the bent elbows move away from the midline, the more the neck/upper traps tighten. The more they turn toward the midline, the more the upper traps relax.

n When you want to adjust your arms, pay attention to the shoulder blades. n Downward facing dog breakdown.

Bend elbows.Slide forward.Hug the inner elbows; inner armpits lifting.Then stretch back. Allow the head to hang down and relax passively.

Pushing the chest to the thighs in downward facing dog can compress the neck and cause the neck to hyperextend.


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The Practice. n Stretch the legs back from all fours. n Bend/rotate/hug—arm exploration in all fours. n Downward facing dog arm/shoulder exploration. n Right foot forward lunge with chest stretch. n Downward facing dog. n Left foot forward lunge with chest stretch. n Plank—knees down—onto belly. n Cobra (addressing the first of two points). l In Cobra, the first temptation is to lift the head to look forward. If the head

is forward and you push to look up, then you compress the neck and the lower back, and the heads of the arm bones move forward, which creates tension in the trapezius.

l Jalandhara bandha: Think of a swan’s neck. n Bow head, open chest, and as chest lifts, head lifts to look up, like a

swan’s neck unfolding. n Hands and knees. n Downward facing dog. n Right foot forward lunge. n Uttanasana (standing forward bend). n Tadasana (mountain pose) to standing side stretch with elbow bent, palm up,

holding opposite wrist, twisting hand toward ceiling. n Uttanasana. n Right foot back lunge. n Downward facing dog. n Plank. n Chaturanga or hands and knees to lower onto belly. n Cobra (addressing the second of two points). l To release pressure/avoid compressing the biceps tendon: hands wide,

hands turn in toward each other. This moves the biceps tendon out of the way, allows the heads of the arm bones to move back.

l Coming up onto fingertips takes the pressure off the front of the wrists. l On fingertips, with hands wide and turned in, rise up and lift the chest. This

setup allows you to move the heads of the arm bones back. Then move the head up and back to follow.

n Hands and knees. n Downward dog. n Left foot forward to a lunge. n Uttanasana to tadasana. n Urdhva hastasana (upward hand pose) with hands interlaced. n Block exercise in virabhadrasana I (warrior I) using edge of block to pay

attention to whether you’re pinching the back of the neck or not. l Block behind head, tilting the face slightly toward the ceiling, turn elbows

parallel to each other (elbows toward the midline, armpits back). Wrap fingertips around the the block so that you can press the head back slightly. Using the block for a little traction, begin to lift the chest and move the head back.


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l To take it further, stretch the block up. l Press the pinky sides of the hands into the block to draw the inner elbows

toward each other, thumbs away. n Repeat on second side. n Downward facing dog. n Child’s pose with traction. n Side child. l Place opposite-side hand on top to increase the stretch. n Hands and knees. n Downward dog. n Virabhadrasana II (warrior II). l Keep arms in the same plane as the shoulder blades. l Hands a little higher, arms a little forward, armpits back, and then take arm

bones back in same plane as shoulder blades and reach out. l Turn head. l Arm movement to release tension from lifting arms: arms down, overhead

(shampooing), then out to sides. l Turn head. n Deep, wide-legged forward bend with elbow and shoulder work. n Parsvakonasana (side angle pose) with right leg forward, elbow to knee. l Often, we take the top arm too far behind the plane of the shoulder blade.

This hyperextends the neck and takes the arm bone so far back that it pinches the shoulder.

l Take the top arm to the side. Shoulder back. l Bend elbow, thumb to shoulder, launch the arm overhead. l Turn head so nose is more to bicep rather than looking overhead. n Repeat on other side. n Hang in wide-legged forward fold. n Triangle with block. l Palms forward to open chest. l Press down through bottom hand to lift up, draw shoulder blade onto back. l Don’t reach top arm back, reach slightly forward. l Align thumb over ear, then reach straight up. l Looking down strengthens the back of the neck. Turning the head to look

up often pulls the shoulder toward the ear. You get “negative benefits” instead of positive benefits.

n Repeat other side. n Stand with hand behind head. Wrap index finger and thumb around the base of

the skull. Lift up slightly. Elbow slightly forward. n Same exploration in triangle: l Hand behind, wrap base of head, looking straight ahead to start. l Elbow forward. l Traction: Fingertips can actually create traction as you turn head toward

elbow. As you turn bicep toward nose, use fingertips to turn head toward arm (nose toward bicep).

l Open chest by pressing into bottom arm. l Then stretch top arm up.


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l Close eyes and turn a little more open. n Prasarita padottanasana (standing wide-legged forward bend). n Setu bandha (bridge). l Good prep for all other backbends. l People often cause problems for shoulders and neck. l Palms down rolls shoulders forward. l Keep two-finger space at back of neck. l Bend elbows close to side body. l Rotating hands so palms face toward shoulders is even more helpful. This is

a “shoulderstand position.” l Shoulders press down. l Let hyoid release back, neck passively relaxed. l Lift heels. l Keep hips lifted and lower heels down. l Repeat a few times: Lift heels (chest open, hyoid back, neck relaxed), just

lower heels, repeat. l If clasping, bending elbows a little—not so they’re out to the side, but so

hands are touching sacrum. This brings the heads of the arm bones back. l Then you can start to straighten the arms as long as the shoulders down roll

forward. n Urdhva dhanurasana (upward bow/wheel pose) prep (just a prep). l Same actions. Even rotating hands out slightly instead of turning them in so

that elbows don’t splay. l Heads of the arm bones back so that traps release. l Lift heels and do the same thing as bridge: heads of the arm bones back,

shoulders broad, and lift and lower heels. n Baddha konasana (bound angle pose) with jalandhara bandha. l The temptation is to grab

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