Author: Jason Nemer

Project Manager: )ustyna Fiuk

Design & Art Direction: Ash a Tyska Mclaughlin e: fotodesignn @gmail.com
Production Artist, Layout, Copywriting & Editing: Bonnie Argo www.bonnieargo.com
Editing: Linda Mittel
Printing: Krishna Copy Center, University Ave. Berkeley
Photography: Kadri Kurgun www.kadrikurgun.com
All photographs are Copyrighted property of 2013Kadri Kurgun

Copyright and Trademark Information

Copyright 2006-2013 AcroYoga, Inc. Serial # : 77066872. All rights reserved .

All content of the Manual , and the information which it contains, is the property of AcroYoga, Inc. and its affiliates and licensors, and is protected
from unauthorized copying and dissemination by United States copyright law, trademark law, international conventions and other intellectual
property laws . Under the United States and International Trademark laws, all Content is protected but not limited to text, descriptions, software,
scripts, code, designs, graphics, photos, sounds, music, videos, applications, interactive features and all other content; ("Content") as a collective
work and additionally the proprietary property of AcroYoga, Inc. By way of example only, and not as a limitation, "AcroYoga" and the AcroYoga
Inc. logo are registered trademarks of AcroYoga , Inc., under the applicable laws of the United States and for other countries. Other AcroYoga, Inc.
products or service names or logos appearing in this Manual are either trademarks or registered trademarks of AcroYoga, Inc. and for its affil iates.
The absence of a product or service name or logo from this list does not constitute a waiver of AcroYoga , Inc. trademark or other intellectual
property rights concerning that name or logo. Utilization of the term "AcroYoga " or variations therein are appended by the United States and
International trademark laws, as are all descriptive terms, sequences, and content. Additionally, all entities and representatives of the practice that )
have been Certified under AcroYoga, Inc. are officially listed on the AcroYoga.org website. All non-certified practitioners are asked to immediately
cease and desist the use of all AcroYoga, Inc. trademarks, intellectual property and language. AcroYoga, Inc. will strongly enforce and pursue their )
legal rights to the Trademark. )
)
 DEDICATION :
I dedicate this book to all the teachers that have blessed and inspired
me. To my mother for supporting me to follow my dreams. To Jenny
Sauer-Kiein for co-authoring many of the sequences in this manual
and for bringing her gifts and passion to life through this practice.
To all the AcroYoga teachers for being bright lights that attract and
feed community. To all the students around the world that are living
examples of how we can support and play with each other.
 ACROYOGA INC. CAUTIONARY STATEMENT

The following recommendations have been designed specifically for AcroYoga Inc. participants. Because of the physical demands
required , participants are asked to read and understand certain cautions and responsibilities designed to improve the safety and
enjoyment of the activity.

PREPARATION :
Choose an outfit which fits comfortably and allows free movement but will not inhibit movement or interfere with partner grips
and connections.
Wear supportive undergarments .
Be aware of your surroundings; secure space for partner work, stable foundations, choose an environment where you will not
collide with anything, etc.
Do not apply lotions or oils to your hands or feet prior to starting partner work.
Do all stretching exercises prior to practice. Take time to stretch leg, arm, neck, ankle, wrists, and back muscles before each
session.
Participants with a medical history or current condition (to include but not limited to seizures, neuromuscular, renal, cardiac,
insulin/diabetic, pregnant, or chronic skeletal problems, disorders, or diseases must seek a Physicians approval prior to partici-
pation in the practice.

ACROYOGA TRAINING SESSION

Think safety FIRST!
Always be aware of the proximity of others when executing large motor movements.
Please follow the Manual. AcroYoga is a methodology and should be practiced in a progression from simple to complex.
Advanced work/unfamiliar movement should only be attempted with the assistance of spotters and only if your skill level (and
the skill level of your partner and spotter) supports the movement.
Always use proper spotting techniques when executing off the mat work. In all examples of unfamiliar movement, spotters must
employ the "hands-on" technique.
No jewelry.
No nylon shorts or wind pants.
No gum or candy.
Hair should be managed to ensure safety.
 Table of Contents
HISTORY o F AcRoYoGA 1

How TO PRACTICE AcRoYoGA 3

GRIPS & FooT PLACEMENTS 5
THE ART OF PARTNERSHIP 8
PARTNER YoGA 9
THREE RoLES oF AcRoYoGA 14
THREE PERSON PARTNER YoGA 17
WHY Do AcRoYoGA/MISSION 20
CIRCLE CEREMONY 21
LUNAR HEALING ARTS PRACTICES 24
INTRODUCTION 26
LuNAR AsANA SEQUENCE 27
THAI MASSAGE & THERAPEUTIC F LYING 32
SUPINE THAI MASSAGE LEVEL 1 33
SUPINE THAI MASSAGE LEVEL 2 35
FooT PLAC EMENT 40
FoRWARD FLYING 41
PRONE THAI MASSAGE 47
BACK FLYI NG 49
HIGH FLYING WHALE 55
Low FLYING WHALE 61
HAMMOCK 63
SoLAR AcROBATIC PRACTICES 66
INTRODUCTION 68
SoLAR AsANA WARM UP 69
INVERSION PYRAMIDS 77
AcRoBATIC TRAINING PHILOSOPHY 89
SPOTTING 91
FOUNDATIONAL AcROBATICS 93
PARTNER INVERSIONS 95
STANDING CouNTERBALANCES 97
HAND BALANCING 99
PYRAMIDS 100
FLYING VocABULARY 101
FLYING PRESSES 103
MOUNTS & DISMOUNTS 109
AcROBATIC FLYING TRANSITIONS 117
THANKS & PRAISES 133

WHAT ACR OYOG A HAS BEEN
Acrobatics and yoga have mixed in many ways for thousands of years.
It is impossible to cite all the masters that explored the alchemy
of acrobatics and yoga; here we will point out some of the most
prominent we know. The father of modern yoga, Krishnamacharya,
was a pioneer in the blending of these arts. There is footage from
1938 of Krishnamacharya flying children, in similar postures we do in
modern Aero Yoga. His appreciation and integration of gymnastics,
brought to India by the British, inspired this fusion of acrobatics and
yoga, which planted many seeds that have continued to bear fruits.
Since Krishnamacharya's exploration with flying yoga, multiple
practitioners have continued the fusion of these arts over the past
few decades. For example, in 1985, an acrobat named Benjamin
Marantz developed a form of therapeutic flying called Acrosage.
Ken Nateshvar Scott, another acrobat gone healer, developed
Contact Yoga, a practice with therapeutic flying and Thai massage.
Kevin & Erin, students of Ken Nateshvar Scott started Circus Yoga,
a family approach to blending circus arts and yoga. Eugene Poku
and Jessie Goldberg developed AcroYoga Montreal in 2000. Their
style is geared towards creativity and performance. At this point
Aero Yoga has grown beyond any one school or person. All of these
teachers have laid a foundation that is still supporting the positive
momentum of Aero Yoga worldwide.
PHOTO OF KRISHNAMACHARYA, THE FATHER OF MODERN
YOGA, FLYING HIS STUDENTS (1938)
History of AcroYoga
AeRo YoGA BY JASON & JENNY
Jason and Jenny met in December of 2003 in San Francisco through
mutual yoga friends . Jason had trained and competed in acrobatics
and gymnastics for many years. Jenny taught youth circus acrobatics
and had studied Contact Yoga, a partner flying and massage practice.
Their first meeting they jammed and envisioned for many hours .
Jenny had never done the high level hand balancing they played
with that night. It was also Jason's first time receiving therapeutic
flying. After hours of talking, a partner practice that would blend
their passions and talents was born . In January of 2004 they were
teaching a partner doubles acrobatics class at the San Francisco
Circus center. Their first public workshop was at Yoga Tree in SF for
Valentines Day. They sold it out, got inspired and took the show on
the road in California.
Carolyn Cohen was their first dedicated student. She came to every
class and would always bring a friend. She was also a Thai massage
therapist and Chinese med icine doctor. Jason's roommate and
friend Francisco Morales-Bermudez was a yoga teacher and Thai
massage therapist as well. Both Carolyn and Francisco were invited
to join the teaching team of what they called then Contact Aero.
The four played, taught, jammed and expanded the practice in the
early days in San Francisco. In April of 2006 Contact Aero became
Aero Yoga. During this transition, Jason & Jenny took the active roll
in developing the practice. Carolyn became their first senior teacher
and Francisco branched off and developed Synergy, a partner practice
with a greater emphasis on circle asana and healing arts.
After 3 years of traveling and teaching Jason & Jenny met many
students that wanted to go deeper in the practice. They started on
their first manual for the teacher training. They soon realized that
the manual could be a tool for all students of Aero Yoga and released
their first flight manual in 2006. In August of 2006 they hosted their
first AcroYoga teacher training for 19 students . Now 7 years later,
there are over 300 teachers worldwide on 6 out of 7 contents.
 History of AeroYoga
THE Loco

2003 2 008 2 011

Like the practice the logo has evolved through the years. Our first
logo was designed by Nick Ruben , the second Arianne Traveso
WHERE CAN AcRoYocA Go?
and our final by lzzy Vanhall. Our current logo of the triple infinity By design AcroYoga is about community, relationships and
symbol represents the interconnectedness of the three branches of partnerships. In our viewpoint there are no founders of AcroYoga.
the practice. When the solar and the lunar practices are combined This movement is riding on the shoulders, feet and hands of many
skillfuly, the balance of yoga is achieved. The broken circle represents gifted people. This manual is an offering of an AcroYoga system
the dynam ic nature of the ever growing community. designed to support students to have a step by step guide to learn
how to play AcroYoga. Where this practice grows depends on the
RED-ORANGE: SOLAR - Acrobatic Practices that cultivate trust, communities where AcroYoga teachers bring the practice.
empowerment and joy.
Many spiritual traditions have been shared orally; this tradition is
BLUE: LUNAR - Healing Arts Practices that cultivate listening, communicated through touch and shared experience. Due to this
loving and healing. fact, AcroYoga can never really belong to any one person. It is a
growing collective of physical wisdom that is ever expanding. The
PURPLE: ELEMENTAL - Yogic Practices that cultivate breathe
more we all play with each other the bigger the global party gets.
awareness, softness , strength and harmony.
Where the practice can go is to every park in every city around the
world in an expression of divi ne play and human connection.
DE FINITI ON OF AcRO Y OGA
The word AcroYoga comes from the Greek root akros = high and
the Sanskrit word Yoga = un ion . Together they form AcroYoga -
High Union . From this place, many amazing physical shapes can
be formed , and students literally and figuratively elevate each other.
Our highest aim is to bring individuals into a state of union with
themselves , with each other, and with the community. From this
place of mutual support the true self can be realized, celebrated and
shared for the benefit of all.

AcroYoga is a community based practice that encourages personal

transformation . We ignite our collective potential as we support each
other to reach new heights. AcroYoga invites you to experience the full
spectrum of your being through opportunities to: give and receive;
support and be supported; experience strength and sensitivity. It is a
systematic approach to health and healing designed to be accessible
for every practitioner. The best part is that it's fun to do and fun
to watch . It brings people together the old fashioned way, through
human connection, touch and play.

2
 How to Practice AcroYoga
THE GOLDEN RULES
IN THE LUNAR PRACTICES: IF IT FEELS GOOD, IT IS RIGHT
There are many types of bodies; no one recipe will work for the
cultivation of the AcroYoga practice. The body will not lie. As we
learn to listen to signals from our body, we can make choices that
support our health and happiness. If students are ever unsure about
a posture or practice, refer to the golden rule. Does it feel good in
your body?
IN THE SOLAR PRACTICES: IF YOU ARE HAVING FUN, IT IS RIGHT
There are many reasons to do acrobatics, fun is the juice that will
keep the tree of acrobatics alive for many years. The deeper students
go down the acrobatic path, the more challenges they will find,
the more opportunities to be clearer, stronger, softer and more
harmonious. After the struggle comes victory and if there can be a
stable sense of fun and joy along the path that is an ideal condition
to grow an acrobatic relationship. If students are ever unsure about
a posture of practice, refer to the golden rule. Are you having fun?
PH I LOSOPH I ES
SELF, OTHER , COMMUNITY
KNow THY SELF, SuPPORT OTHERS, ENJOY CoMMUNI TY
All reality starts with the perspective of the seer. This is where we will
do most of our work as yogis. Partner practices are not a substitute
for individual practice; it's quite the opposite. The deeper we go in
partnersh ip, the more important it is that we dedicate to our solo
practices to discover our patterns, our struggles and our strengths.
We create the majority of our happiness and struggles before we ever
meet our enemies or friends. One can see solo practice as a form of
weeding, pulling the thoughts , words, and movements that do not
support our positive evolution from our lives. We then have a more
fertile ground to plant thoughts words and actions that do support
our highest potential. What we learn in our own lives and our own
practice we can apply to our partnerships. Partnership allows us to
be seen and challenged and supported . As partnerships develop,
they invite expansion, reflection and growth . That growth can be
exponentially elevated by community, a place for a partnership to be
celebrated and supported to new heights.
3
Self
SADHANA =THE PRACTICE
"PRACTICE AND ALL IS COMING" PATIABHI jOIS
Sadhana is a Sanskrit word for practice. Sadhana is a life long
journey. There is no fixed point of attainment or finish line. Like many
languages, Sanskrit words have multiple meanings, some of these
other meanings are; home, reservoir, or residence. This is where true
wisdom is held , experienced and expressed. Wherever we are, there
is always more room to learn , refine and appreciate. When this is
understood and embodied the student can enjoy the scenery and build
their life long practice. Reading about AcroYoga can give you a mental
foundation, but the real experience cannot be explained in words. It is
communicated from person to person and is amplified by the number
of people that practice.
THE POWER OF THE MIND,
EVOLUTION VS. REVOLUTION
One is not better than another. The combination of the two is more
powerful than either of these concepts, alone. Evolution is a slow,
gradual process. Dedicating to evolution is what we do every day as
conscious yoga practitioners. Revolution is a much faster path . This is
the path that starts in the mind. Once a belief is born in the mind that
something is possible, the road to realization can be short, easy and
paved! It comes from the ability to believe in the potential you have
not yet realized. This belief is stronger than any yoga prop, teacher or
text. This ability to change your mind is the gift of a student ready to
abandon who they are to see who they can become.
EFFORT FOR EASE, ALIGN WITH
YOUR BONES
Acrobats seem to defy comon laws of physics as they balance each
other in countless ways with magical grace and ease. What is their
trick? Usually they have trained hard for many years to attain that level
of ease in high level skills. There is a period of great effort that in time
translates to a place of ease. This is only true if the effort is channeled
in a way that will increase your technical efficiency. For example, to
get the arms straight in handstand takes considerable effort. Once the
arms are straight, the effort pays off with a new sense of ease because
the bones are stacked and the muscles are working more efficiently.
The bones are our bodies' evolutionary response to gravity. Smart
acrobats will always train techniques that cultivate the most efficient
 How to Practice AcroYoga
support and least effort. This recipe will always start with the sacred
geometry of the bones . The acceleration of gravity is a planetary
constant that yogis, acrobats and all matter on earth exist within.
There are no special rules that allow exception to this deeply rooted,
grounding force. Acrobats and yogis alike position their bodies in ways
that demand strength, increase flexibility or a combination of both .
Their applications and training methods often differ. Using your God
given bone structure is a destination that yoga and acrobatics will
arrive at either by trial and error, or the blessings of good teachers. The
degree to which this principle is embodied will be a contributing factor
towards the degree of ease in postures and the difficulty of skills.
Other
THE ART oF CoMMUNICATION
There are many elements that contribute or detract from the fluidity
of partner work. Communication is the vehicle that brings partners to
a place of common understanding. Words, facial expressions, touch,
breath and even thoughts are all ways to communicate. When honest
communication is being exchanged the connection deepens, and this
foundation is where all partner work grows from .
AHIMSA (COMPASSION) &
SATYA (TRUTH)
Two of the founding principles of Yoga can strengthen the ability to
give and rece ive. Ahimsa translates as compassion or kindness, Satya
translates as truth or non-lying. If one communicates their truth then
their partner can interact compassionately. For example if partners are
stretching each other and the one receiving the stretch is being pushed
too much but does not communicate this truth, their partner cannot
proceed with kindness . The more honest partners can be about where
they are and what they need , the stronger their connection can grow.
COMMUNICATION: LISTENING
& HOW WE EXCHANGE
FEEDBACK
As we take the brave step off our yoga mat and decide to engage
in partnership we have many tools to support us. One of the most
important tools in partnership is listening. If communication is present
without listening, it ceases being communication and becomes noise.
We have many ways to listen - our ears, eyes, skin, feet, hands and
hearts. Communication as well has many vehicles - voice, breath,
touch, hands, face. Communication , when done well, can be clear
honest and kind . In general, when we express our experience of
the practice with our partners we start with what worked. From this
place we are affirming the relationship and the exchange. This helps
us feel good and remain open. After both partners exchange, there is
time for evolutionary feedback. Evolutionary feedback explores how
things could evolve to an even a better exchange. It is not negative
feedback, constructive, or even solutionary. It is for the positive
evolution of the partnership.
THREE TYPES OF
COMMUNICATION
Verbal techniques - This is thetimeto starttheflowofcommunication
between partners . You can never check in too much. Do you need
more or less pressurefweight? How are you doing? How does this
feel? Do you want to re-adjust?
Non-Verbal techniques - Besides communicating with words, also
encourage students to have an awareness of their partners. Breath
(ease, depth, and overall quality of the breath) , Facial Expressions
(relaxed, tense or grimacing) and Body Reactions (from deep release
and surrender to resistance and tension).
Tactile techniques - You may also want to use signals through touch,
such as when partners are being stretched and have a forearm grip:
One squeeze means "that's enough right there". Two squeezes
means "you can go further".
How WE CONNECT: GRIPS &
FOOT PLACEMENTS
One of the principles of acrobatics is how to stack the bones
to optimize our God given structure. This practice is magnified
greatly by how two people learn to connect through grips and foot
placements. There are more bones in the hands and feet than in
the rest of the body so this aspect of the practice is refined over
decades. In general in acrobatics you are looking to find bones to
support and in therapeutics you are look ing more for muscles to
support. The quality of touch from acrobatics to therapeutics can
have differences and commonalities. Universally there is a high
value to bases that are confident and clear in how they connect.
Compassion with strength is an ideal that will let the flyer trust and
surrender. The more sensitive a base becomes in lunar practices ,
the more intelligent their acrobatics becomes . The stronger the base
becomes in acrobatics, the more steady they are in the therapeutics.
4
 Grips

FOREARM CROSSED FOREARM REVERSE HAND TO HAND

HAND TO HAND
HAND TO HAND : STEEP HAND TO HAND : FLAT

-
FOOT TO HAND FOOT TO HAND REVERSE FOOT TO HAND

LIFTED BADDHAKONASANA HAND PLACEMENT

5
 Foot Placements

FOLDED LEAF FRONT BIRD BACK LEAF

Feet turned out below hip bones of flyer Feet parallel, flyer's hip bones in Feet turned out cupping the gluteal
at top of thigh . Flyer's thigh rests in the the soft part of the foot (the arch). fold with the arch of the foot
middle of the foot Toes on the belly, heels on the thigh

BACK BIRD BAT/STRADDLE BAT HIGH FLYING WHALE

Feet parallel cupping the glutes with the Feet parallel or slightly internally rotated, Feet parallel either side of flyer's spine, toes
feet. Toes at the waistband inseam of foot touching flyer's hip bones around waistband and heels at bottom of
shoulder blades

STAR REVERSE STAR

Feet turned out with toes around collar bone Feet parallel with toes towards top of flyer's shoulder
and flyer's shoulders resting into arch offoot. blades. Flyer's shoulders rest into arch offoot
Heels together behind flyer's head
6
 The Art of Partnership

PARTNERSHIP SELECTION
In choosing a partner, it is helpful to pick someone who:
You trust and respect.
Is committed to the process of giving and receiving feedback.
Is interested in working as a team .
Compliments and supplements your strengthsjweaknesses .
You can learn from.
Has similar goalsjvision for the cultivation of your AcroYoga practice.

CULTIVATING THE PARTNERSHIP

In the vein of giving and receiving, the relationship between partners
will grow and bloom as much as it is being watered and nourished .
Basically, you get out what you put in. If you fully commit yourself to
the journey and process of partnership, it can be a time and energy-
consuming project. It is, however, highly fulfilling and can be quite
harmonious if both partners are willing to put the time in together.

PARTNER YoGA
Partner Yoga is one ofthe best places to cultivate win -win situations. Partners
develop communication and listening to find the space of mutual support
and release . In all of these practices , gravity and loving touch help us let
go of fear and pain. As we learn to listen deeply we can use our power in a
sustainable way.

8
 Partner Yoga FACE TO FACE

GROUNDING SPINAL FLEX & RouND INFINITY SPINAL TWIST

Seated face to face, cross Inhale bend elbows, draw heart Exhale extend arms and round spine Left arm behind back, right an ..
legged, knees touching through between arms on the outside of partner's arr
to hold their hand. Bend left a
to deepen twist

SOLE-TO-SOLE FORWARD FOLD DOUBLE BOAT

Connect soles of feet, both partners Bend knees and place feet on the floor, toes touching. Connect at forearms and joining one side
extend legs and fold forward. One partner sole to sole, extend leg as straight as possible. Do both sides extending arms and lifting the heart,
at a time points toes into the other's foot shoulders drawing back

STRADDLE WHIRLPOOL TRANSITION TO STANDING

Stay in straddle with feet connected, connect forearms in a crossed grip. Close eyes, start with small Hold forearms, bend knees and
circles and gradually expand to explore range of motion. Reverse directions and spiral back to stillness place feet on floor. Leaning away
from partner elevator up to stand

CHAIR TWIST COUNTERBALANCE STEEPLE DIAMOND TWIST

Maintain Utkatasana, open left arm up Palms touching, reach arms up and walk From Steeple, exhale and twist open to
and back and lean away from partner. back hinging at hips. Keep arms straight one side, botom palm stays connected as
REPfAT OTHER SIDE and draw heart through shoulders top arm reaches up. REPfATOTHER SIDE
9
 Partner Yoga FACE TO FACE

BouND ANGLE SEE SAw

Lean away with extended arms, One partner's legs are straight, feet connected to the shins of bound angle. Connect forearms, on exhale one
backbend over bent back arm . partner folds forward , the other leans back. Inhale to come up, Exhale to reverse the fold . Backbending partner
REPEAT OTHER SlOE FROM SPINAL TWIST keep heart lifted, shoulder blades down . SwrrcH ROLES AND REPEAT

STRADDLE BOAT STRADDLE BOAT TWIST STRADDLE SIDE BEND

Keep arms connected and feet Hold right arm to right arm on the inside Place legs on the ground in a straddle connecting feet. Hold
off Aoor, bend knees under of legs, reach out with left arm spiral right forearm to right forearm, inhale lift left arm up, exhale
arms, re-extend legs in straddle torso. REPEAT OTHER SlOE sidebend. REPEAT OTHER SlOE

STANDING PLANK COUNTERBALANCE BACKBENDING FOUNTAIN (HAl R (OU NTERBALANCE

Stand 6 inches apart, hold forearms, lean back with Inhale lift the heart, exhale drop head Partners stand about 1 foot apart, hold
a stra ight body and straight arms back. Inhale to come back to center crossed forearm grip, bend knees so
thighs are parallel to the Aoor

TABLE TOP (LOSING

Hands rest on shoulders, arms straight, hinge at hips Stand with left hand on own heart, right hand on
for go degree angle, melting heart between shoulders partner's heart, grounding in breath

10
 Partner Yoga BACK TO BACK

GROUNDING SPINAL TWIST SIDE BEND

Sit back to back, cross legged
with awareness on breath
Connect palms with thumbs pointing up, twist to the right
bending left arm to open chest, keep arms at shoulder
height. Place hands on knees, ground down, find length
in the spine. REPEAT OTHER SIDE
Arm on floor starts straight, then work forearm
to floor. Upper hand can connect to partner. Hips
grounded. Take thumb and index finger oftop hand
around partner's wrist, gently lengthen their arm.
REPEAT OTHER SIDE

MASSAGE TABLE CHILD'S POSE TRACTION DOUBLE CHILD

Giver comes to table top, receiver sets hips below giver's pelvis Giver come to elbows, hold wrists Both partners transition to a
and rests head between shoulder blades of giver. Giver arches and of receiver and tractions arms out foot-to-foot child's pose
rounds the spine like catfcow as receiver stays relaxed and down while pressing tail up and
back. SWITCH RoLES FROM MASSAGE TABLE

MINI BACK PACK FULL BACK PACK

Flyer squats down Base leans forward towards Release interlace of elbows, Base squats down so Base leans forward towards
so hips are below a flat back, keeping elbows traction flyer's arms overhead. hips are below flyer's a flat back, keeping elbows
base ' s hips, elbows and back connected. Keep backs connected to return hips, elbows interlaced connected, taking flyer' s weigl-
interlaced Flyer's feet stay on the floor to standing. SWITCH RoLEs

11
 Partner Yoga BACK TO BACK

CROSS lEGGED SEAT WITH BACKBEND ASSISTED FORWARD BEND WITH BACKBEND

Both partners stay in cross legged easy Receiver extends legs straight, receiver bends knees and places feet flat.
pose, receiver's hands come to floor or on Receiver folds over legs as giver leans back, supporting weight with bent knees ,
knees in forward bend as giver leans back, keeping spines connected. Backbending partner can grab toes of paschi, pas hi
keep spines connected. SWITCH ROLES partner can point toes or clasp wrists to traction giver. SWITCH RoLES

TRANSITION TO STANDING GROUNDING DOUBLE PRASARITA PADOTTANASANA COUNTERBALANCE

Sit back to back with knees bent, feet flat, elbows Stand back to back with Heels a few inches apart between partners, arms
interlaced . Press into partner's back, and through feet awareness on breath between legs holding at forearms , lean hips away
to trans ition to stand ing from each other bringing weight into toes

HERO VARIATION FULL BACK PACK DISMOUNT (LOSING

Base can release interlace of elbows and traction flyer's Base guides flyer's feet Base unhook flyer's feet, holding Standing back to back
arms to side or overhead , while pressing tailbone back into hip crease for hip flyer's hip bones to slowly stand , grounding into feet and
opener, and bends forward keeping backs connected. focus ing on breath
while hold ing hips of flyer SWITCH RoLES FROM FuLL BACK PACK

12
 How to Practice AcroYoga
Community

SITA, RAM, HANUMAN

In Ind ia t here is a beautiful story about three divine creatures; Sita
Ram and Hanuman . Their relationship can serve as a template
for how we interact in AcroYoga . This is a very long beautiful story
made short. Sita got kidnapped , Ram her husband was devastated,
Hanuman came in and saved the day. It was Hanuman 's service
to Ram that connected the partners . Sita represents the feminine,
receptive, lunar, all embodied by the flyer. Ram represents the
mascul ine, power, solar, all embodied by the base. Hanuman
represents service, support, yoga, all embodied by the spotter.

3 IS THE MAGIC NUMBER

SMALLEST COMMUNITY
A group of 3 is the smallest community. The way we encourage
students to practice AcroYoga is in groups of 3: Base, Flyer and
Spotter. As we learn to listen, commun icate, struggle, soften, adjust,
try again, we learn everyth ing we need to work in larger and larger
commun ities. Commun ity is a natural evolution. As we feel secure in
ourselves and secure in our partnerships, we can bring our attention 3 ROLES OF AcROYOGA
higher and higher, expanding to bless more and more people.
BASE - The safety, balance and support of the flyer.
When we come together in circle we all form one organism . In
th is shape you can see everyone and everyone ca n see you . There FLYER - In acrobatics: squeeze and trust. In therapeutics :
is a baseline of equality and interconnection that serves as the breathe and let go.
foundation for the practice. We all take roles: base, flyer, spotter,
SPOTTER - Primary role to support the safety of the flye r,
teacher, student, intermediate, advanced , wh ite, black, Asian ...
secondary role to support good alignment of the base.
When we are in circle none of these labels carry the same weight,
we have the potential to loose our individuality for these brief
moments and feel the support of a greater identity. These practices
and philosoph ies can bui ld a model for how we see and interact with
the world at large. Th is connection is the mission of AcroYoga, and
it is the nature of humanity to live, work and play together to build a
healthy supportive global community.

14
 Three Roles of AcroYoga
Spotting: In all spotting the spine is straight, the hands are soft and there is
a constant awareness of where the flyer may move and where the
spotter might be at risk.

THE GLUE TO THE PRACTICE,

STANCES:
THE MOST IMPORTANT ROLE Warrion spotting stance: Good for supporting a flyer in one direction,
FOR BUILDING COMMUNITY far from the spotter, then transitioning closer to the spotter, the front
leg bent is the power leg, back leg straight is the anchoring leg.
Spotting is the most important role in the practice; it can either
promote advancement or limit growth of a community. As a spotter Goddess spotting stance: Feet wide, knees bent and over the feet,
you are giving your full attention and energy towards the safety and spine straight. This is good for many different angles of support, not
well being of the person attempting the skill. It is an art best learned as strong as the warrior but much more versatile.
by doing. This book will give you ideas but you have to apply them
many, many times to gain the wisdom of how to spot well. The safest Duck squat spotting stance: Feet hips width or a bit wider, knees

way to start is to practice with a partner who can already do the skill knocked in to support the back or shoulders of the flyer. This is

safely without a spot. Practice with them to get feedback about your specific for some inversion work and Thai massage techniques.
touch and technique. Skilled spotters help communities flourish.
LEVELS OF SPOTTING:
The spotter is the glue between the base and flyer. The spotter's
Heavy hands on: Great for beginners that have fear, builds trust and
outside eye can see things neither the base or flyer can see. They can
confidence.
serve as an interpreter between the acrobats and offer suggestions
to aid the stability of the skill. The spotter is there to increase the Light hands on : Hands are in the same position but with less force,
potential of a successful skill attempt. this allows for the flyer to feel more of what they are doing.

Spotting is a form of love, you can have too much or not enough. Hot potato: Hands on lightly, then let the flyer go unassisted, then
We aim to give the right amount of lovefsupport to help our partner go back to supported. This gives the flyer freedom to eventually not
find their own center. Over spotting is like smothering someone need support at all.
with love, they cannot receive it and can resist the support. On the
other side if there is not enough love/support the partner can feel Safety spot: This is when the spotter is in places but does not touch
scared and not trust. Ideally the perfect amount of love and freedom the flyer unless they start to fall.
is reached, as a spotter you are always looking to do the minimum
to maximize the skill and confidence of the flyer. SPOTTER V1 RTU ES:
Before attempting a new skill there must be two conditions: One pointed focus. Good pos ition . Stability. Strength. Confidence.
Speed. Sensitivity. Dedication. Devotion.
1. No doubt that you can spot the flyer. No doubt that the person
is ready to attempt the skill.
SPOTTER PITFALLS:
2. If there is any doubt, do not attempt the skill without an
- Not fully present - Not hands on enough
additional spotter. Or do another skill that is easier, and a
- Eyes focused in the wrong place -Too far from flyer
stepping stone towards that skill.
-Too hands on - Too close to flyer

THREE BASIC LEVELS OF RISK:

TECHNIQUES & PRINCIPLES:
Low risk : Therapeutic flying, foundational acrobatics and flying.
Keep your eye on the ball. If your eyes stay on your partner the whole
Medium risk : Acrobatic and therapeutic flying transitions, standing time their confidence in you grows and your effectiveness increases.
counterbalances.
Find the place that you are most effective spotting. On your knees,
High risk: Two-high acrobatics, popping, acrobatics with momentum. wide stance, on the side, front, or back of your partner. You have to
be stable to support.

15

Stay out of harms way. If you get a foot to the head you cannot spot
anyth ing! When all else fails go for the center of gravity (the hips) .
There can be too much of a good th ing. Light spotting will give the
student enough sensation to understand how to do it on their own.
The base is the pillar on which everything rests . The more stable
the base is, the more fun can be had above. The base is ultimately
respons ible for the flyer's safety, no matter what. The buck stops with
the base, they are the primary spotter and responsible for the flyer's
safety. It takes much longer to learn to become a stable base but once it
is atta ined a base can offer the gift ofinviting flyers to trust and be free .
Basing:
BASE VIRTUES:
Sensitivity: The ability to listen first and know what will be the most
supportive way to interact with their flyer, is the most powerful tool
of a base.
Strength: Starts in the mind and flows through the body.
Stability: Us ing technique and bones to support weight.
Confidence: Flyers will feel this in the quality of touch and tone of
voice.
Safe: Understands own limitations and that of their flyer and spotter.
Calm: Able to react but not overreact. Even , level-headed in their
communication and how they move.
Trustworthy: As the flyer trusts more and more the base respects
this trust by keeping the flyers safety above all other pursuits .
Grounded: Literally and energetically receiving support from the
earth and translating that grounded quality up to the flyer.
Patient: Power is only useful to a base if it is used at the right time,
waiting fo r that time is the mark of an experienced base.
Powerful: When the flyer needs support the base has the clarity,
confidence and power to lift the flyer, there is an element of speed
here.
BASE PITFALLS:
- Lack of commun ication - Holding breath
- Lack of compass ion - Using muscle vs. alignment
-Unclear commun ication - Bent arms and legs
- Abrupt movements - Over correcting
- Dropping partners due to lack of progressions or spotters
Three Roles of AcroYoga
Flying:
The flyer is the one that takes the risks and trusts their base completely.
The combination of strength and flexibility in synchronicity is the
dance of the flyer. Over time the flyer must embody a wide range of
physical states , ranging from highly passive in therapeutic flying to
highly engaged in partner acrobatics. As these elements come more
into balance for the flyer, the more poss ibilities there are for artistic
expression .
FLYER V1 RTU ES:
Unified "One Piece": The ability for the whole body of the flyer to act
as one unified piece, huge muscular energy from out to in .
Trust: The ability to surrender to the base and spotter to know that
they will do their job and keep the flyer safe.
Flexibility: The more range of motion the flyer has the more
expressive they can be and the more easeful many acrobatic flying
trans itions will be.
Bravery: Self-trust that allows for more dynamic acrobatics.
High strength to weight ratio (i.e. "press handstands "): Flyers don 't
have to be super strong, they are better off if they are strong in
relation to their weight, not weightlifter heavy muscles, strong light
acrobatically smart muscles .
Fluid and controlled transitions: The way flyers move will either
support or challenge the relationship with the base. In general flu id
and controlled styles of movement are easier to harmonize with.
Grace in motion and in static positions: The best flyers always have
a quality of grace in their movement. All the elements earlier stated
will lead to grace.
FLYER PITFALLS:
- Trying to control the balance - Fear
- Adjusting positions abruptly - Not trusting
- Holding breath - Inflexibility
- Bending or loosen ing body
16
 Three Person Partner Yoga

TRIO TREE FOREARM GRIP HEART OPENER

Connect palms and raise arms to the sky, Transition to standing. Take a forearm Keep forearm gri p lift right leg and extend
place foot into tree pose. Connect gaze grip on either side, extend arms over partner's leg. Hook toes around partner's
and breath. REPEAT BOTH SIDES waist. Sh ift grip to hands and open heart

DANCER ' S POSE PRASARITA PADDOTANASANA

Connect left palm with partner' s in center, unhook right leg and Turn to face away from partners, separate feet and connect
catch w ith right hand . Kick foot back into hand to open the chest. heels. Fold forwards , reach ing through legs t o connect in a
REPEAT FROM H EART O PENER ON LEFT LEG cross forearm grip. Lean hips away from each other

STRADDLE PILLOW ElEVATOR UP

Sit in a comfortable straddle, raise left arm overhead , lean to the right and lay back over Connect shoulders , hook elbows and bend
partner's th igh . REPEAT OTHER SIDE knees with feet Aat. Press back i nto partner's
and press through feet to stand

17
 Three Person Partner Yoga

HALF BOUND TWIST FORWARD FOLD SIDE BEND

Keep right leg in place, bring left hand into a Return to center, keep right leg in place. Thread right hand towards the left, find
half bind behind back and reach right hand Bring hands to partner's shoulders and partner's foot. Rotate torso open and reach left
to connect with partner on your left. Turn begin to fold in towards the center arm over left ear, connect to partner's shoulder
gaze over left shoulder

ELEVATOR TO THE GROUND

Coming back to standing, hook elbows with partner's and Bend the knees maintaing contact through shoulders and
press shoulders into one another lower to the earth

HIGH FIVE! NEVER GONNA GET DIS!

18
 Why do AcroYoga

Mission
"WE B U I L D C 0 M M U N I TY T H R0 U G H D IV I N E PLAY."

Community is the medium where the practice of AcroYoga lives. With this practice we can bring the world
t ogether th rough play. From play we create a worldwide network of friends and family we have many t hings
in common with .

By doing AcroYoga you stand to enjoy these benefits: Build strength, flexibility, confidence, coordination,
community & friendships. Become more balanced, open, kind , present, connected & healthy.

Through practicing AcroYoga you may find yourself: Experiencing more joy; practicing compassionate
communication skills; cultivating kindness; taking more risks in your daily life; making new friends ; building
community; feeling centered; expanding the full spectrum of your being; enjoying life as play; releas ing fear;
embracing the unknown; surpassing t he limitations of the mind; communing with the divine.

PHOTO CREDIT: WAR I O M WWW.WARI.CAT

20
 Circle Ceremony

GROUNDING IN SELF HEART SANDWICH KNEE CONNECTION

Sit in a circle touching knee to knee. Grounded in Place left hand on front of own heart and right Rest hands on the knees of the person to either
the breath bring hands to heart center hand on back of neighbor's heart side

MASSAGE SHOULDERS SliDE BEND

Exhale rest ams on shoulders to either side. Inhale lengthen at center, exhale to side bend Inhale lengthen at center, exhale to side bend
Massage partner's shoulders to the right to the left

FORWARD BEND (PASCHIMOTTANASANA) TABLE TOP- LEFT AND RIGHT

Inhale at center, exhale fold forwards over legs Place hands behind hips and feet flat on the Lift one leg up, keeping hips lifted
and find someone else's toes floor, lift hips and extend crown

WARRIOR 3 SUPPORTED BACKBEND

Shift arms to neighbor's back, lift chest to open Keep hands on backs, extend leg back and Stand hip to hip, support with hands at low
heart using support of partner's hands reach crown forward back, lift chest to the sky
REPAT OTHER LEG FROM STANDING FOREST
21
 Circle Ceremony

SPINAL FLEX & ROUND ARM EXTENSION

Inhale to arch the spine Exhale to round the spine Connect palm to palm, inhale extend arms to
the sky

FORWARD FoLD HEART OPENING TRANSITION

Inhale lengthen at center, exhale fold forward Inhale lengthen at center, exhale lean into Connect palm to palm, raise arms, extend
support of partner's hands to lift chest legs straight and walk hips and legs forward

TRANSITION TO STANDING STANDING FOREST

Drop leg over to the side to rest on your partner. Connect palm to palm, place feet flat on the Staying connected palm to palm place one foot
Lift hips more to support your partner's . floor, press through feet and hands to stand to inner thigh for Tree Pose
REPEAT OTHER SIDE

GROUP SIT (UTKATASANA)

Stand close in circle, hands to shoulders, sit Turn head to face center, lean forwards with Lean back, angle body in towards center of circle
down angling hips for thighs of person behind arms relaxed
22
G
lJ
HEALING
ARTS
)
)
J
J

'
 Lunar Healing Arts Practices

SENSITIVITY BEFORE STRENGTH

All true strength has an element of softness and all true softness has an element of strength . As
we invest time to soften before channeling our strength, that strength is guided by the precision
that can only be achieved by subtle, fine, lunar awareness. In the physical practice it means to
bend slowly and listen to where your partners weight really is, then add power. Healing arts also
start softly, listening with our hands, eyes and heart as we make passes on the body to investigate
before we add a lot of body weight or pressure. This is why we introduce the lunar aspects of
the practice first. This philosophy also translates to many other aspects inside and outside the
practice. The ability to be patient, receptive and soft will give the practitioner the information they
need to be skillful with their power.

LUNAR HEALING ARTS PRACTICE

The Lunar Therapeutic Practice supports healing, relaxation and letting go. Practitioners cultivate
deep listening, loving touch and the ability to give and receive. This branch is much more subtle,
patient and slow. It is based on understanding the flow of energy in the body, where it may be
blocked, and how to use breath, gravity, body weight, emotions, thoughts, prayers and vibration
to free up these blockages.

The Lunar elements include: the lunar a sana sequence, partner yoga massage, therapeutic flying,
singing & meditation.

LuNAR AsANA SEQUENCE

The lunar asana sequence helps students understand how to listen, move energy in their own
body and use their bodyweight in a comfortable, efficient way. Chi/energy cultivation stances,
asana, massage body positions and self-massage are the ingredients that fine-tune the lunar
aspects before students work with each other. Partner Yoga is a gentle way to get practitioners
working together, sharing touch, bodyweight and communication. The massage sequences give
students the opportunity to refine touch and learn the parts of the body they will be in contact
with when they fly their receivers. Giving and receiving can be equally healing. Therefore, both are
practiced. Therapeutic flying is the deepest expression of the lunar arts. Flying allows the receiver
to release and surrender to gravity while being nurtured and supported by the giver.

26
 Lunar Asana Sequence

CENTERING CHI BALL CHI GENERATION C1 RCU LATE ENERGY SELF HEALING

Right hand to heart, Step feet hips width. Bend knee, lengthen tailbone. Place hands to
left hand to belly, Rub palms together, Raise arms in circle, palms face anywhere that you
3 breaths separate hands to towards body need healing
feel energy

FORWARD FOLD & LIFT CRESCENT LUNGE CHI GENERATION PRAYER HANDS

Inhale sweep arms up, Exhale fold , Inhale flat back, Step right leg back Arms in line with Inhale hands to
Exhale fold. Pulse 3 times between flat back & fold coming into high lunge shoulders imagining prayer posit ion
holding a ball, 3 breaths

PRASARITA PADOTANASANA CRESCENT LUNGE CH I GENERATION PRAYER HANDS

Inhale extend legs and interlace fingers, Turn over right leg into Arms in line with Inhale hands to prayer position
Exhale fold forwards, 3 breaths high lunge shoulders imagining
holding a ball, 3 breaths

TABLE TOP PALM PRESSING WRIST STRETCH KNEEL DIAMOND SELF MASSAGE

Lean weight left and right with Palm walk to stretch wrists: turn Take knees wide with Alternately palm press thighs
hips, palming with breath: hands out, to back and lean back for toes together and with straight arms
Inhale to shift weight, exhale to wrist stretch, then hands palm walk tucked under, sit on
pour weight through hands all the way around to front again heels

27
 Lunar Asana Sequence

SELF BLESSING - STAN Dl NG BODY SCAN WALKING MEDITATION

Scoop energy in palms, bathe the head, shoulders, arms, Inhale sweep arms up, Exhale fold Step one foot forwards and shift weight from
then draw to low back, down the backs of legs, tops of feet, from wrists and allow hands to heel to toe by bending knee. Repeat out to
up the front of legs, to the belly and then release energy. scan down body. Repeat 3 times the side at 45 and 90 degrees retrace same
Repeat 3 times steps to center. REPEAT OTHER FOOT

LUNGE PULSE HEART OPENING GODDESS WITH BODY SCAN FOLDED LEAF TRACTION

Exhale bend back Inhale extend back Open arms to cactus, Inhale sweep arms up, Exhale Exhale place heels of hands
knee leg. Pulse 3 times lift heart fold at wrists, hands scan down in hip crease, extend arms
the body. Repeat 3 times to traction spine

LUNGE PULSE HEART OPENING DowN Doc CAT/Cow

Exhale bend back Inhale extend back Open arms to cactus, Step back to Down Dog, 3 Inhale arch, exhale round ,
knee leg. Pulse 3 times lift heart breaths Pulse 3 times

DowN Doc LOW LUNGE WITH PALMING MONKEY LUNGE

Press back to Down Dog, Step left leg into low lunge. Inhale Draw back leg underneath Use hands Other side.
3 breaths place hands, exhale pour weight, pelvis and sit with buttock to transition Hands in prayer
(palm walk out 90 degrees) on heel , toes tucked under. 3 breaths
Hands in prayer 3 breaths

28
 Lunar Asana Sequence

DOWN Do c Low LUNGE W ITH PALMING MONKEY LUNGE

Press back t o Down Dog, 3 Step right leg into low lunge. Draw back leg under and Use hands Other side.
breaths Inhale place hands, exhale pour sit with buttock on heel, to transition Hands in prayer
weight. Palm walk out go degrees to toes tucked under. Hands in 3 breaths
the right prayer 3 breaths

RUNNERS LUNGE RusSIAN DANCE TWISTED LUNGE TWISTED THIGH STRETCH

Extend fron t leg flex toes and Place hands to earth , com ing onto Turn over right leg, keep left hand Place back knee down , take right
fold forward , 3 breaths knees to switch sides. Practice on the earth , lift right arm to twist arm to left foot to draw heel in
changing sides several times open , 3 breaths and rotate chest open , 3 breat hs

FOREARM STRETCH WRIST CIRCLES TORSO C1 RCLES

Hands in prayer, inhale at center, Keeping wrists connected circle Inhale interlace Circle torso 3 times in each directions
exhale ta ke hands off to one side wrists 3 times towards the body and fingers & stretch
and turn head in opposite d irection. 3 times away from the body palms up
REPEAT TO OTHER SIDE

THAI CHOPS 3 BRUSHES SELF BLESSING - SEATED

Hands in prayer fl ick from Brush energy off leg Bathe energy over head and neck
wrists to chop with pinkie REPEAT FROM S ELF M ASSAGE FOOT
edge of hand on lowe r leg OTHER SIDE

29
 Lunar Asana Sequence

DOWN DOG TWISTED LUNGE TWISTED THIGH STRETCH LIZARD LUNGE

Press back to Down Dog, 3 breaths Step left leg forwards , keep Place back knee down , take Place hands or forearms to
right hand on the earth, lift left arm to right foot to draw earth inside front foot, back
left arm to twist open , 3 heel in and rotate chest open, toes tucked under, 3 breaths
breaths 3 breaths

LIZARD LUNGE RUNNERS LUNGE DOWN DOG HEEL PULSE SIT ON TOES

Place hands or forearms to Extend front leg flexing toes Inhale rise onto toes , exhale root From Down Dog pulse lift onto
earth inside front foot, back and fold forward, 3 breaths heels to earth , pulse 3 times toes, place knees down and sit on
toes tucked under, 3 breaths heels keeping toes tucked under

BACKBEND TOE STRETCH SELF MASSAGE FOOT SELF MASSAGE CALF

Inhale at center, U ntuck toes, sit back and Self massage, palming Thumb or palm up
exhale arch to open stretch tops of feet lifting or thumbing on foot with and down lower leg
heart and shoulders one knee at a time mothering hand on knee

CLOSING

Sweep across the Draw energy to Brush energy Release off the toes Seated meditation
shoulders and low back/kidneys down the legs
down arms

30
 Thai Massage &Therapeutic Flying
massage. Keeping your body aligned with ease as much as possible
HEALING ARTS will allow for more circulation of blood and energy throughout the
This is the nectar of AcroYoga . These elements have the power to body. As you work with your own body's alignment and posture, be
create huge transformation and healing. It is an exchange between patient. It may take time for our bodies to adapt to Thai massage
two practitioners, a dance between giver and receiver. The Thai stances.
sequences designed in this manual are in service of students learning
techniques that will support them becoming skillful bases. The BODY COMFORTABLE:
base grounds the flyer and creates the potential for release of pain,
Keep a long spine. Use your legs as much as possible during any
tension, and muscular holding patterns. The flyer is responsible for
lifting maneuver. Stack the bones, especially keeping arms straight
breathing deep, relaxing their muscles and communicating what is
(when possible) to prevent over-use of the muscles . Push off the
working and what can work better. The base uses their body with the
back foot or knee to shift your body weight forward when pouring
support of gravity to sculpt the flyer into many shapes that stretch
your weight. Keep your hands soft and use your whole palm to
and open the flyer's upper body. As the flyer trusts the base, the
distribute the weight evenly. Allow your hands to mold around body
opening of the emotional body aids the opening of the physical
contours.
body. The passive nature of the flyer allows for gravity to re-balance
their body. After 3-15min depending on the bases skill set, the flyer
comes down and gives Thai massage to the legs and lower body of TooLs:
the base. Supporting the flyer warms the base's legs . This warmth Audible breath - synchronized, guided, or expressed exhale with
creates an ideal environment for the base to receive massage. After movement and stretching.
an equal exchange of Thai and Fly, they switch roles of flyer and
Check in with facef bodyfbreath of receiver.
base. When the exchange is done both have given and received a
full body treatment. When both Thai and Fly are exchanged the two Slow gradual movements - pour weight on exhale.
practitioners leave feeling healthier, happier and more balanced .
Very few people will leave their first flight without a smile or giggle. It Stacking bones - no extra, using own body weight vs. muscle
makes people happy; every one likes that! strength.

Efficient alignment - "arms straight- back straight".

Techni ques for Giving Embodying nature's rhythm & movements by keeping a
constant movement or rocking in your body and the breath
Thai Massage : flowing.

BO DY MECHANICS :
Using Your Weight: The beauty, grace and effectiveness of Thai
massage is based in the ability of the masseur to use their whole
body. The hands and feet apply pressure, but the energy comes from
using one's whole body weight through the strength and openness
of the core. A visualization of 'pouring one's weight' through the
bones into the recipient also makes for a smooth distribution of
energy, as well as effectiveness and ease for the practitioner.

EN JOY Y ouRSELF:
It is always important to protect one's back when giving Thai
massage. Finding comfort and ease in your positioning will translate
to your cl ient as well , and vice versa. If you are straining or working
too hard, your partner will sense it, even on a subconscious level.
Using proper stances will also help facilitate ease in giving a

32
 Supine Thai Massage LEVEL 1

CENTERING FIRST CONTACT TRACTION & EXTERNAL ROTATION

3 breaths to center and ground Rub hands together generating heat. Lightly Lift feet, gently traction, place the feet on the ground
place hands on receiver's feet turning toes out to provide external rotation, lightly
press down to ground

ALTERNATE PALM I NG GROUND THIGHS FOREARM BODY ROCKS

Alternately palm the thighs with Scoop the thighs with fingers on outer line of leg and Sit hips back towards heels, place forearms
hands turned out (up, down, up) lift towards midline, on exhale ground the thighs with alongside receiver's outer thigh , rock body
double palm pressing offering synchronised pressure side to side working the rock to the feet
through both hands . Work from knee up to hip

ALTERNATE PALM SHOULDERS GROUND SHOULDERS

Palm the shoulders, shifting weight Inhale set hands at chest-shoulder junction Exhale double palm press, lean weight forward intr
side to side. Find the perfect fit of nest the heel of hand beneath collar bone, both hands, stack shoulders over wrists 3 times
heel of hand beneath collar bone lean weight back into monkey lunge (Limo BADDHAKONASANA HAND PLACEMENT)

WALKING MEDITATION BLOOD STOP

Keep heel on the ground, begin Step off and bend Keep heel connected Place foot below hip bone at hip crease with toes
stepping up inner foot and calf receiver's leg into half to the earth begin turned out, sink weight straight down . Hold for 5
(up, down, up) . Allow foot to happy baby to create stepping up inner thigh breaths then release slowly
sink into muscle, avoiding bone space to work thigh (up, down , up) (FOLDED lEAF FooT PLACEMENT)

33
 Supine Thai Massage LEVEL 1

PALM FEET THUMB FEET ALTERNATE PALMING KNEE C1 RCLES

Palm the feet alternately side to Thumb the feet alternately side Palm the calves shifting weight Place fingertips around the
side, shift weight on inhale, pour to side, shift weight on inhale, side to side, hands turned towards kneecap and circle the knees both
weight on exhale pour weight on exhale receiver's midline to stay on muscle inwards and outwards 3 times
and stay off bone (up, down, up)

TRANSITION : LIFT LEGS SACRAL FLOAT PREP SACRAL FLOAT SHOULDER SHIMMY

Lift from heels, press legs Come into lunge to one side, Cross receiver's toes, press down on tops of feet Sit back into monkey lunge
up over receiver's body drape receiver's legs over thigh to lift the hips. Move from hips, rock to shift hips take receiver's wrists, shimmy
ensuring backs of knees are and release low back. Use free hand to help rock. shoulders by lengthening arms
snug and supported If needed come up onto toes to lift hips from side to side

BRUSH DowN ARMS BULL F IGHTER (TORERO) SPINAL ROCKS

Simultaneously sweep energy off the Transition to standing holding receiver's heels. Come into low squat with forearms
arms and hands Step one foot forward, lean forward , turn their on thighs, rock forward and backward,
toes towards each other. Exhale lean weight back watch rock translate through spine
pressing buttocks onto tops offeet x 3 and head of receiver

ROCKING SPINAL TWIST TRANSITION: LOWER LEG 3 BRUSHES CLOSING

Step across to outside of Step back to center, either place receiver's foot Brush energy from hips Both giver and receiver honor
receiver's leg, step one foot on the ground or practice catching their heel with off the toes each other and the exchange
forward, rock receiver towards the top of your foot and release to the ground
you to release low back REPEAT FROM WALKING MEDITATION ON OTHER LEG

34
 Supine Thai Massage LEVEL 2

CENTERING FIRST CONTACT TRACTION & EXTERNAL ROTATION

3 breaths to center and ground Rub hands together generating heat. Lightly place Lift feet, gently traction towards you, place the feet on
hands on receiver's feet the ground, turn toes out to provide external rotation,
lightly press down to ground

ALTERNATE PALMING INTERNALLY ROTATE AND GROUND THIGH

Alternately palm the thighs with hands turned out In lunge place one hand on outer thigh and one hand on inner thigh. Hug the muscles
(up, down , up) onto the bone, lift and rotate the leg inwards, check that the toes sprial internally.
Ground the thigh with both hands

SACRAL FLOAT ROOT & GROUND SHOULDER BLADE

Cross receiver's toes, press down on tops offeet Reach for receiver's opposite hand, Lean back into monkey lunge to lift their shoulder
to lift the hips . Move from hips, rock to shift hips take a butterfly grip blade off the ground, cup scapula with free hand,
and release low back. Use free hand to help rock. replace arm to the earth
If needed come up onto toes to lift hips

ALTERNATELY PALM SHOULDERS GROUND SHOULDERS

Palm the shoulders, shift weight side Inhale set hands at chest-shoulder junction, Exhale double palm press, lean weight forward into
to side. Find the perfect fit of heel of nest the heel of hand beneath collar bone, both hands, stack shoulders over wrists 3 times
hand beneath collarbone lean weight back into monkey lunge (Limo BADDHAKONASANA HAND PLACEMENT}

35
 Supine Thai Massage LEVEL 2

PALM FEET THUMB FEET ALTERNATE PALMING KNEE C1 RCLES

Palm the feet alternately side Thumb the feet alternately side to Palm the calves, shift weight side Place fingertips around the
to side, shift weight on inhale, side, shift weight on inhale, pour to side with hands turned towards knee cap, circle the knees both
pour weight on exhale weight on exhale receiver's midline, stay on muscle inwards and outwards x 3
and stay off bone (up, down, up)

FOREARM BODY ROCKS TRANSITION: Ll FT LEGS SACRAL FLOAT PREP

Sit hips back towards heels, place forearms Lift from heels, press legs up over Come into lunge to one side, drape
alongside receiver's outer thigh, rock body side receiver's body receiver's legs over thigh, ensure backs of
to side working the rock to the feet knees are snug and supported

PALM FOREARM AND HAND TRAPEZ I US TRACTION

Place hand at chest-shoulder junction , on Palm tile forearm, keep a mothering hand at the chest- Cup fingertips over the top of the
exhale draw scapula down the back, pour shoulder junction, continue to palm down to the hand. shoulders , exhale sit back into onkey
weight through top hand to ground shoulder REPEAT FROM SHOULDER LOOP ON OTHER SIDE lunge to release the trapezius keep
receiver's head relaxed

BRUSH DOWN ARMS BUTTERFLY RoCKS

Simultaneously sweep energy off the Transition to seated by pressing receiver's knees in towards their chest, take a wide
arms and hands butterfly with legs with giver's feet resting on pinkie edge by receiver's hips. Find perfect
fit of receiver's feet resting into giver's hip crease and hug receiver's knees together. Rock
receiver's knees side to side, work feet underneath the glutes, continue to rock side to side

36

TRANSITION : TO STANDING
Press receiver's knees in towards their chest
and shift from seated to standing keeping
their weight over their body
DEEPER VARIATION
Lift heel off the earth and step on
inner thigh or towards top of thigh
(up, down, up)
THAI LUNGE STRETCH
Place receiver's foot in own hip crease and
find see-saw palming on hamstring and thigh .
As weight pours into one hand, allow other
hand to lift and receiver's pelvis to rock
37
Supine Thai Massage LEVEL 2
Bus DRIVER BULL FIGHTER (TORERO)
Hold receiver's heels, allow knees Transition to standing holding receiver's heels. Step
to softly bend towards happy baby. one foot forward, lean toward receiver and turn their
Arms straight, sway side to side toes towards each other. Exhale shift weight pressing
buttocks onto tops of feet 3 times
BLOOD STOP ROCKING SPINAL TWIST
Place foot below hip bone at hip crease with Step across to outside of
toes turned out and sink weight straight down. receiver's leg, stepping one foot
Hold for 5 breaths then release slowly forward rock receiver towards you
(FOLDED l...eAF FOOT PLACEMENT) to release low back
PEDAL BOAT KNEE TRACTION
Transition to seated allowing receiver's leg Align receiver's knee over their hip,
to rest out to the side, knee in line with hip. place foot on thigh below knee and cup
Place outer foot inside their knee and hook their foot with hands. Press into foot
toes around own shin. Use other foot to first, then traction back with arms
walk on hamstring
 Supine Thai Massage LEVEL 2

SPINAL ROCKS WALKING MEDITATION

Coming into low squat with forearms Keep heel on the ground, step up Step off and bend Keep heel connected to
on thighs, rock forward and backward inner foot and calf (up, down , up) . receiver's leg into half the earth, step up inner
watching rock translate through spine Allow foot to sink into muscle, happy baby to create thigh (up, down , up)
and head of receiver avoiding bone space to work thigh

TRANSITION : LOWER LEG HlP CIRCLES

Stepping back to center, either place receiver's foot on the In lunge support receiver's heel and knee, circle their hip 3 times
ground or practice catching their heel with the top of your in each direction using own center to generate movement
foot and release to the ground
REPEAT FROM WALKING MEDITATION ON OTHER LEG

WHOLE LEG TRACTION 3 BRUSHES CLOSING

Lengthen receiver's leg and traction . Brush energy from hips off the toes Both giver and receiver honoring
REPEAT FROM HIP CiRCLES OTHER LEG each other and the exchange

38
 Adjusting Foot Placement: Base, Flyer, Spotter

SPOTTER ADJUSTMENT

SPOTTER: Stand to one side of flyer's legs, loop arm around thigh and lift while using other hand to
reposition base's foot

BASE ADJUSTMENT FLYER ADJUSTMENT

BASE: Take reverse hand to hand grip press up through BASE: Hold flyer's shoulders and press up
arms, reposition foot placement one at a time FLYER:Hold base's ankles , lift one leg at a time and
F LYER: Press through hands, lift one leg at a time use hands to reposition foot placement

40
 Forward Flying LEVEL 1

FUNKY Doc MOUNT LIFTED BADDHAKONASANA FOLDED LEAF

FLYER: Place hands by base's ears, step BASE: Straighten arms and legs, stack bones FLYER: Legs separate into a piked straddle, arms
feet close to base ' s hips FLYER: Soles of feet together, knees wide, relax, backs of hands on floor by base's hips
BASE: Place hands on flyer's shoulders, arms behind back hold opposite elbow BASE: Release flyer' s chest towards legs, hands to
place feet turned out on flyer' s upper thigh back, legs at go degrees

TRANSITION : HANDS TO ELBOWS REVERSE NAMASKAR

FLYER: Ma inta i n straight arms FLYER: Soles offeet together, knees w ide, bend
BASE: Walk one hand at a time above flyer' s elbows, straight arms elbows and take hands to base of neck
BASE: Arms and legs straight, draw flyer' s
elbows together

41
 Forward Flying LEVEL 1

TRANSITION: HANDS TO WRISTS SUPER YOGI

BASE: Take space between thumb and index FLYER: Interlace fingers, keep legs piked, BASE: Exhale press legs away and pull wrists
finger to Ayer's wrists and sweep arms exhale on traction with arms to traction. Inhale legs to go
overhead BAS E: Hold wrists, bend elbows and keep degrees, exhale repeat
arms close together

FOLDED LEAF HAND TO HAND DISMOUNT

FLYER: Legs separate into piked straddle, FLYER: Bend elbows to take BASE: Straighten arms, bend knees
release hands base's hands F LYER: Straighten arms, bring feet to the ground
BASE: Bend elbows to bring Ayer's chest BASE: Take Ayer's hands
towards legs, place hands on flyer's back

42

HAND TO HAND MOUNT
FLYER: Step feet close to base's hips,
take reverse hand to hand grip,
BASE: Place feet turned out on
flyer's upper thigh , take reverse
hand to hand grip, bend elbows and
straighten legs
FOLDED LEAF
FLYER: Legs separate into piked straddle,
release hands
BASE: Bend elbows to bring flyer's chest
towards legs, place hands on flyer's back
TRANSITION : WALNUT
BASE: Bend knees and press flyer's head all
the way through then extend legs
FLYER: Bring soles offeet together, knees
wide, reach around base's legs to catch ankles
43
Forward Flying LEVEL 2
FOLDED LEAF HARMONICS
FLYER: Legs separate into a piked BASE: Hands on flyer's shoulder blades, gently rock side
straddle, arms relax, backs of hands on to side to release spine
floor by base's hips
BASE: Release flyer's chest towards
legs , hands to back, legs at go degrees
SUPER YOGI
FLYER: Interlace fingers, keep legs piked, BASE: Exhale press legs away and pull wrists
exhale during traction with arms to traction. Inhale legs to go
BASE: Hold wrists , take arms overhead , degrees , exhale repeat
bend elbows and keep arms close together
WALNUT
FLYER: Point toes towards the ceiling, allow arms to straighten and head relax
BASE: Place palms, thumbs or pinkie edge of hand either side of flyer's spine
and rock the legs forward and backward to shift the weight into hands
 Forward Flying LEVEL 2

TRANSITION : LIFTED BADDHA PREP ll FTED BADDHAKONASANA HIPPY TWIST (LEVEL 1)

FLYER: Bring hands behind back, take
opposite hand to opposite elbow
BASE: Take fingertips to top of flyer's
shoulders
FLYER: Bring soles offeet
together, knees wide
BASE: Straighten arms, hands at
chest-shoulder junction, stack
bones in arms and legs
FLYER: Keep toes anchored towards the ground ,
relax head and neck
BASE: Keep arms straight, exhale bend one knee.
Inhale both legs straight, exhale other knee bends

REVERSE NAMASKAR REVERSE NAMASKAR SIDEBEND FOLDED LEAF

BASE: Walk hands to flyer's elbows, straighten
arms and draw flyer's elbows together
FLYER: Bring soles offeet together, knees
wide, bend elbows and take hands to base of
neck
BASE: Exhale take hands off to one side, turn pelvis FLYER: Legs separate into piked
so that legs accentuate flyer's side body lengthening. straddle, release hands
Inhale return to center, exhale repeat other side BASE: Place hands on flyer' s back

HAND TO HAND DISMOUNT

BASE: Straighten arms, bend knees
FLYER: Bend elbows to offer hands
FLYER: Straighten arms, bring feet to the ground
BASE: Take flyer's hands, bend knees to release head

44
 Forward Flying LEVEL 3

HAND TO HAND MOUNT FOLDED LEAF LEAF HUGGER

FLYER: Step feet close to base ' s hips, take
reverse hand to hand grip
BASE: Place feet in flyer' s hips crease, take
reverse hand t o hand grip, bend elbows
and stra ighten legs
FLYER: Legs separate into a piked
straddle, arms relax, backs of hands on
floor by base' s hips
BASE: Release flyer's chest towards legs,
hands to back, legs at 90 degrees
BASE: Thread hands underneath flyer's arms and place on
shoulder blades. Exhale bend knees and press feet away,
lengthen spine by drawing hands away from feet. Inhale
return to straight legs at 90 degrees, exhale repeat
FLYER: Exhale on traction

SUPER YOGI VARIATION HALF MOON FOLDED LEAF WITH SCARECROW

BASE: Bring flyer' s hands overhead
FLYER: Interlace hands behind base ' s head
BASE: Exhale press legs away to traction spine,
hold flyer' s forearms for support. Inhale legs
return to 90 degrees, exhale repeat
FLYER: Keep legs in piked straddle, arms extended
with fingers interlaced
BASE: Keep arms straight, exhale take hands off
the m idline to one side, turn pelvis so that legs
accentuate flyer' s side body lengthening. Inhale
return to center, exhale repeat other side
FLYER: Allow arms to bend , keep torso
relaxed
BASE: Take space between thumb and index
finger to flyer' s elbows, turn hands out so
can see own thumbs

TRANSITION : YOGA MUDRA PREP YoGA MuDRA: SHOULDER OPENER YoGA MUDRA: SHOULDER MASSAGE

FLYER: Bring hands behind back and interlace fingers
BASE: Use ha nds t o help flyer interlace fingers . Bend
knees and press the head through , then extend legs
FLYER: Keep legs in piked straddle
BAS E: Cup outside of flyer' s arms,
rotate thumbs in and up, draw
hands towards the ground
BASE: Place pin ki e edge of hand either side
of flyer's spine and rock the legs forward and
backward to shift the weight into hands. If
possible place their hands behind back of head
to deepen stretch

45
 Forward Flying LEVEL 3

LIFTED BADDHAKONASANA HIPPY TWIST (LEVEL 2) FOLDED LEAF

FLYER: Bring arms behind back, FLYER: Keep feet anchored towards the ground, relax head and neck FLYER: Legs separate into piked
holding opposite elbow, soles of BASE: Exhale bend one knee, bend opposite arm. Inhale both legs straddle, release hands
feet together, knees wide straight, both arms straight, exhale repeat other side BASE: Place hands on flyer's back
BASE: Fingertips to top of flyer' s
shoulders, stra ighten arms,
hands to chest-shoulder junction

TRANSITION : TWISTED LEAF PREP TWISTED LEAF FOLDED LEAF

BASE: Extend arms to lift flyer's chest. Thread one
arm between legs keeping other arm extended
BASE: Bend knee to press flyer' s shoulder through legs, FLYER: Legs separate into piked
hug legs together to pin shoulder in place. Exhale use straddle, release hands
hands on Flyer's shoulder to twist torso, turn pelvis to BASE: Place hands on flyer's back
deepen twist. Inhale release twist, exhale repeat
FLYER: Relax arms, exhale during twist

HAND TO HAND DISMOUNT LEG LOVE: Bus DRIVER

FLYER: Bend elbows to offer hands BASE: Straighten arms, bend knees FLYER: Offer gratitude and therapeutic release back to the base
BASE: Take flyer's hands, bend FLYER: Straighten arms, bring feet to the through leg love. Catch the heels, invite the knees to bend and
knees to release head ground in a wide stance arc side to side drawing knee towards shoulder
FoR MORE LEG LOVE, SEE SUPINE THAI MASSAGE (PG 33)

46
 Prone Thai Massage

CENTERING TRACTION AND INTERNAL ROTATION PALM FEET

3 breaths to center and ground Cup receiver's foot, lift and lengthen one leg towards you, rotate Palm the soles of the feet
toes inwards and gently replace foot to floor. REPEAT OTHER LEG alternately side to side, shift weight
on inhale, pour weight on exhale

;J

_, JJr ,
1111
I j,

CALF STRETCH WINDSHIELD WIPER PALM HAMSTRINGS

Bend receiver's legs, stack receiver's ankles over knees, align Sway receiver's legs side to side to Rest receiver's lower leg over own
fingers at heels and forearms along the soles of the feet. Exhale release lower back thigh and alternately palm the
sit weight down, bend elbows to flex ankle and stretch calves hamstrings with hands turned out

LIZARD TAIL TRACTION FIGURE 4 PALMING TRANSITION: LOWER LEGS

Cup receiver's feet, step one foot forward and lift Bend receiver's legs , take one foot and tuck toes into Extend legs to straight
their legs, being aware not to compress the lower the back of their opposite knee. With one hand on
back. Offer a gentle traction, separate the knees the top of their foot to stabilize leg position, palm the
wider than the hips, replace legs to earth outside line of their leg. REPEAT OTHER SIDE

PALM THIGHS TRANSITION: TO SEATED PALM SHOULDERS

Ensure receiver's knees are wide,
alternately or double palm press
on thighs
Bring one hand to receiver's low back and
the other hand to their shoulder. On exhale
draw their shoulders up over their hips to
seated
Transition receiver to comfortable seated position,
turn one foot alongside receiver's low back, invite
them to lean onto leg for support. Alternately
palm side to side, vary hand placement fingers
facing forward, out to the side and backwards

47
 Prone Thai Massage

STEP ON FEET PALM CALVES

Transition to standing and step on the feet, For deeper pressure turn so that the giver's Alternately palm the calves, shift weight
shift weight from side to side, keep heels on heels are applying the pressure with ball of side to side with hands externally rotated
the ground for stability foot in contact with the ground for stability (up, down , up)

STEP ON HAMSTRINGS MARKING FooT PLACEMENT

Stand to the inside of receiver's leg, align inner arch
of own foot with their knee crease, if possible hook
their toes around shin. Shift weight side to side
to press on hamstring working from knee to hip.
REPEAT OTHER SIDE
FooT PosiTION 1: BAcK LEAF FooT PosiTION 2: BACK BIRD
Turn toes out, place inner arch on Turn toes forward aligning toes around waist
gluteal crease, pour weight straight band and heel on buttocks, give light traction
down for blood stop, hold for 5 seconds REPEAT BOTH FOOT POSITIONS OTHER LEG

PALM BACK WITH KNEES IN GLUTEAL FOLD TRANSITION : CHILD' S POSE

Gently place knees in receiver's gluteal fold . With butterfly palms, inhale Receiver brings hands under shoulders, giver cups receiver's
place hands either side of receiver's spine, exhale to pour weight, stack hips . On exhale shift hips back to heels bringing receiver to
shoulders over wrists. Work this up and down the spine to the height of Child's Pose. Palm press on the sacrum
the shoulder blades

NECK CLAMPING MoTORCYCLE THAI CHOPS 3 BRUSHES CLOSING

Invite receiver's head
to bow towards chest,
interlace hands, squeeze
up and down the neck by
drawing elbows together
Hold hands with receiver
in butterfly grip, walk up
and down either side of
spine with soft feet
Interlace thumbs, Brush energy from head off Both giver and receiver
spread fingers, the back and arms 3 times honor each other and
flick wrists, chop the exchange
hands up and down
receiver's back

48
 Backward Flying LEVEL 1

HANDS TO ANKLES MOUNT: FOOT POSITION 1 BACK LEAF

FLYER: Stand at base' s hips facing away, FLYER: Bend knees and lean back FLYER: Relax legs and arms
hold ankles with thumbs turned in BASE: Bend knees to receive weight, BASE: Support flyer's shoulders with
BASE: Turn feet out and place arch along catch flyer's upper arms or shoulders, hands, straight legs and stacked over hips
gluteal crease (FooT PosiTION 1) then extend legs

Bow (DHANURASANA) FtSH (MATSYASANA)

FLYER: Reach outside base's legs to catch ankles
BASE: Support flyer' s shoulders
FLYER: Reach hands through base's legs,
interlace fingers leaving index free. Extend
legs and cross one ankle over the other.
Repeat with other ankle on top
BASE: Support flyer' s shoulders

49
 Backward Flying LEVEL 1

TRANSITION : BACK BIRD TO FOOT POSITION 2

F LYER: Lean weight into one leg, stag opposite leg. Once base repositions foot , release stag leg
BAS E: Support shoulders, as flyer lifts leg, reposition feet to parallel with toes at the waistband , heels on buttocks (Foor PosmoN 2)

DISMOUNT

FLYE R: Hold base's ankles , use them for support to help chest lift as feet come to the ground
BAS E: Maintain support of flyer 's shoulders , bend the knees to place feet on the ground us ing toes
to press and lift flyer's chest

50
 Backward Flying LEVEL 2

HANDS TO ANKLES MOUNT: FOOT POSITION 1 BACK LEAF

FLYER: Hold base's ankles with thumbs turned FLYER: Relax legs and arms
in, bend knees and lean back BASE: Support flyer's shoulders
BASE: Bend knees to receive weight, catch with hands, straight legs and
flyer' s shoulders and extend legs stacked over hips

Bow WITH CHEST OPENER TRANSITION: BADDHAKONASANA TO BAT

FLYE R: Reach outside base's legs to catch FLYER: Hold base's ankles, bring soles of FLYER: Bring feet over towards head, using
ankles feet together and look up towards feet hands to reposition base's feet
BASE: Support flyer's shoulders. If flexibility BASE: Support flyer's shoulders BASE: Turn feet to follow flyer's hips finding
allows use hands to open the chest slight internal rotation at hip crease

REVERSE CANNONBALL DISMOUNT

FLYER: Hold base 's heels, tuck knees in towards chest and chin to chest. Roll through base' s legs bringing feet to the floor, use heels to
stand , hold heels and lean away to traction base
BASE: Hold flyer' s shoulders , maintain straight legs at go degrees for flyer to roll out

51
 Backward Flying LEVEL 2

TRANSITION : BACK BIRD TO FOOT POSITION 2

F LY ER :Lean weight into one leg, stag opposite leg. Once base repositions foot, release stag leg
BASE: Support shoulders, as flyer lifts leg, reposition feet to parallel with toes at the waistband, heels on buttocks (FooT PoSITION 2)

BAT FOOT PLAC EMENT BAT PALM SHOULDERS

BAS E: Feet sl ightly turned in, inner arch FLYER: Keep soles offeet BASE: Place hands on flyer's shoulders with fingers pointing
as close to flyer's hip crease as possible connected , reach up and catch out, alternately press upwards
FLYER: Legs pike down towards the ankles with arms extended FLYER : Hold ankles with arms extended, relax head and neck
earth

52
 Backward Flying LEVEL 3

HANDS TO ANKLES MOUNT: FOOT POSITION 2 Bow (DHANURASANA) VARIATION TRANSITION : FOOT POSITION 1

FLYER: Stand at base' s hips facing away, hold
ankles with thumbs turned in . Bend knees and
lean back. Relax arms and legs
BAS E: Place feet parallel with toes around waist
band , heels on buttocks. Bend knees to receive
shoulders and extend legs
FLYER: Hook feet around base's
shins and reach hands to backs of
knees
BASE: Support flyer' s shoulders, help
hook feet
FLYER: Stag one leg at a time to
adjust foot positon
BAS E: Turn feet out and place arch
along gluteal crease (FooT PosiTION 1)

,
..

TRANSITION : BACK LEAF TO STRADDLE BAT

FLYE R: Hold base's ankles, look up towards feet FLYER: Bring feet over towards head , using hands
'
FOOT PLACEMENT STRADDLE BAT/BAT

BASE: Feet slightly turned in, inner arch

and take legs wide into straddle to reposition base's feet, find piked straddle as close to hip crease as possible
BASE: Support flyer' s shoulders, begin to follow BASE: Turn feet to follow flyer' s hips finding FLYER: Legs pike down
hips w ith feet turning toes in internal rotation at hips crease

LIFTED )ALANDHARA

FLYE R: Legs in piked straddle, arms relaxed, communicate with base about depth of stretch
BASE: Bring both hands to back of flyer's head with heels of palms together. Exhale begin to raise flyer' s chin towards chest by
extend ing arms, flex feet to deepen stretch . Release slowly, catch head and neck with care

53
 Backward Flying LEVEL 3

URDHVA MUKHA HIPPY TWIST WITH THUMBING HAND PLACEMENT: URDHVA MUKHA HIPPY TWIST
FLYER: Relax arms and legs
BASE: Walk hands underneath flyer's shoulder blades, place thumbs
between shoulder blades and spine. Bend one knee at a time, if
possible bend opposite arm and leg to apply pressure through thumbs

NECK MASSAGE BAT MASSAGE CHAIR: PALM SHOULDERS BAT MASSAGE CHAIR: THUMBING HAND PLACEMENT THUMBING

BASE: Gently FLYER: Bring soles offeet together, catch
squeeze hands on ankles with arms extended
back of flyer's neck BASE: Place hands on flyer's shoulders with
fingers pointing out, alternately palm press
upwards, bend knees to apply more pressure
BASE: Turn palms towards head, take
hands through legs, place fingertips
between flyer's shoulder blades and
spine. Bend knees to press weight
into fingertips
BASE: Hands beh ind flyer's
shoulders, fingertips either
side of flyer's spine

FLOATING BUDDHA DISMOUNT

BASE: Press up on flyer's shoulders and FLYER: Transition legs into a tuck holding around shins and tucking chin to chest
transition one foot at a time from hips onto BASE: Shift grip from shoulders to tops of arms. Bend knees and begin to lower flyer towards
flexed parallel feet, cupping the glutes the ground , use arms to slow down and stay connected , allow own torso to rise off the ground
until both base and flyer land softly in a seated tuck

54
 High Flying Whale LEVEL 1

HIGH FLYING WHALE MOUNT FooT PLACEMENT: HIGH FLYING WHALE

FLYER :Stand either side of base's shoulders, help base place feet then lean back BAS E: Heels towards the bottom of the shoulder
BASE: Hold flyer's ankles, bring legs towards flyer, place feet either side of the blades, toes around waistband . Feet parallel either
spine with toes around waistband . Press legs away until flyer's feet are weightless; side of the spine
then straighten arms. Legs may be beyond go degrees

POINT AND FLEX

BASE: Keep arms straight and shoulder width apart, roll through point and flex with feet to change depth of backbend

55
 High Flying Whale LEVEL 1

ARM VAR IATIONS: HIGH FLYING WHALE

FLYER: Arms overhead for FLYER: Arms out to the sides FLYE R: Arms crossed over FLYER: Hands interlaced
deep backbend for moderate backbend chest for mild backbend beh ind back of head for
neck support

HIGH FLYING WHALE DISMOUNT DOWN DoG SACRAL PRESS

BASE: Bring legs towards head; bend elbows to place Ayer's feet on the ground . FLYER: Come into Down Dog

Press with t oes to help Ayer stand BASE: Place hands with fingers turned out on
Ayer' s low back, stand in Warrior 1 and press
Ayer' s hips towards heels to lengthen spine

56
 High Flying Whale LEVEL 2

HIGH FLYING WHALE MOUNT

FLYE R: Stand either side of base's shoulders, help base place feet then lean back
BASE: Hold flyer's ankles, bring legs towards flyer, place feet either side of the spine with toes around waistband. Press legs away
until flyer's feet are weightless; then straighten arms. Legs may be beyond go degrees

TRANSITION : LIFT LEG AND STAG ARDHA USTRASANA

BASE: Keep arms straight FLYER: Bring stag leg to base's knee, catch ankle
F LYER:Press down through one foot to lift other leg, bend knee and BASE: Support flyer's bent leg with hand, bend knee to meet
touch toes to opposite knee flyer's foot

TRANSITION: HIGH FLYING WHALE

SUPPORTED USTRASANA

FLYER: Bring stag leg to base's knee, catch ankle BASE: Sh ift one hand to flyer's ankle, straighten arms, receive second foot
BAS E: Support both flyer's knees with hand , FLYER: Extend one leg, press down to lift and offer second leg
bend knees to meet flyer 's feet

57
 High Flying Whale LEVEL 2

POl NT AND FLEX

BASE: Keep arms straight and shoulder width apart, roll through point and Aex with feet to change depth of backbend

TRANSITION : LIFT LEG AND STAG (OTHER SIDE) ARDHA USTRASANA (OTHER SIDE)

BASE: Keep arms straight FLYER: Bring stag leg to base ' s knee, catch ankle
FLYE R: Press down through one foot to lift other leg, bend knee and BASE: Support Ayer' s bent knee with hand, bend knee
touch toes to opposite knee to meet Ayer's foot

HIGH FLYING WHALE DISMOUNT DowN Doc HIP TRACTION

BASE: Bring legs towards head; bend elbows to place Ayer's feet on the ground . FLYE R: Come into Down Dog
Press with toes to help Ayer stand BASE: Hold Ayer's hip crest, stand in
Warrior 1 and traction hips towards heels

58
 High Flying Whale LEVEL 3

HIGH FLYING WHALE MOUNT

FLYER: Stand either side of base ' s shoulders, help base place feet then lean back
BASE: Hold flyer' s ankles, bring legs towards flyer, place feet either side of the spine with toes around waistband . Press legs
away until Flyer' s feet are weightless; then straighten arms. Legs may be beyond go degrees

ARDHA YIRASANA ARDHA PADMASANA ARDHA YIRASANA (OTHER SIDE} ARDHA PADMASANA (OTHER SIDE)

FLYER: Bend one knee
BASE: Switch grip to
top of flyer' s foot, bend
knees and press flyer' s
heel towards buttock
FLYE R: Lift bent leg, bring FLYE R: Bend one knee FLYER: Lift bent leg, bring heel
heel towards hip into half BASE: Switch grip to top of towards hip into half lotus, catch
lotus ; catch foot with hand flyer's foot; bend knees and foot with hand
BASE: Support bent knee press heel towards buttock BASE: Support bent knee

DowN DoG SACRAL PRESS

HIGH FLYING WHALE DISMOUNT
FLYER: Come into Down Dog
BASE: Bring legs towards head; bend elbows to place flyer' s feet on the ground . Press BASE: Place hands with fingers
with toes to help flyer stand turned out on flyer's low back, stand
in Warrior 1 and press flyer' s hips
towards heels to lengthen spine

59
 High Flying Whale LEVEL 3

POINT AND FLEX

BASE: Keep arms straight and shoulder width apart, roll through point and flex with feet to change depth of backbend

USTRASANA HIGH FLYING WHALE

F LYER:Bring one foot at a time to FLYER: Extend one leg at a time,

base's knees , catch ankles arms overhead
BASE: Support flyer 's legs during BASE: Support legs during
transition transition, straight arms

60
 Low F:lying Whale

THRONE ON SHINS MOUNT

BASE: Lift legs to go degrees; take BASE: Bend elbows to make a seat, FLYER: Lay back
hands to backs of flyer's knees draw feet to meet flyer's shoulders BASE: Bend knees to receive flyer's
FLYER: Sit on base's forearms torso, knock knees together to support
low back, flex feet around shoulders

Low FLYING WHALE

BASE: Extend arms, transition arms from behind knees to the ankles. Keep feet flexed and knees knocked together, begin to rock with arms and
knees forward and backward
FLYER: Relax arms overhead

THRONE ON SHINS DISMOUNT

UPAVISTHA KONASANA

FLYE R: Extend legs back out towards the ground BASE: Extend legs to lift flyer's chest
FLYER: Draw legs overhead and catch toes in
BASE: Transition hands to back of flyer' s knees FLYER: Sit up on base's forearms ,
straddle
then stand
BASE: Keep feet flexed and knees knocked
together, take hands to flyer's thighs to deepen

61
 Hammock

HAMMOCK MOUNT

FLYER: Stand close to base's hips, facing away FLYER: Bend knees and sit back on base's FLYER: Relax arms over head, press lower
BASE: Place feet turned out behind flyer's knees, shins, relax shoulders back legs towards the ground; relax hips
raise arms ready to catch shoulders BASE: Bend knees to allow weight to rest on BASE: Straighten arms and legs
shins, catch flyer's shoulder blades in hands

CHI MACHINE: LEG SWAY CHI MACHINE: SIDE BEND

BASE: Keep arms and legs straight, take legs apart and return together BASE: Keep arms and legs straight, take hands off the
midline to one side; turn hips off midline to same side to
lengthen flyer's side body

THRONE ON SHINS DISMOUNT CHILD's PosE

BASE: Bend knees to bring flyer's feet towards the ground, hug knees together to create a FLYER: Bring knees wide and place
platform with lower legs, press flyer's head and chest up forehead on the ground
FLYER: Reach hands towards knees, bring feet to the ground, sit on base's shins to stand BASE: Place hands on flyer's sacrum

63
 Hammock

(HI MACHINE: HIPPY TWIST

BASE: Keep arms stra ight, bend one knee at a time

FLYE R: Keep hips relaxed , press lower legs towards the ground

TRANSITION : KNEES AND ELBOWS SUPPORT OcCIPUT RocK

BASE: Take hands to back of flyer' s head BASE: Bend knees taking heels towards and away from buttocks. Ma intain support of flyer' s head
with heels of palms connected, bring FLY ER: Keep arms , head and legs relaxed
elbows between shoulder blades; knock
knees together

64
)
)
)
)
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 Solar Acrobatics Practices

PowER & PoTENTIAL

The Solar Acrobatic Practices are tools to unlock power in ourselves and others. We cultivate the ability
to take risks and attempt skills that many would think impossible. The deeper students go on this path,
the more open they become to their true potential. They become capable of many advanced physical
expressions of courage, teamwork and balance. Students skillfully wield the fire of acrobatics by using
clear, positive communication and sensitive listening. These elements are the keys that support
partnership and partner acrobatics .

SOLAR ACROBATIC PRACTICE

The Solar Acrobatic Practice supports empowerment and embodiment. Practitioners cultivate full
body strength and flexibility. This branch is much more dynamic, active and engaged. It is based on
understanding the progressive steps in building strength, cultivating an inversions & spotting practice,
investing in solo practice as a tool to inform and enhance a partner practice, and how to implement
these principles in partner acrobatics .

The solar elements include: the solar as ana sequence, strength & flexibility building exercises, inversions
& spotting, and partner acrobatics .

SOLAR ASANA WARM UP

The solar asana sequence teaches the alphabet of acrobatics, and the names and shapes needed for
students to communicate as they do acrobatics together. The sequence also strings together strength
and flexibility building exercises in a progressive way to warm and open the body. Acrobats build
strength by using their bodyweight and their partner's bodyweight. Push-ups, down dog push-ups,
abdominal exercises and partner condition ing drills are some of the building blocks that bring the mind
and body into powerful harmony. The inversions and spotting build confidence, communication and
support for students to move through fears. Step by step we build acrobatic techniques for headstands,
handstands and beyond . The most dynamic expression of the practice is partner acrobatics .

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 Solar Asana Warm Up

CENTERING MouNTAIN STRETCH

Left hand on belly, right Inhale extend arms Exhale lean to Inhale extend arms Exhale lean to In hale to center,
hand on heart. 3 breaths overhead , fingers the right overhead the left arch backwards
to center and ground interlaced in kali mudra,
pointer finger extended

PLANK DowN DoG TABLE ToP ElBOW ARTICULATION

Exhale step back to plank, Exhale hips back, separate Exhale knees to floor, bone Inhale and microbend elbows to the side, exhale
legs together, shoulders feet, 3 breaths stack arms and legs squeeze forearms in to find straight arms, repeat
over wrists . 3 times
3 breaths

ARCH AND HOLLOW FLOAT FORWARD FOLD & LIFT HOLLOW LUNGE

Keeping arms stra ight, inhale arch spine, exhale Keep hollow in Exhale relax torso over legs, inhale Step right foot back to
round spine, repeat 3 times ribs and extension extend spine halfway, repeat 3 high lunge, lean into front
in arms, jump feet times leg to find hollow body
forward to hands

KNEE PusH UPs CHILD's PosE SPHINX ARCH AND HOLLOW

Exhale belly to floor, inhale extend Sit hips back, relax for 1 Foreams parallel with elbows under shoulders, inhale arch,
arms , repeat, repeat 3 times breath exhale hollow, keeping hips on floor 3 times

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 Solar Asana Warm Up

T POSITION ARCH AND HOLLOW MAHA BANDHA HANDSTAND MUDRA FORWARD FOLD & LIFT

Exhale press arms Inhale open arms to cactus, Exhale hands to Inhale raise arms up Exhale relax torso over legs, inhale
down to aT shoulder blades together. rest on thighs , while keeping ribs extend spine halfway, repeat 3 times
Exhale hollow, gazing at feet, squeeze midline down and hollow
repeat 3 times with hollow shape

CAT AND Cow DOWN Doc ELBOW ARTICULATION

Keep arms stra ight, inhale arch spine, exhale round Exhale hips back, separate Inhale microbend elbows to the side,
spine, repeat 3 times feet exhale squeeze forea rms in to find straight
arms, repeat 3 times

PLANK TIGHTNESS
INTEGRATE SHOULDERS HANDSTAND MUDRA

Inhale reach forward ; exhale plug arms Inhale lift arms up keeping Exhale to plank, tap oppos ite shoulder 7 times
back into shoulder sockets ribs down , exhale to extend wh ile mainta ining full body tightness
arms high

FOREARM PLANK SPHINX DowN Doc PUSH UPS

Exhale, press into tops Draw shoulder blades From a narrow Down Dog bend elbows out to the side, eventually touch ing
offeet, lift hips , hold 3 together, gaze up for 3 nose in between the thumbs . Push down and up, repeat 3 times
breaths breaths

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 Solar Asana Warm Up

HOLLOW LUNGE INTEGRATE SHOULDERS HANDSTAND MUDRA

Step right foot forward to high Inhale reach forward; exhale plug arms back Inhale lift arms up keeping ribs down;
lunge, lean into front leg to into shoulder sockets exhale to extend arms high
find hollow body

COBRA LOCUST FRONT BIRD

Curl chest up and back, 3 breaths Interlace hands behind back and lift chest, Separate hands to the side, 3 breaths
3 breaths

SPOTTER'S STANCE LEG PRESSES GODDESS POWER

Exhale lower hands down; Inhale bend the front knee, exhale extend the front Turn to the right with knees wide, inhale open arms
imagine you are holding a leg, keep spine straight, repeat 3 times and reach out for strength, exhale draw power into
flyer's hips core, repeat 3 times

LEG PRESSES DowN Doc TucK juMPS

Inhale bend the front knee, exhale to Exhale place hands down, Walk forward to Uttadogana, hips over shoulders,
extend the front leg, keep spine straight, step back to Down Dog jump to tuck bringing knees to chest, repeat 3 times
repeat 3 times

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 Solar Asana Warm Up

PLANK TIGHTNESS PLANK PUSH UPS CHILD's Pose

Exhale to plank, tap opposite shoulder 7 times Exhale to lower down, inhale to push up keeping Sit hips back, relax for 1
while maintaining full body tightness body straight, repeat 3 times breath

DowN Doc PusH UPs WARRIOR 1

From a narrow Down Dog, bend elbows out to the side, eventually touching nose in Inhale step left leg forward, arms up
between the thumbs. Push down and up, repeat 3 times

GODDESS SQUATS PRASARITA PADOTTANASANA WARRIOR 1 SPOTTER'S STANCE

Inhale bend knees, exhale extend Exhale fold forward with Inhale turn towards right Exhale lower hands down;
legs, keep spine straight, repeat 3 hands interlaced behind back, leg, arms up imagine you are holding a
times 3 breaths flyer's hips

HEADSTAND TUCK PRESS CHILD'S POSE CROW

In a supported headstand, keep legs together. Tuck press legs in and up, Relax, 3 breaths Maintain hollow body with
press 3 times knees close to shoulders,
push with fingers, 3 breaths

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 Solar Asana Warm Up

CONNECTING VINYASA SEATED PIKE

Step or jump back to Plank, Upward Dog, Down Dog Step or Aoat through , legs together

TUCK UPS SHOULDERSTAND UTTADOGANA

Hollow body to a tuck, keeping core engaged throughout the Support back, legs squeeze Exhale roll forward to
motion , repeat 3 times together, 3 breaths forward bend , hips over
shoulders over wrists

WRIST STRETCH PLANK LOWER THIGH STRETCH

Place hands face up Step or jump back, Lower all the way to Place left forearm parallel Place right forearm parallel
under feet, stretch legs squeeze together, the ground to front of mat, draw right to front of mat, draw left
tops of wrists , 3 shoulders stacked over heel towards left buttock, heel towards left buttock,
breaths wrists keep shoulders square keep shoulders square

HEART OPENER DowN Doc TWISTED LUNGE TWISTED THIGH STRETCH LIZARD LUNGE RUNNER 'S LUNGE

Extend arms, lower Lift hips up Inhale step left leg Release back knee to Exhale release Straighten front leg,
heart towards Aoor, and back forward , left arm up, Aoor, top arm reaches forearms to the foot Aexed, inhale
hips over knees , 3 breaths for outside of back foot, inside offront leg, lengthen spine,
forehead or chin to descend hips and curl 3 breaths exhale lower torso, 3
ground , 3 breaths back, 3 breaths breaths

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 Solar Asana Warm Up

STAG PIKE STRETCH TUCK ROCKS

Draw one leg up, tracing Inhale raise arms up, exhale reach forward Roll back and forth with core engaged , small movement,
the inner edge of other with hollow body and extended arms, legs repeat 5 times
leg, both sides and feet squeeze together with toes pointed

HOLLOW BODY HOPS BACKWARDS HOLLOW BODY HOPS FORWARDS

Jump legs back, squeeze and press legs down, keep Jump legs forward to meet hands, squeeze and press legs down,
extension in the arms , repeat 5 times keeping extension in the arms, repeat 5 times

Bow CHILD's PosE DowN Doc DOLPHIN 1 LEG HOPS

Catch the outer Press hips to heels . Lift hips up and back Place elbows shoulder width, shoulders stacked over
ankles, use the power Relax, 3 breaths elbows. Lift one leg holding the midline, kick or press to
of the legs to lift up an L shape, do both sides, repeat 3 times

HALF MOON/SIDE STAR VERTICAL SPLIT SIDE LUNGE {SKANDASANA) TWISTED LUNGE

Step onto front leg, stack Exhale fold over Step top leg out towards right, hold both ankles, keep Inhale turn towards right leg,
hips, lift left leg, reach front leg, lift back leg hips low, glide side to side, repeat 3 times right arm up, 3 breaths
left arm up, 3 breaths towards sky, both legs
straight, 3 breaths

74

TWISTED THIGH STRETCH
Release back knee to Aoor,
top arm reaches for outside
of back foot, descend hips
and curl back, 3 breaths
TRIPOD HEADSTAND STRADDLE PRESS
Press legs through a pike staddle to vertical, then back down
through pike straddle to Aoor
jANUSIRSASANA FORWARD FOLD
Turn towards straight leg and
lean forward, 3 breaths
V-UPS
From hollow body, sit up to a V, and back to hollow body, keeping core
engaged , repeat 3 times
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Solar Asana Warm Up
LIZARD luNGE RUNNER'S LUNGE VERTICAL SPLIT
HALF MooN/SIDE STAR
Exhale release Straighten front leg, foot Exhale fold over
Step onto front leg, stack
forearms to the inside Aexed, inhale to lengthen standing leg, lift back
hips, lift left leg, reach
of front leg, 3 breaths spine, exhale to lower leg towards sky, both
left arm up, 3 breaths
torso, 3 breaths legs straight, 3 breaths
SEATED STRADDLE jANUSIRSASANA SIDE BEND
Sit with legs wide Bend right knee, lean to left, open
side body, 3 breaths
PIGEON P1 KED STRADDLE STRETCH
Turn hips towards bent leg, inhale lengthen spine, Exhale lean forward, keeping legs active, 3
exhale fold forward, 3 breaths breaths
SHOULDERSTAND UTTADOGANA
Support back, legs squeeze Exhale roll forward to
together, 3 breaths forward bend, hips over
shoulders over wrists
 Solar Asana Warm Up

GODDESS WITH TRACTION STRADDLE jUMPING jACKS

Place hands in the hip Place hands on floor under shoulders, bend knees and jump in and out 5 times. Keep legs close to chest
crease and straighten arms, and press arms down
sit hips down to traction
spine, 3 breaths

jANUSIRSASANA FORWARD FOLD PIGEON jANUSIRSASANA SIDE BEND

Turn towards straight leg and Turn hips towards bent leg, inhale to lengthen spine, exhale Bend left knee, lean to right, open
lean forward, 3 breaths to fold forward, 3 breaths side body, 3 breaths

PIKE STRETCH HOLLOW BODY ROCKS

Swing left leg around to meet right, inhale raise arms up, Keep core engaged, toes and shoulders off floor, rock back and forth with
exhale and reach forward with hollow body and extended small motion, repeat 5 times
arms, legs squeeze together with toes pointed

KICK SWITCHES FORWARD BEND HANDSTAND MUDRA (LOSING

Keeping foundation strong, lift one leg and kick up to L, switch legs Exhale release torso Inhale raise arms up, Feet together,
in the air. Do both sides, repeat 3 times over legs, 3 breaths keep ribs down and hands in prayer,
hollow sealing the
practice

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 Inversions & Spotting

PRINCIPLES OF INVERSIONS & SPOTTING

You are only as strong as your foundation . The inversion pyramid is a systematic approach to inversions. All students will have
different strengths and struggles. This system will help students find the individual keys they need to set their inversions free.

Inversions are great for our physical and emotional bodies, turning our world upside down to bring out our childlike nature.
When the playing flows the ego goes! Inversions force us to summon our courage and let go of fear. Spotting techniques
develop deeper levels of trust, building the foundation for acrobatic partner skills. Before a student inverts on a partner they
should have already experienced an inversion with their body and the earth. As the spotter and the flyer get their techniques
honed and aligned there is much more success moving to partner acrobatics.

PYRAMID PHILOSOPHY- THE SECRET OF PROGRESSIONS

When most people look at high level acrobatics it seems superhuman because they don 't know the science of progressions.
For every polished act you see at the circus, there have been years of training and baby steps that steadily got the performers
to that unbelievable level.

Every time you do a skill successfully you are theoretically adding a stone to your pyramid. Every time you attempt a skill and
fail you are taking a stone away. If the skil l you are trying is beyond your current skill set, try something similar but easier to
build your foundation . After many successes your base will be ready to support the next level on your pyramid of skills. The
moral of the story is to cultivate patience by working progressively, and in time you will reach your highest potential.

(Philosophy based on conversations with Yevgeny Marchenko - USA Olympic Gymnastic coach and 5 time World Champion
Mixed Pair Sports Acrobatics base.)

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 Pyramid #1
9 BODY POSITIONS, THE
ALPHABET OF AcROBATics
Straight: In this position the body is in one lin e from head to toe.
This is the most important pos ition in acrobatics due to its intrinsic
strength. Once this position is mastered all other positions are a
variation of this seed .
Arch: This is a back bend . It refers to the shape of the spine, then
how that relates to the rest of the body. Arch is a common shape in
many yoga asanas and also the shape of the spine for many Thai
stances .
Hollow: This is a shape of the spine from the hips to the head, it is
most acute in the thoracic spine, ribs moving towards the spine,
tailbone tucked forward. The body makes a hollow shape like inside
a spoon . This is the position that takes the most training to embody.
Arching is very natural , one can think of hollow as the medicine for
overarching in the attempt to find straight.
Tuck: This is a verb and a noun, the verb is to move the legs from
straight to bent, the full position is knees close or touching the
chest, feet close to the butt.
Pike: This is a verb and a noun , the point of reference is the hips
specifically the hinge is at the hips. To pike is to move the legs closer
to the upper body. The full position is legs together and a bend at
the hips.
Hollow Pike: Feet together, arms parallel with the floor and reaching
towards or past toes, ribs in and actively moving towards the spine.
Piked Straddle: This is the shape of a seated straddle with legs wide
apart, knees and toes facing the sky. This is the shape of folded leaf
and many other flying postures, where the legs are at go degrees to
the chest.
Open Straddle: This is the shape of standing with the legs apart a bit
wider than hips, knees and toes are facing forward, this is the shape
of an acrobatic handstand great for hand to hands .
Stag: One leg straight one leg bent, foot of the bent leg touches the
knee of the straight leg.
Handstand Building Blocks
FouNDATIONAL ALIGNMENT
OF HANDS, ARMS, UPPER BODY
Table, Cat, Cow: Hands shoulder width, knees hips width, feet flexed ,
arms straight, shoulders over wrists, thighs vertical, knees under hips,
head neutral. In this pose we can learn vertical bone alignment with
little weight bearing. The cat is embodying hollow and maximum
extension through the arms, the cow is embodying arch .
Plank: Feet together, body straight from head to toes, arms straight
wrists under shoulders.
Down Dog: Body is in an inverted V-shape, hands shoulder width ,
straight line from wrists to hips , feet hips width apart.
Dolphin: Elbows under shoulders, ribs in hollow body, looking towards
hands , the rest of the body is like a down dog.
Tightness drill: The flyer lays on their back with arms overhead , the
spotter lifts the flyer's legs up and holds the legs with straight arms.
The spotter drops one leg at a time as the flyer tries to keep their legs
squeezing together, 15 seconds or less.
PusH-UPS (Two LEVELS}:
1. Knee Push up: Lying on the belly, knees and feet together, legs
bent on the ground at go degrees, fingertips in line with the
shoulders, hands just wider than shoulders , chin on the floor. On
exhale straighten arms, bend arms until chin touches the floor,
body stays straight the whole time.
2. Push up: Lying on the belly, feet together and flexed, legs straight,
fingertips in line with the shoulders, hands just wider than
shoulders, chin on the floor. On exhale straighten arms, inhale
bend arms until chin touches the floor, body stays straight the
whole time.
DowN Doc PusH -UPS (THREE LEVELS}:
1. Half Down Dog Push up: Walk the down dog in a third of normal
distance, feet hips width, look between thumbs , bend arms
straight out to the side about half way, aim your nose to land in
between your thumbs .
2. Down Dog Push up (gaze between thumbs): Walk the down dog in
a third of normal distance, feet hips width , look between thumbs ,
bend arms straight out to the side, touch your nose to land in
between your thumbs.
3. Down Dog Push-up (with head neutral) : Walk the down dog
in a third of normal distance, feet hips width, head neutral to
encourage more hollow body, bend arm straight out to the side,
touch the top of your head in between your thumbs .
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 Pyramid #1- Handstand Building Blocks
THE (ORE AND PRESSING
TECHNIQUES
Tuck rocks: Roll from the hips to the shoulders , knees bent, feet
together, arms extended , shou lders touching ears. Ma ke the rocks
as small as you can , move body as one piece.
Hollow body rocks: Roll from the hips to the shoulders, legs straight,
feet together, arms extended, shoulders touching ears. Make the
rocks as small as you can, move the body as one piece.
Tuck ups: From hollow body swing arms down towards the legs, at
the same time tuck knees in towards the chest. Once in the tuck
extend back to the hollow body. The faster with good form the better.
V-ups: From hollow body swing arms down towards the legs, at
the same time pike legs up towards the chest. Once in the V shape
extend back to the hollow body. The faster with good form the better.
Hollow body hops forwards: This drill is to teach you how to press
down . Hands shoulder width , arms straight, shoulders over wrists ,
very narrow down dog. Bend knees and jump hips over hands,
extend through straight arms, find as much hollow as you can. Keep
shoulder behind tips of fingers, feet softly land closer to hands. As
you get stronger you can jump less and press more.
Hollow body hops backwards: This drill is to teach you how to press
up. Hands shoulder width, arms straight, shoulders over wrists, very
narrow down dog. Bend knees and jump hips over hands , extend
through straight arms and find as much hollow as you can. Keep
shoulder beh ind tips of fingers, feet softly land further behind the
hands. As you get stronger you can jum p less and press more.
Straddle Jumping Jacks: From a very narrow down dog, hands
shoulder width, shoulders over wrists, hollow body with a lot of
extension through the arms, bend knees and jump into a piked
straddle position , feet land apart. Then starting with feet apart, jump
bringing feet together again and land in a standing pike. Land softly.
79
STATIC INVERSIONS
Supported Headstand: Elbows shoulder width, fingers interlaced
cupping the top of the head, walk feet in as close as possible, tuck
knees into chest, press up to a straight body.
Tripod Headstand: Hands shoulder width , head placed in same
distance as hands to make a perfect triangle, walk feet in as close
as possible, tuck knees into chest, press up to a straight body, keep
elbows over wrists.
Crow: Place hands shoulder width , bend arms, place knees as close
to armpits as possible, straighten arms as feet lift off the floor, feet
together.
DYNAMIC INVERSIONS AND
jUMPS
Tuck Jumps: From a very narrow down dog, hands shoulder width,
shoulders over wrists, hollow body with a lot of extension through
the arms, bend knees and jump into a tuck position , knees close
or touching chest, feet close to butt, feet and knees together at all
times .
Pike Jumps: From a very narrow down dog, hands shoulder width,
shoulders over wrists, hollow body with a lot of extension through
the arms, bend knees and jump into a pike position, feet together
and knees straight while in the air.
Straddle Jumps: From a very narrow down dog, hands shoulder
width, shoulders over wrists, hollow body with a lot of extension
through the arms, bend knees and jump into a piked straddle
position, feet apart and knees straight while in the air, landing where
you took off from .
Dolphin 1 Leg Hops: From dolphin lift one leg as high as possible,
bend the other leg and jump off of it. At the same time swing the top
leg overhead, maintain shoulders over elbows the whole time.
Handstand Kick Switches: From a very narrow down dog, lift one
leg as high as possible, bend the other leg and jump off of it, at the
same time swing the top leg overhead and switch the legs in the air,
maintain shoulders over wrists the whole time.
Pyramid #1- Handstand Building Blocks

80
 Body Positions: The Alphabet of Acrobatics
, I

STRAIGHT ARCH HOLLOW TUCK PIKE

Body stays in one Chest lifts and arms Ribs draw down and pubic bone Knees draw in to chest and Legs squeeze
line from top to arc back into a curls up, engage abdomen, arms heels to buttocks, hands together, hinging at
bottom backbend by ears cup knees the hips

HOLLOW PIKE PIKED STRADDLE OPEN STRADDLE STAG SPLIT

From a pike, reach hands Hinging at the hips, legs Legs open to wider than One leg bends, trace the toes up Legs separate as wide as
forwards over toes, find open, body in two planes hips width, body in one the inseam of straight leg to the possible front to back, chest
hollow through torso plane knee, hug the midline stays over hips

Alignment of Hands, Arms & Upper Body

TABLE
feet flexed , knees hip width, hands
shoulder width, head neutral , eyes
at thumbs

KNEE PUSH UP PREP KNEE PUSH UP

Cow, ARcH
hands wider than shoulders, on exhale straighten arms,
tail bone up, shoulders relaxed, TIGHTNESS DRILL 1 elbows wide, body straight, knees inhale bend arms until chin
head back, eyes up flyer on back, arms up, bend feet together touches floor
hips up, feet together,
squeeze legs together

CAT, HOLLOW
tail bone down , ribs in,
shoulders extended, head down ,
eyes at navel
PLANK PUSH UP PREP PLANK PUSH UP
hands wider than shoulders, on exhale straighten arms,
elbows wide, body straight, legs inhale bend arms until chin
PLANK
straight, feet together touches floor
feet together, body straight and TIGHTNESS DRILL 2
unified, hands under shoulders, head base drops one foot at a
neutral, eyes at thumbs time, flyer stays unified
and squeezes legs
together
DowN Doc
feet hip width, hands shoulder width,
head neutral

DOWN Doc PUSH UP PREP DowN Doc PusH UP 1 DowN Doc PusH UP ".t.
DOLPHIN narrow down dog, walk in 1/3 of look in between thumbs, head neutral, bend arms tc
elbows under shoulders, forearms normal down dog, feet hip width, bend arms to the side the side until top of the he an
parallel, eyes at thumbs, body straight, hands shoulder width until nose touches floor in touches floor in between
feet together between thumbs thumbs

81
The Core & Pressing Techniques
TucK ROCK 1
feet and knees together, knees over
hips, arms stright and extended,
shoulders by ears, eyes to knees
HOLLOW BODY ROCK 1
feet together, legs straight,
arms stright and extended,
shoulders by ears, eyes to
toes
TUCK UP 1
start in hollow body
V-UP 1
start in hollow body
Foundational Inversions
SUPPORTED
HEADSTAND
fingers interlaced, elbows
shoulder width, body
straight
Handstand
KICK SWITCH 1
hands shoulder width,
shoulders over hands,
bottom leg bent
HOLLOW BODY HOPS: FORWARD 1
hands shoulder width, shoulders over
hands, knees bent, jump hips up, extend
shoulders, hollow body, legs come
towards chest
HOLLOW BODY HOPS: FORWARD 2
look in between thumbs, arms straight,
TUCK RocK 2 TUCK ROCK 3 legs straight
keep same shape, rock keep same shape, rock towards
towards shoulders, hips lift hips, shoulders lift
HOLLOW BODY HOPS : FORWARD 3
softly land feet close to hands
HOLLOW BODY ROCK 2 HoLLow BoDY RocK 3
keep same shape, rock towards keep same shape, rock towards
shoulders, hips lift hips, shoulders lift
HOLLOW BODY HOPS:
BACKWARDS 1
hands shoulder width , shoulders over
hands , knees bent, jump hips up, extend
shoulders, hollow body, legs push away
from chest
TUCK UP 2 TucK UP 3 HOLLOW BODY HOPS:
swing arms down , sit up return to hollow body
and tuck legs in BACKWARDS 2
look in between thumbs, arms straight,
legs straight
HOLLOW BODY HOPS:
BACKWARDS 3
softly land feet further from hands
V-UP 2 V-UP 3
swing arms down, sit up return to hollow body
and pike legs in
Dynamic Inversions
TRIPOD
HEADSTAND
hands shoulder width ,
forearm vertical,
elbows over wrists
body straight
TucK)UMP1 TucK)UMP2 DoLPHIN HoPs 1
hands shoulder width, jump hips up, touch elbows under
shoulders over hands knees to ribs shoulders, forearms
paralell, eyes at
thumbs, one leg up
CROW
hands shoulder width, knees
supported by upper arms, feet
together, eyes to thumbs
STRADDLE jUMP 1 STRADDLE jUMP 2
hands shoulder width , jump hips up, bring
DOLPHIN HOPS 2
bend bottom leg
shoulders over hands legs to a pi ked
straddle
/ (
KICK SWITCH 2 KICK SWITCH 3 KICK SWITCH 4
jump bottom leg as bottom leg swings softly land with
top leg swings into up as top leg swings opposite leg on P1KE)UMP1 PIKE)UMP2 DOLPHIN HOPS 3
a split down the ground hands shoulder width , jump hips up, bring jump bottom leg as top
shoulders over hands legs to a pike leg swings into a split
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 Pyramid #2 - Free Handstand
UNIFY, P RESS & W ALK
Plank Tightness drill: The spotter stands to the side of the flyer
do ing plank at their feet facing towards their head, flyer lifts one leg.
Spotter holds flyer's ankle like a suitcase, flyer unifies the legs and
squeezes legs together, spotter lightly pushes back and forth to help
flyer find res istance in the fingers. Spotter steps to a wide stance
facing the flyer's hips , placing other hand on the hips to encourage
strong hollow position . Spotter in a wide stance facing the flyer's
head with stra ight arms holding the ankles , spotter drops on foot at
a time, flye r tries to keep legs together.
Tuck Press Headstand: Tripod set up, walk feet in as close to head
as possible, when feet are weightless , push hands into the floor like
a down dog push up, keep elbows over wrists, press hips over the
shoulders , bring feet towards butt and knees towards chest, extend
legs in a vertical plane until body is straight.
Levell : From straight, knees bend until body is in a tight tuck shape,
extend back up, keep legs moving only in the vertical plane.
Level2: From straight, knees bend until body is in a tight tuc k shape,
extend the legs to a pike horizontal with the floo r, re-bend knees into
tight tuck, extend to vertical.
Level 3: From straight, knees bend until body is in a tight tuck shape,
extend down towards the floor until toes touch the floor, re-bend
knees into tight tuck, extend to vertical.
Straddle Press Headstand: Tripod set up, walk feet in as close to
head as possible, when feet are weightless, push hands into the floor
like a down dog push up, keep elbows over wrists , press hips over
the shoulders as the legs come to the widest straddle possible, press
legs in a ve rtical plane until body is straight.
Level 1: Fro m straight, straddle legs to an open straddle all staying
in the vertical plane.
Level 2: From stra ight, straddle as wide as possible, pike legs as
close to the belly as possible, bring legs horizontal with the floor,
stradd le as wide as possible, legs horizontal with the floor, press
back to st ra ight.
Level3: From straight, straddle as wide as possible, pike legs as close
to the belly as poss ible, bring toes to touch the floor, straddle as wide
as poss ible, bring thighs towards belly press back to straight.
Pike Press Headstand : Tripod set up, walk feet in as close to head
as poss ible, when feet are weightless, push hands into the floor like
a down dog push up, keep elbows over wrists, press hips over the
shou lde rs, extend legs in a vertical plane until body is straight.
83
Levell : From straight, pike legs down to 45 degrees, extend back up
to vertical.
Level 2: From straight, pike legs down until legs are horizontal with
the floor, extend back up to vertical.
Level 3: From straight, pike legs down until toes touch the floor,
extend back up to vertical.
Crow to Headstand: From Crow bring gaze to a point in front of your
hands , use fingers pushing into the floor to slow the decent as you
lower the top of the head to the floor for a tripod headstand, tuck
knees into chest, feet towards butt, press to vertical and stra ight.
Headstand to Crow: Knees into chest and feet towards butt, tight
ball, feet and knees together, open knees and place as high on
triceps as possible, find the strength from your fingers to lift your
head and come back to crow.
Air Vinyasa Handsta nd Walking: Spotter holding flyers ankles, flyer
in a plank, shoulders over wrists. Flyer presses hips over shoulders
until their body is in an L shape, from there the flye r walks forward
and backwards . This drill can also be done with one leg vertical.
ALIGNMENT, TIG H TNESS ,
BALANCE
Alignment, Tightness, Balance (ATB) Philosophy:
These are the 3 magic steps to finding ease, grace and stability in
inversions.
Alignment - Bones (hands placed shoulder width for handstand or
elbows directly under shoulders for forearmstand , etc) .
Tightness - Muscles (squeezing and firming the muscle layer
to unify the body around the steady and efficient structure of the
bones) .
Balance - Gaze (having a gaze point that supports steady balance,
usually the floor between the hands , without taking the head out of
alignment with the spine).
Wall Alignment Handstand: From a narrow down dog one heel
touching the wall , other leg extending up the wall . Spotter with
hands at hip bones gives a heavy spot to aid the flyer to walk their
hands close to the wall as the legs come together, heel of the palms a
few inches from the wall , flyer's toes are pointed , head neutra l. Flyer
tries to get their body as close to the wall without touch ing, spotter
supports flyer's hips as they cartwheel down to one side.
 Pyramid #2 - Free Handstand
Hanuman Finger Power Handstand : Flyer measures out distance Pike Jump to Handstand : Start with shoulders over wrists, arms
from wall by lifting one leg to hip height with foot touching the wall, straight and ribs in towards the spine, bend knees while upper body
the standing foot is the approximate distance to place hands for a holds the same shape. Jump strong, bring hips over the shoulders,
scissor lift to hanuman handstand . Once in the hanuman handstand, extend to vertical.
the foot touching the wall is flexed so the only way to come free from
the wall is by pushing with the fingers.
HANDSTAND BAIL OuT
L Balance Handstand : Flyer measures out distance from wall by
TECHNIQUE
lifting one leg to hip height with foot touching the wall, the standing
foot is the approximate distance to place hands with fingers pointing Handstand Bail Outs from the Wall: From L handstand with one foot

away from the wall. One foot pushes off the wall as the other extends on the wall other foot vertical, jump off the wall to fall past vertical.

to vertical ; the foot touching the wall is at hip height. Very slowly flyer With a heavy spot at the hips, take one large step with the hand

points their foot touching the wall until they can balance free from under the vertical leg and cartwheel down .

the wall, keeping the legs in the L shape.

Kick-Press to L Handstand to Bail Out: From a vertical split

Scissor Lift to Forarmstand ATB: From dolphin one leg lifted as high with both hands on the floor, the foot on the floor is pointed.

as possible, shoulders over elbows the whole time. Spotter supports By pressing or a small hop then pressing the bottom leg lifts

the top leg as the flyer pushes the leg down into the spotter, flyer parallel to the floor. With a safety spot, more pressing than

floats the bottom leg up to meet the top leg, head of the flyer in jumping, come through vertical. Once past vertical take one large

neutral. Spotter walks to the flyer's back side, steps on the hands, step with the hand under the vertica l leg and cartwheel down.

lifts the flyer from the thighs to help them find a straight extended
position . Spotter tries to pull legs apart to encourage the body
HANDSTAND
unification. Spotter steps off the hands as the flyer looks in between
their hands, spotter is giving as little support as possible, hot potato Free Straight Handstand: From a vertical split with both hands on
spotting. the floor, the foot on the floor is pointed . By pressing or a small hop
then pressing the bottom leg to meet the top leg in a vertical plane.
Scissor Lift to Handstand ATB: From a narrow down dog one leg
lifted as high as possible, shoulders over wrists the whole time
spotter supports the top leg as the flyer pushes the leg down into
the spotter. Flyer floats the bottom leg up to meet the top leg, head
of the flyer in neutral. Spotter walks to the flyer's back side, lifts the
flyer from the thighs to help them find a straight extended position .
Spotter tries to pull legs apart to encourage the body unification.
Flyer looks in between their hands, spotter is giving as little support
as possible, hot potato spotting.

HANDSTAND ENTRIES
Tuck Jump to Handstand: Start with shoulders over wrists , arms
straight and ribs in towards the spine, bend knees while upper body
holds the same shape. Jump strong, tuck knees to chest feet towards
butt, once hips are over the shoulders, extend to vertical.

Straddle Jump to Handstand: Start with shoulders over wrists, arms

straight and ribs in towards the spine, bend knees while upper body
holds the same shape. Jump strong, open legs to a pike straddle as
wide as possible, once hips are over the shoulders start bringing the
legs in a wide straddle to vertical.

84
Pyramid #2- Free Handstand

86
 Unity, Press & Walking

PLANK TIGHTNESS DRILL 1 PLANK TIGHTNESS DRILL 2 PLANK TIGHTNESS DRILL 3 PLANK TIGHTNESS DRILL 4 PLANK TIGHTNESS DRILL 5
Flyer: plank one leg up Flyer: bring feet together, Spotter: step to goddess, Spotter: step to goddess holding Spotter: drop one foot at a time
Spotter: hold raised ankle shoulders over wrists or even push down the sacrum both feet Flyer: try to keep feet together and
li ke a su itcase slightly over the fingertips Flyer: bring your belly body in one piece
towards the spotter's hand

TuCK PRESS HEADSTAND 1

tripod, legs pike

TUCK PRESS HEADSTAND 2

tuck knees in towards chest

(ROW PRESS TO HEADSTAND 1 (ROW PRESS TO HEADSTAND 2 HEADSTAND PRESS TO (ROW

hands shoulder width or wider, strong look in front of hands , bend tuck knees in tight towards arm pits, strong
TuCK PRESS HEADSTAND 3 fingers, knees up high into armpits arms and slowly lower head , fingers , slowly lift head , stra ighten arms
extend legs vertical forearms vertical , feet in close
to hips

STRADDLE PRESS HEADSTAND 1

tripod , legs pike

STRADDLE PRESS HEADSTAND 2

open into wide stradd le

STRADDLE PRESS HEADSTAND 3

press to pi ked straddle

AIRVINYASA HSWALKS 1 A I R VINYASA HS WALKS 2 AIRVINYASA HS WALKS 3

Flyer: shoulders over finger Flyer: push down into straight arms, draw Flyer: lift one leg vertica l
tips, body straight and unified ribs towards the spine, belly in
STRADDLE PRESS HEADSTAND 4 Spotter: goddess stance Spotter: stand up step in until flyer's hips
press to open straddle are over their shoulders

STRADDLE PRESS HEADSTAND 5

press to vertical

PIKE PRESS HEADSTAND 1

tripod , legs pike

PIKE PRESS HEADSTAND 2 AIR VINYASA HS WALKS 4

press legs up Flyer: lift one hand at a time, step
forward andfor backward
Spotter: step with flyer, follow
their pace

PIKE PRESS HEADSTAND 3

press to vertical

87
 Alignment, Tightness, Balance
,_ _
FOREARM STAND A.T . B. l HANDSTAND A.T.B. l
BELLY WALL HANDSTAND
Flyer: elbows shoulder width , shoulders Spotter: step to the back of the
this type of handstand training flyer, firm grip on shins and calfs
over elbows, head neutral, one leg up,
will support finding a straight Flyer: head neutral
Spotter: warrior one stance, hand on shin,
or slightly hollow handstand , foot by shoulder
toes pointed, everything 1 mm
from the wall. Heavy spot on
entry and exit
FOREARM STAND A.T.B. 2 HANDSTAND A .T . B . 2
Flyer: push into supported leg until other Flyer: push into supported leg until
leg is vertical, bring legs together other leg is vertical, bring legs together
FINGER POWER HANDSTAND Spotter: push into supported leg walk Spotter: push into supported leg walk
set up about one legs length forward until flyer is vertical and you are forward until flyer is vertical and you are
from the wall place your hands supporting on the side supporting on the side
for a handstand , split your
legs and only let your heel
touch the wall, with only finger
strength try to bring your heel FOREARMSTAND A.T.B. 3 HANDSTAND A .T . B. 3
off the wall. If it is easy go Spotter: step gently on hands, firm grip on Flyer: hands shoulder width, shoulders
further from the wall. If it is flyer''s shins and calfs over wrists , head neutral , one leg up
not possible move your hands Spotter: warrior one stance, hand on
closer to the wall shin, foot by shoulder

FOREARM STAND A.T.B. 4 HANDSTAND A.T.B. 4

FINGER POWER (LOSE UP Spotter: lift flyer straight up to align the Spotter: lift flyer straight up to align
heel connects to the wall, bones vertical the bones vertically
foot flexed Flyer: keep head neutral, extend and unify Flyer: keep head neutral, extend and
the body unify the body

FOREARMSTAND A.T.B. 5 HANDSTAND A.T.B. 5

Spotter: tries to pull flyers legs apart Spotter: try to pull flyers legs apart
l HANDSTAND BALANCE Flyer: try to keep legs unified Flyer: try to keep legs unified
set up in an L handstand slowly
point your toe to bring your
weight from the heel of your
palm to the base of your hand,
into your fingers and fingertips ,
from 95% vertical one degree at FOREARMSTAND A .T.B. 6 HANDSTAND A.T. B . 6
a time until it is 100% vertical Spotter: steps off the flyers hands and Spotter: support the minimum
supports the minimum Flyer: eyes to thumbs, find balance
Flyer: eyes to thumbs, find balance

Handstand Entries Handstand Bailouts

TucK juMP l TucK juMP 2 TucK juMP 3 BAIL OuT l BAIL OuT 2 BAIL OuT 3
hands shoulder width, knees touch the chest extend legs vertical Safety Police: goddess stance, Flyer: cartwheel the legs down Flyer: step the hand furthest
shoulders over wrists, hands on hips, opposite side Saftey Police: follow the Ayers from the spotter forward
jump hips over hands to the vertical leg hip as they come down Saftey Police: steer the hips of
the flyer down as they lift up

STRADDLE jUMP l STRADDLE jUMP 2 STRADDLE jUMP 3

hands shoulder width, straddle press legs extend legs vertical
shoulders over wrists , in and up
jump hips over hands KICK/PRESS TO l HANDSTAND l KICK/PRESS TO l HANDSTAND 2
hands shoulder width, shoulders bottom leg jumps, the top leg swings
over wrists, one leg just off the to vertical
ground the other ready to bend
and jump

PIKE jUMP l
hands shoulder width ,
shoulders over wrists,
PIKEjUMP2
pike press up
PIKE jUMP 3
extend legs vertical Handstand
jump hips over hands

88
 Acrobatic Training Philosophy
PH I LOSOPHY OF ACROBATICS
The 3 elements of any physical practice:
Strength, Flexibility and Technique
Strength and Flexibility are first a practice of the mind, then a
practice of the body. Confidence, determination and sensitivity are
the elements that must be present before feats of high-level strength
and flexibility can be experienced consistently. Physical strength and
flexibility can be increased gradually over time. The trick is learning
how to channel what you already have. Strength is all about will.
Flexibility is a practice of letting go. There is no way to quantify how
much will you can have or how much you can let go. Once this
infinite potential is realized in the mind, the athlete is ready to train
the body.
Confidence: Confidence is a virtue that acrobatics helps cultivate.
As students become more confident they rise to their true potential.
Students over time can realize the power of connecting mind and
body. Confidence starts in the mind then is realized into the physical
world through the body. Huge leaps can be made in the physical
practice by first deciding and knowing in the mind that you are
capable of that skill. This illustrates confidence in yourself, which
will naturally begin to extend to confidence in others. Both types of
confidence are needed to do acrobatics . In order to have confidence
in others, the element needed is trust.
Trust; The Currency of Acrobatics: Trust is earned over time and can
be seen like a bank account. Every good experience can be seen as a
deposit and accrues interest. If a partner is not supported in the way
they need , it is a withdrawal. The transaction amounts can vary; a
small deposit may be a smile and hug, while a huge withdrawal may
be dropping a partner to the hard floor. When deciding about trying
an acrobatic skill the flyer will run a credit check, the riskier the move
the more trust must be accrued . Spotters serve as insurance to aid in
the trust building process. Over time partners become established
in their ability to communicate and trust. These ideas and actions
form the foundation that AcroYogis can grow from.
Concentration: One of the gifts of acrobatics is its built in demand
for concentration. In the eight steps of yoga concentration , is the 6th
step. In acrobatics trust is an entry level requirement. In acrobatics
if you have another body in your hands, most of the time you wi ll be
very present and concentrated. This high degree of concentration
can be applied in all aspects of the practice but is most common to
acrobatics.
Visualization: Visualizing is a powerful compliment to concentration.
Visualizing is very effective while the body is still and calm . With eyes
closed , the ability to see the skill being done in your mind paves the
89
path for it hap pening in the physical world. For visualization to work,
you first have to believe it is possible.
Do What Works: If you are struggling while trying acrobatic skills
there are two possible reasons:
1. You are not using the best technique for you and your partner
2. You are not ready to attempt the skill
Either way consistent, intense struggle does not have to be a part
of your acrobatic practice. Hard work and struggle are not the same
thing. Struggle causes injuries, increases frustration and takes the
beauty away from the skill. Hard work is a discipline that will help
build strength and improve technique if channeled by a good coach.
Acrobatic technique is different from many other disciplines because
a major determining factor is the interaction of different bodies.
The way one pair does an element might be very different than
another pair due to bone structure, strength, flexibility, etc. When
attempting acrobatic skills, one should let go of the idea of right and
wrong technique. The trick is to keep trying ways that make th ings
easier for both partners. Learning about your partner's strengths
and difficulties will help you find ways to highlight your common
strengths and support your challenges.
CHoosiNG AN AcROBATIC
PARTNER
To excel in the practice of acrobatics one key component is training
regularly with a partner. The more time and energy you invest in
each other and training consistently, the easier and smoother
everything becomes. There are many elements that go into choosing
an acrobatic partner:
Size - The ty pe of acrobatics you want to' do will help you choose a
partner fit for your style. If you want to do mainly counterbalances
and intro level elements, similar size might be best. If you are
doing high-level acrobatics (hand to hand etc.) with a lot of flight, a
difference in size will work better.
Strengths & Weaknesses - Identify the strengths and weaknesses
of both you and your potential partner. You can either choose a
partner that has similar strengths, so you are both very good at some
aspects, or choose a partner that has strengths where you do not.
The clearer you are as to what type of acrobatics you want to train
will help you choose a suitable partner.
Personality - If you have a sense of what types of personal ities you
get along with and which ones drive you crazy; do a bit of research
about your potential partner to see where they fall. It is much more
enjoyable to train acrobatics with someone you get along with .
 Acrobatic Training Philosophy
Level of Dedication- This one is very important. If you both know how
many times a week you want to train and what you want to learn, the
journey will be more smooth and enjoyable. If your expectations are
very different, problems will arise, as the training gets more intense.

Coach vs. Guru - A guru can be translated as the one who takes
away the darkness. In the Indian tradition the guru is the one that
leads disciples further down the yogic path . The guru has seen and
felt what the student is searching for. They are the well of wisdom
and guidance to make the journey more direct, and keep the yogi on
track. The yogi surrenders to the guru and takes on the words of the
teacher as truth . Once these truths are tested in the world they can
become knowledge, and through meditation they can be realized as
wisdom .

In Acrobatics it is a similar role with differing themes . To learn how

to do death-defying stunts the student must trust their coach with
their life. The coach will teach enough building blocks for the student
to understand the foundation . From that foundation the skill can
be attempted and felt with the coach's assistance. With enough
repetition and faith , the student attempts the skill by themselves,
real izing their full potential. These relationships are ancient and
sacred . They are built on respect and love. The inner coach, like the
inner guru is the true teacher. Any great teacher will lead you to this
conclusion .

90
 Acrobatics and Spotting

DUCK SQUAT SPOTTING STANCE GODDESS SPOTTING STANCE WARRIOR 1 SPOTTING STANCE

Feet wider than hips, knees in , Feet wide, legs bent, hips low, Front leg bent, back leg rooted,
hands at your hip height spine straight, hands sensitive spine straight, hands sens itive

FRONT 81 RD LEG PRESSES FREE WITH SPOTTER

SPOTTER: Stand in Goddess with arms underneath flyer' s torso and legs, reach through to opposite side of flyer. Follow base when
pressing by bending knees to stay beneath flyer

BACK PLANK LEG PRESSES WITH SPOTTER

SPOTTER: Stand in Goddess with arms underneath flyer' s torso and legs, reach through to opposite side of flyer. Follow base when pressing
by bending knees to stay beneath flyer

91

SCISSOR LIFT TO STAR MOUNT WITH SPOTTER
BASE: Hand to hand grip, place feet on flyer's
shoulders with toes around collar bones
FLYER: Place shoulders on base's feet, hand to
hand grip, lift one leg
SPOTTER: Support flyer's leg from the outside,
offer resistance for the flyer to press against
jUMP TO STAR MOUNT WITH SPOTTER
SPOTTER: Hands around the flyer's
hipbones, Warrior 1 stance
Acrobatics and Spotting
FLYER: Press into spotter support to lift
other leg straight up, tuck chin to chest
SPOTTER: Resist flyer as they press,
step forward to aid flyer find hips over
shoulders
BASE: Be patient for flyer's hips to lift
over shoulders
SPOTTER: Step back as the flyer
inverts, hands stay at the hips
until the base and flyer are set
BASE: Extend legs to straight when flyer's hips are
over shoulders, press heels together behind flyer's
head, extend arms straight and wide
FLYER: Tuck chin to chest, then press head into
base's shins, squeeze legs together, straight arms
SPOTTER: Transition from flyer's leg to standing
behind base with hands at flyer's hips. Hands on
hips for dismount
SPOTTER: Stand behind base & flyer, hands
supporting the hipbones. Step back to
Warrior 1 with hands on hipbones to
support the flyer coming down
92
 Foundational Acrobatics

DOUBLE PLANK DOUBLE PLANK WITH ONE LEG DOUBLE TABLE DOUBLE TABLE WITH ONE LEG

BASE: Place feet flyer's
shoulder width distance
FLYER: Tops of feet rest on
base's shoulders, unified body,
hands on base's ankles
FLYER: Lift one leg, keep BASE: Find strongest position for FLYER: Lift one leg, keep lifting hip
body unified hands, lift hips, head back BASE: Lift one leg, keep lifting
FLYER: Place hands on base's
shoulder, one foot at a time on
base's knee, transition slowly to
lift hips

BEACH TITIBASANA ON CHILD'S POSE STRADDLE PEACOCK ON CHILD'S POSE

BASE: Find tabletop with shoulders over
wrists, hips over knees
FLYER: Hook one forearm under base's
midsection , wrap other arm around
shoulder of base's near side, neck hangs
free, jump or press to piked straddle
BASE: Find comfortable Child's Pose
FLYER: Place hands on base's lower back,
fingers point down the back, lift legs up,
strong and straight arms and legs
BASE: Find comforrable Child's Pose
FLYER: Place hands on base's lower back,
fingers point down the back, elbows
together at stomach, body strong, legs in
open straddle, body unified

SHOULDERSTAND ON BRIDGE

BASE: Place feet directly under knees, lift hips, take arm variation that supports hips staying lifted
FLYER: Place hands on base's knees, position shoulders on base's thighs toward the knees, jump or
press into shoulderstand

93
 Foundational Acrobatics

DOWN DOG COUNTERBALANCE

BASE: Place feet one at a time on flyer's hip crest, feet turned out, bend knees with arms at down dog angle, keeping upper body stable
and strong, straighten legs pressing flyer back, maintain eye contact
FLYER: Enjoy gentle spinal traction, allow weight to shift back into heels until arms lift up, then continue leaning weight onto base's feet
to stabilize the couterbalance, maintain eye contact

TITIBASANA ON PLANK )EDI PLANK PLANK ON KNEES SCORPION ON KNEES

BASE: Set up in Plank, shoulders
over wrists, feet as wide as flyer's
shoulders, body strong
FLYER: Place hands on base's
ankles, bend knees and lift
legs as high as possible, then
straighten legs
BASE: Lay on back, place hands
over shoulders, separate feet as
wide as flyer' s shoulders
FLYER: Place hands on base's
shins, lift one leg at a time into
base's hands, strong body
BASE: Lay on back, place
hands over shoulders, bend
knees, feet flat on floor, feet
as wide as flyer's shoulders
FLYER: Place hands on
base's knees, lift one leg at
a time into base' s hands
BASE: Place hands on flyer' s
knees
FLYER: Hips lower, bend knees
to reach toes towards head,
arch spine

SPLIT CouNTERBALANCE STRADDLE VARIATION

BASE: Keep knees together, place them towards flyer's low back. Slowly lean
back while holding onto flyer's heel, arm extended, knees bending
FLYER: Begin in squat, tight interlaced grip above base's hips behind back.
Present one leg to base, to counterbalance slowly lift other leg and extend
just above the floor, keep legs in a spit
TRANSITION FROM SPLIT COUNTERBALANCE
FLYER: Present both legs to base, moving slowly
BASE: Hold both heels of flyer, press them down and back

94
 Partner Inversions

PARTNER HANDSTAND PARTNER FOREARM STAND (OPTIONAL STAG VARIATION)

Place hands far enough apart that you Set up for forearmstand with enough space between you to kick up. Connect feet,
have space to kick and connect feet. Use a allow an arch throught the spine. Option to take stag one leg
spotter to help connect the feet, find arch
through the spine

FRONT L I MBER L HANDSTAND ON DOWN DOG

BAS E: Stand with feet hips width
apart, ready to receive flyer's
legs and latch over shoulders
FLYER: Kick up to handstand
hands beh ind base's feet, bend
legs over base's shoulders
BASE: Lever flyer's lower legs by bending over
shoulders, begin to bend forward with a flat
back until flyer's feet come to the ground . Keep
legs as straight as possible on transition
FLYER : Relax arms overhead and enjoy the
backbend . As feet near the ground bring arms
by side waist to come to standing
BASE: Find comfortable Down Dog
FLYER: Place hands facing away from base, lift
one leg at a time and point toes over sacrum.
Stack shoulders over wrists, keep arms straight,
option to lift one leg

HANDSTAND ON DOWN DOG (OPTIONAL SCORPION VARIATION)

FLYE R: Place hands directly on top base's hips, slide torso FLYER: Lift legs up, lift head, gaze up
onto base's spine. Keep shoulders behind wrists like
down dog arms, press chest back into spine of base

95
 Partner Inversions

BACK PACK WALKOVER

BAsE: Bend knees to place buttocks underneath flyer's buttocks, interlace elbows to lift flyer, begin to transition towards a forward fold
slowly, keep legs extended when placing flyer's hands on the ground
FLYER: Place buttocks above base's buttocks, allow feet to raise off the ground, take arms overhead, look towards the ground. Place hands
down and split legs to dismount through walkover

jEDI Box HALF LOOP DE LOOP

BASE: Lay on ground, stack wrists over shoulders, separate feet flyer's shoulder width apart. BASE: Place feet flyer's shoulder width apart,
Simultaneously engage core and stack shoulders over hips. Option to release one arm raise one arm to recieve flyer's leg
FLYER: Place hands on base's ankles, lift one leg at a time, place feet in base's hands, strong FLYER: Facing away from base, place hands
body. Simultaneously engage core and stack hips over shoulders. Option to release one leg near base's ankles. With control, halffront
walkover to present one leg to base. Split and
lean away with free leg, pressing heart forward
away from base

SOLE TO SOLE HANDSTAND WITH LEG VARIATIONS

Start in a short down dog facing away from one another. Connect toes, press actively into feet to extend to standing splits variation.
Maintain press to lift other leg and extend overhead. Keep arms straight. Option to take leg variations such as half scorpion

96

REVERSE THIGHSTAND WITH SUPPORT
SuPPORT: Legs bent, feet parallel on base's
lower back
BAS E: Thighs parallel to floor, forearm grip
FLYE R: Feet turned out place one foot on
base's thigh , forearm grip
THIGHSTAND WITH SUPPORT
SUPPORT: Legs bent, feet parallel on
base's lower back
BAS E: Thighs parallel to floor, hands
on flyer's hips
F LYE R: Place toes on base's knees,
hold base's wrists
97
Standing Counterbalances
F LYER: Step straight up onto base's
thighs, feet turned out
BASE: Stay steady as flyer steps up
FLYER: Step straight up onto base's
thighs, feet parallel
BAS E: Support flyer's hips, pull in
and down on flyer's legs
REVERSE THIGHSTAND COUNTERBALANCE WITH SUPPOf..
Lean chest back and straighten arms
BAS E:
FLYER:Lean back with straight body, straight arms
SuPPORT: Feet hover as base's back peels away
THIGHSTAND COUNTERBALANCE WITH SUPPORT
BAS E: Transition to forearm grip, lean chest
back and straighten arms
F LYER: Transition to forearm grip, lean
forwards with straight body, straight arms
SuPPO RT: Feet hover as base finds ease with
the counterbalance
 Standing Counterbalances

REVERSE THIGHSTAND WITH CROSSED ARMS WITH SUPPORT REVERSE THIGHSTAN D CouNTERBALANCE WITH CROSSED ARMS WITH SUPPORT

Su PPORT: Legs bent, feet parallel
on base's lower back
BASE: Thighs parallel to floor,
crossed forearm grip
F LYER: Feet turned out place one
foot on base's thigh, crossed
forearm grip
FLYER:Step straight up onto
base's thighs, feet turned out
BASE: Stay steady as flyer
steps up
BASE: Lean chest back and straighten arms BASE: Release one arm, keep
F LYER: Lean back with straight body, straight connected arm straight
arms FLYER: Release one arm,
SuPPORT: Feet hover as base's back peels maintain straight body, keep
away connected arm straight
S uPPORT: Feet hover if base's
back peels away

FLAG

BASE: Thighs parallel to floor, forearm grip
FLYER: Place one foot across base's thighs
turned out, forearm grip
F LYER: Step straight up onto base's
thighs, lift other leg and hook foot
behind base's neck, flex foot
BASE: Stay steady as flyer steps up,
press head into flyer's foot
BASE: Wrap arm around flyer's heel, hold leg
and anchor, lean chest back, lift other arm
F LYER: Lean away with straight body, body
stays in one plane, keep foot flexed

98
 Hand Balancing

Low FOOT TO HAND Box HIGH FOOT TO HAND

BASE: Wrists over elbows, elbows close to body, strong grip BASE: Arms straight, wrists over BAS E: Arms straight, wrists
F LYER:Hold base's feet, offer one foot to set grip then press shoulders, legs at 90 degrees over shoulders, strong grip
into arms to stand. Point through toes and squeeze midline FLYER : Hips over ankles, shoulders FLYER: strong legs, squeeze
with legs, gaze up over wrists midline, gaze up

THRONE TO REVERSE Low FooT TO HAND TUCK SiT

BAS E: Two fingers under feet, bend elbows and stack wrists BASE: Hand to hand grip, arms straight, writst over shoulders , tight grip
over elbows , squeeze elbows in close to body, strong grip FLYER:Step through one foot at a time to base's knees, squeeze knees in
FLYER: Body tight, squeeze feet in towards each other, flex and up towards chest, gaze up
feet slightly, gaze up

STRADDL E SIT, TITIBASANA L SiT

BASE: Arms straight, wrists over shoulders, strong grip BASE: Arms straight, wrists over shoulders, tight grip
Draw legs outside arms lifting knees towards shoulders ,
F LYER: FLYER:Step through one foot at a time to bases's knees, squeeze legs
extend legs stra ight and strong into piked straddle together and up towards chest

99
 Pyramids

SUPER YOGI PYRAMID DOUBLE BIRD PYRAMID DOUBLE Bow PYRAMID

HIGH FLYING WHALE PYRAMID HIGH FLYING WHALE PYRAMID (STAG) HIGH FLYING WHALE PYRAMID (HANUMAN)

DOWN DoG PYRAMID WARRIOR ON DOWN DOG PYRAMID

CANDLESTICK PYRAMID (STAG) DOWN DOG SCORPION PYRAMID

100
 Flying Vocabulary

FRONT BIRD FRONT PLANK Bow REVERSE FRONT Bl RD

BAT STRADDLE BAT FLOAT! NG PASCH I VASH/VISHNu ' s CoucH

THRONE STRADDLE THRONE REVERSE THRONE

REVERSE STAR : DOUBLE STAG SIDE STAR (SUPPORTED) SIDE STAR CANDLESTICK

101
 Flying Vocabulary

BACK BIRD BACK PLANK BOAT REVERSE BACK PLANK

STAR (PI KED STRADDLE} STAR (OPEN STRADDLE} STAR (PIKE} STAR (TuCK)

STAR (STRAIGHT) FREE STAR (OPEN STRADDLE} FREE STAR (STRAIGHT) REVERSE STAR (STRAIGHT)

SHOULDERSTAND (STRAIGHT) SHOULDERSTAND REVERSE SHOULDERSTAN D REVERSE SHOULDERSTAND

(PI KED STRADDLE} (SPLIT)

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 Flying Presses

FRONT BIRD LEG PRESSES (WITH HANDS)

BASE: Place feet parallel on flyer's hips, take
reverse hand to hand grip
FLYER: Keep arms straight and body engaged
BASE: Bend knees to receive flyer,
then extend legs to straight, feet
over !lips, wrists over shoulders
FLYER: Arms straight, lift chest
and legs , gaze up
BASE: Bend knees and arms simultaneously as low as possible
while maintaining stability, then extend to stacked position
FLYER: Keep arms straight, gaze up, strong body with chest and
legs lifting

Bow LEG PRESSES

BASE: From Front Bird point toes to lift flyer's chest and BASE: Bend knees as much as possible, then extend legs to straight,
release grip. Keep hands stacked over shoulders feet over hips, adjust toe point to keep flyer' s chest elevated
FLYER: Reach one hand at a time to ankles and kick feet FLYER: Maintain body position by kicking feet into hands
into hands to lift chest

THRONE LEG PRESSES

BASE: Bend knees , place feet parallel on flyer's thighs,
hold flyer's ankles
FLYER: Stand by base's shoulders facing away, reach for
the feet, begin to sit
BASE: Press legs to straight, transition hands to support soles of flyer's
feet, extend arms over shoulders, feet over hips. Bend knees and arms
simultaneously as much as possible whilst maintaining stability, press
back to straight and stacked
FLYER: Allow legs to bend so knees stack over base's wrists and shoulders
stack over base's hips. Maintain body position

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 Flying Presses

FRONT BIRD LEG PRESSES (FREE)

BASE: From Front Bird point toes to lift flyer's
chest and release grip. Keep hands stacked
over shoulders
FLYER: Reach arms along sides, lift torso and
legs, gaze up
BASE: Bend knees as much as possible, BASE: Extend legs to stacked position
then extend legs to straight, feet over hips FLYER: Maintain body position
FLYER: Keep lifting chest and legs, gaze up

FRONT BIRD TO BIRD ON HANDS

BASE: From Front Bird bend knees, turn toes out to place hands on flyer's hips. Place index and middle finger on belly, ring and pinkie
finger around outer hip, flyer's hip bone should rest in center of palm . Remove legs, stack wrists over shoulders, keep arms straight.
Bring feet to flyer' s th ighs, heels turned out, then work feet under flyer's hips to remove hands, press legs back to straight, feet over hips
FLYER: Maintain body position, lift chest and legs, gaze up

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 Flying Presses

BACK PLANK LEG PRESSES

BAS E: Feet parallel on flyer's lower back, bend knees to receive BASE: Bend knees as much as possible whilst maintaining
weight, extend legs straight, hands stay stacked over shoulders stability to press flyer, keep arms over shoulders, move legs at
FLYER: Hold base's ankles, maintain hol low body during mount, the same time, extend back to straight
gaze towards toes, reach arms alongside legs FLYER: Maintain body position, engage core

BACK PLANK TO BACK PLANK ON HANDS

BAS E: Bend knees as much as possible whilst ma intaining stability to press flyer, turn toes out to place hands on low back
and buttocks, stack wrists over shoulders, keep arms straight, press through fingers to lift flyer's chest. Bring feet back
with heels turned in, then transition foot back underneath flyer, press legs to straight
F LYE R: Maintain body position, engage core. Can be done in tuck, boat or back plank variations

lOS
 Flying Presses

BACK PLANK LEG PRESSES {TUCK VARIATION)

BASE: Feet parallel on flyer's lower back, bend knees to receive BASE: Bend knees as much as possible whi l st maintaining
weight, extend legs straight, hands stay stacked over shoulders stability to press flyer, keep arms over shoulders, move legs
FLYER: Hold base's ankles, maintain hollow body during mount, at the same time, extend back to straight
tuck knees into chest, reach arms alongside legs FLYER: Maintain body position, engage core

BACK PLANK LEG PRESSES (BOAT VARIATION)

BASE: Feet parallel on flyer's lower back, bend knees to receive BASE: Bend knees as much as possible whilst maintaining
weight, extend legs straight, hands stay stacked over shoulders stability to press flyer, keep arms over shoulders, move
FLYER: Hold base's ankles, maintain hollow body during mount, legs at the same time, extend back to straight
draw knees into chest with legs extended, reach arms alongside legs F LYER: Maintain body position, engage core

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 Flying Presses

CANDLESTI CK: TUCK PRESS

BASE: Bend knees place feet close to hips , extend arms straight BASE: Ma intain straight arms , press through fingert ips to keep flyer
FLYER: Place shoulders in base's hands, hold base's thighs , connected to thighs
stra ight arms, walk feet to base's knees . Press or jump legs up FLYER: Keep arms straight, tuck knees into chest with control then
through tuck to straight extend back to straight

STAR TUCK PRESSES

BASE: Begin in Star, ma intain heels together, legs straight and arms straight
FLYER: Begin in Star, tuck knees in towards chest, keep arms straight, press back of head into base's sh ins, extend back up to stra ight

STAR PIK E PR ESSES

BASE: Begin in Star, maintain heels together, legs straight and arms straight
FLYER: Begin in Star, pike legs in towards chest, keep legs straight and lower as much as possible, keep arms straight, press back of head into
base's sh ins, extend back up to straight

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 Flying Presses
1

CANDLESTICK : STRADDLE PRESS

BASE: From candlestick maintain straight arms, press through fingertips to keep Ayer connected to thighs
FLYER: From candlestick keep arms straight, straddle press legs as low to ground as possible then back up to straight

STAR STRADDLE PRESSES

BASE: Begin in Star, maintain heels together, legs straigh and arms straight
FLYER: Begin in Star, press legs through piked straddle as low as possible, keep legs straight, keep arms straight, press back of head into base's
shins, extend back up to straight

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 Mounts and Dismounts

FRONT BIRD MOUNT FRONT BIRD DISMOUNT

BASE: Place feet parallel on flyer's hips, take reverse hand BASE: Keep arms straight, bend knees to place flyer's feet on the
to hand grip, bend knees to receive flyer. Extend legs, feet ground close to hips
over hips, wrists over shoulders FLYER: Maintain body position, arms straight
FLYER: Keep arms straight and body engaged, gaze up

CANDLESTICK STEP TO KNEES MOUNT CANDLESTICK PIKED STRADDLE MOUNT

BASE: Bend knees place feet close to hips, extend arms straight BASE: Bend knees place feet close to hips, extend arms straight
FLYER: Place shoulders in base's hands , hold base's thighs, FLYER: Place shoulders in base's hands, hold base's thighs, straight arms,
straight arms, walk feet to base's knees. Press or jump legs up step feet to outside of base's legs, press or jump through piked straddle

CANNONBALL MOUNT

BASE: Extend legs straight, feet over FLYER: Tuck knees into chest, FLYER: Pull with arms, lift hips, extend legs up and out to
hips, place hands on flyer's shoulders keep arms straight piked straddle, use hands to draw base's feet to hip crease
FLYER: Hold the outside of base's feet BASE: Keep legs straight, BASE: Press up on flyer's shoulders, keep legs stra ight, turn
and lower torso, extend arms support flyer's shoulders feet in slightly to find Straddle Bat foot placement

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 Mounts and Dismounts

THRONE MOUNT THRONE DISMOUNT

BASE: Bend knees, place feet parallel on flyer's thighs,
hold flyer's ankles. Press legs straight, transition hands to
soles of flyer's feet, straighten arms
FLYER: Stand by base's shoulders facing away, reach for
the feet, sit onto the feet
BASE: Trans ition hands to cup behind flyer's ankles, bend knees
and place flyer's feet close to shoulders, release the feet
FLYER: Maintain body pos ition , hold base's feet for extra support
when coming to stand

jUMP TO STAR
BASE: Hand to hand grip, place feet on flyer's
shoulders with toes around collar bones
FLYER: Place shoulders on base's feet, hand to
hand grip, step close to base's shoulders
FLYER: Press or jump legs to piked
straddle, tuck chin to chest, press
through arms
BASE: Be patient for flyer's hips to lift
over shoulders, press through arms
BASE: Extend legs to stra ight when flyer's hips
are over shoulders, press heels together beh ind
flye r' s head , extend arms straight and wide
FLYER: Tuck chin to chest, then press head into
base's shins, engage legs, straight arms

CANNONBALL DISMOUNT

BASE: From Straddle Bat, place hands on flyer's shoulders , FLYER: Straighten arms, mainta in tuck shape, roll through
keep legs straight bases legs , bring feet to the ground
FLYER: Hold outside of base's feet, tuck knees into chest BASE: Support flyer's shoulders, keep legs extended as flyer
rolls through, press flyer's chest up

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 Mounts and Dismounts

FLOATING PASCH! DISMOUNT

BASE: From Bat, bring hands to flyer's upper arms close to the
shoulders, bring legs forward to stack wrists over shoulders, keep
arms straight, allow feet to release from flyer's hips
FLYER: Keep strong grip on front of ankles , extend legs straight,
squeeze legs together, straight arms, strong press through hands
BASE: Release feet, flex feet behind flyer's back, use toes as a back spot
to stop them rolling back if necessary, find balance, then tip flyer's feet
to the ground
FLYER: Maintain body position, straight arms and legs

WALKOVER TO BACK BIRD MOUNT - STANDING DISMOUNT

BASE: Support flyer's upper arms with
hands , draw legs forwards ready to receive
flyer's low back, feet parallel , flex feet, place
toes at flyer's waistband
FLYER: Place hands by base's shoulders ,
front wa lkover with control , keep split
through legs wh ile base connects feet
BASE: Bend knees to receive flyer, press legs to BASE: Bend knees to place flyer's feet to
straight, feet over hips , use hands to lift flyer's arms the ground
FLYER: Stag one leg, extend other leg, active FLYER: Clasp base's ankles , allow feet to
backbend . Once hands leave the ground reach them come to the ground
along sides of base's legs

WALKOVER TO THRONE MOUNT

BASE: Feet para llel , ready to receive flyer.
Place feet on buttocks and thighs as flyer's
legs come over, ra ise hands
FLYER: Place hands close to base's hips ,
controlled front walkover, arms stra ight,
keep legs split to slow the entry
BASE: Bend knees to receive flyer's weight, clasp
outsides of flyer's feet and pull down to offer
resistance for flyer to sit up. Straighten legs once
flyer's chest has lifted
FLYER: Flex feet into base's hands to lever chest up,
curl shoulders over hips
BASE: Transition hands to soles of flyer's feet,
stack feet over hips, wrists over shoulders,
straight arms
FLYER: Allow knees to bend , shoulders over hiJ=

11 1
 Mounts and Dismounts

jUMP TO REVERSE STAR

BASE: Place feet on flyer's shoulders, toes towards shoulder blades ,
receptive through legs as flyer leans in
F LYER: Place shoulders on base's feet, place hands on backs of
base's legs, fingers point down, squeeze elbows in, lean weight
forwards to begin the jump
F LYER: Press of jump hips over shoulders, press down
through arms, squeeze elbows in, gaze down at base
BAS E: Wait for flyer's hips to be over shoulders, then press
legs to straight, feet stacked over hips

.J
BACK BIRD MOUNT - WALKOVER DISMOUNT

BAS E: Feet parallel, toes at waistband, heels on buttocks, raise arms . Bend
knees until hands connect to flyer's shoulders
FLYER: Step close to base's hips facing away, reach back for base's ankles,
thumbs turned in. Lean weight back, when feet leave the ground stag one leg
BAS E: Transition hands from flyer's shoulders to upper
arms , bend knees, place flyer's hands on the ground
close to shoulders, press toes to help flyer transition
F LYER: Place hands on ground , straight arms, split legs
to bring hips over shoulders, walkover out

BACKWARD ROLL TO REVERSE SHOULDERSTAND MOUNT

BASE: Sit in tuck with feet on
the ground , place hands on
flyer's shoulders
FLYER: Sit on top of base's
feet, tuck knees into chest,
hold base's ankles
BAS E: Begin to roll towards back, bend knees
into chest, flex feet to scoop flyer's hips, draw
flyer's shoulders into hands
FLYER: Follow momentum to roll back, keep
knees in tuck, gaze towards toes, maintain
hold of base's ankles
BASE: Extend legs and arms to press flyer into
shoulderstand, wrists over shoulders , ankles over hips
F LYER: Extend arms to press base's legs away, extend
legs up, squeeze legs together, gaze up

112

CARTWHEEL TO STRADDLE BAT
BASE: Hand to hand grip, extend leg to the side to meet flyer,
turn foot to line up beneath flyer's hipbone
FLYER: Step close to the side of base's hip, angle toes towards
base's hip, hand to hand grip
CARTWHEEL TO VISHNU'S COUCH
BASE: Hand to hand grip, extend leg to the side to meet flyer,
turn foot to line up beneath flyer's hipbone. Bend knee in to
receive flyer for Straddle Bat
FLYER: Step close to the side of base's hip, angle toes towards
base's hip, hand to hand grip. Lean weight into base's foot,
press through arms, pike lower leg to create shelf, extend top
leg, keep body in one plane
113
Mounts and Dismounts
BASE: Bend knee in to receive flyer, press through arms, extend legs,
place other foot in flyer's opposite hip crease
FLYER: Lean weight into base's foot, press through arms, pike lower
leg to create shelf, extend top leg up and over, keep body in one plane.
Place other leg onto base's foot
BASE: Press through arms, bend knee to allow flyer's chest to lift, place
free foot towards flyer's armpit, press legs away from each other
FLYER: Press through arms to lift chest, maintain pike through bottom
leg, extend other leg up, keep body in one plane
 Mounts and Dismounts

BASE: Press through arms to release foot, bend other leg to place flyer's feet to ground
FLYER: Press through arms to lift chest, place feet to the ground close to base's hip

BASE: Extend both legs, press BASE: Transition to hand to hand grip, press through arms, bend leg to place flyer's feet to the ground
legs away from each other FLYER: Transition to hand to hand grip, press through arms, place feet to the ground
FLYER : Transition lower hand
to base's leg, extend top arm

114

CARTWHEEL TO STAR WITH STEP
BASE: Hand to hand grip, extend leg to the side to meet flyer,
turn foot to line up beneath flyer's hipbone
FLYER: Step close to the side of base's hip, angle toes towards
base's hip, hand to hand grip
(ARTWH EEL TO STAR
BASE: Hand to hand grip, extend leg to the side to meet
flyer, turn foot to line up beneath flyer's shoulder
F LYER: Step close to the side of base's hip, angle toes
towards base's hip, hand to hand grip
115
Mounts and Dismounts
BAS E: Bend knee in to receive flyer, press through arms, extend
leg, bend opposite knee to place foot on flyer's shoulder
FLYER: Lean weight into base's foot , press through arms, pike
lower leg to create shelf, extend top leg up and over, keep body
in one plane.
BASE: Bend knee in to receive flyer, press through arms , extend leg, bend
opposite knee to place foot on flyer's shoulde r
FLYE R: Lean weight into base's foot , press through arms , pike lower leg
to create shelf, extend top leg up and over, keep body in one plane.

BASE: Press through arms and legs, transition foot from flyer's
hip to shoulder, press to star, extend arms straight and wide,
press heels together behind flyer's head
FLYER : Maintain piked straddle, press through arms, once in
star extend arms straight and wide, press head into base's
shins in Star
BASE: Press through arms and legs, press to star,
extend arms straight and wide, press heels together
behind flyer's head
FLYER : Maintain piked straddle, press through arms,
once in star extend arms straight and wide, press
head into base's shins in Star
Mounts and Dismounts
BASE: Bend elbows, find active resistance through arms, step one foot
to flyer's hip, press through arms to lift flyer's chest, bend knee to place
flyer's feet to ground
FLYER: Bend elbows, find active resistance through arms, pike through leg
onto base's foot , press through arms to lift chest, step feet to the ground
BASE: Bend elbows, find active resistance through arms, step one foot out, press
through arms to lift flyer's chest, bend knee to place flyer's feet to ground
FLYER: Bend elbows, find active resistance through arms, pike through legs, press
through arms to lift chest, step feet to the ground
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 Acrobatic Flying Transitions

PRASARITA TWIST TO STRADDLE BAT

BASE: From Folded Leaf thread Ayer's arm in front of legs, bend opposite
knee, press shoulder until Ayer reaches footjleg for Prasarita Twist.
Switch hands on shoulders, turn Ayer to stack wrists over shoulders
FLYER: Reach for opposite footjlower leg, allow torso to twist open. Keep
pike through both legs
BASE: Keep arms straight, wrists over shoulders , step foot out of
Ayer's hip. Place foot with heel turned in to inside of other foot on
Ayer' s hip crease. Once foot is in place begin to straighten leg
FLYER: Hold onto footflower leg, ma intain pike through legs

TURNTABLE

BASE: From Reverse Bat place one
hand between Ayer's shoulders ,
other hand at Ayer' s sacrum
FLYER: Keep hold of ankles, look
up towards own feet
BASE: Use arms to turn Ayer until able to straighten BASE: Continue to turn Ayer using arms, with
arms , shoulders over wrists. Step foot out, place to support of foot. Place other foot in Ayer's hip for Bat
inside of Ayer's hip crease with toes turned in FLYER: Keep hold of ankles, look up towards own
FLYER: Keep hold of ankles, tuck chin to chest feet until arrived in Bat

FRONT BIRD TO PIKED STRADDLE SHOULDERSTAND

BASE: From Front Bird raise hands to receive Ayer's shoulders . Keep arms BASE: Keep arms and legs straight and stacked , use legs to pull
straight, wrists over shoulders Ayer back if needed to keep wrists over shoulders
FLYER: Hold base' s ankles, place shoulders in base ' s palms, take legs to FLYER: Straighten arms to press base's legs away, stack hips
piked straddle over shoulders, keep legs in piked straddle. Pull base's feet into
hip crease to land in Folded Leaf
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 Acrobatic Flying Transitions

BASE: Catch flyer's hip crease with free foot, turn toes in slightly for Straddle Bat. Maintain arms straight
until both feet are in place with legs straight
FLYER: Release foot when base's foot has released, open into piked straddle, trace leg along horizon line

REVERSE TURNTABLE

BASE: From Bat place one hand
between flyer's shoulders, other hand
at flyer's sacrum and lift flyer's chest
FLYER: Keep hold of ankles, tuck chin
to chest
BASE: Use arms to turn flyer until able to
straighten arms, shoulders over wrists.
Step foot out, place to inside of flyer's hip
crease with toes turned out
FLYER: Keep hold of ankles, look up
towards own feet
BASE: Continue to turn flyer using arms, with support
of foot. Place other foot in flyer's hip for Reverse Bat
FLYER: Keep hold of ankles, look up towards own feet
until arrived in Reverse Bat

FRONT B1 RD TO STRAIGHT SHOULDERSTAND

BASE: From Front Bird raise hands to receive flyer's shoulders . Keep arms
straight, wrists over shoulders
FLYER : Hold base's ankles, place shoulders in base's palms, maintain a
straight body, legs engaged
BAsE: Keep arms and legs straight and stacked
FLYER: Straighten arms to press base's legs away, stack
hips over shoulders, keep legs squeezing together and
straight. Pull base's feet into hips to land back in Front
Bird
 Acrobatic Flying Transitions

B1 RD TO SHOULDERSTAN D 180 TWIST TO STRADDLE BAT

BASE: From Front Bird raise hands to receive flyer's
shoulders. Keep arms straight, wrists over shoulders
FLYE R: Hold base's ankles, place shoulders in base's
palms , take legs to piked straddle. Press arms straight,
stack hips over shoulders
BASE: Turn flyer's shoulders using arms, place foot in flyer's hip crease. Keep
turning torso using arms and leg until other foot can be placed in Straddle Bat
FLYER: Turn hips , look at base's foot, place foot into hip crease. Pike down
through leg, thread arm in front of base's legs to twist torso, open top leg into
piked straddle for Straddle Bat

CANDLESTICK FREE SHOULDERSTAND 180 TWIST TO STRADDLE BAT

BASE: From Candlestick bend knees in towards chest until BAS E: Keep arms stacked , press through fingertips to support wrists
wrists stack over shoulders FLYE R: Transition one hand at a time to base's forearm above elbow,
FLYER: Ma intain piked straddle, stay engaged thumbs in, fingers pointing towards the ground . Root down towards
the ground with hands, squeeze elbows in

SUPPORTED HELICOPTER

BASE: From Straddle Bat place hands on flyer's shoulders as the flyer turns . Begin BAsE: Step free foot inside the other to catch flyer's hip
to press arms to stra ight and stacked, release foot as weight transfers to arms crease, toes turned out, keep pressing flyer's shoulders,
FLYER: Begin to twist torso, maintain piked straddle, squeeze elbows in transfer foot to other hip crease, catch in Folded Leaf
FLYER: Squeeze elbows in , ma intain piked straddle

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 Acrobatic Flying Transitions
BACK BIRD TO REVERSE SHOULDERSTAND
BASE: From Back Bird place hands on flyer's shoulders. Keep arms
straight, bring wrists over shoulders
FLYER: Hold base's ankles, place shoulders in base's palms, take legs
from stag into spl it
BASE: Use arms to twist flyer's torso, catch hip crease with
foot toes turned out, keep arms straight
FLYER: Ma intain piked straddle, squeeze elbows in, root
down through hands
BASE: Keep arms and legs straight and stacked, use legs to pull flyer
back if needed to keep wrists over shoulders
FLYER: Stra ighten arms to press base's legs away, split legs until hips
stack over shoulders then extend to stra ight. Pull base's feet in to
return to Back Bird
BASE: Continue to turn flyer's torso, catch flyer's hip crease with
other foot in Straddle Bat
FLYER: Maintain piked straddle, release contact with hands
when base has placed both feet
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 Acrobatic Flying Transitions

FREE SHOULDERSTAND TO REVERSE THIGHSTAND COUNTERBALANCE

BASE: From Free Shoulderstand, place feet flat on the ground hips width apart, press through fingertips to support wrists, keep arms straight
and stacked . Press through fingertips to anchor flyer towards legs
FLYER: Root down towards ground through arms, squeeze elbows in, pike legs down towards base's knees, use core to slow decent of legs .
Place feet with toes towards base's knees. Press through hands to lift chest as hips lower

STAR TO THIGHSTAND COUNTERBALANCE

BASE: From Star keep arms straight, draw wrists over shoulders, press strongly through arms. As flyer's feet come to knees, bend legs and take
feet towards the ground , feet hips width
FLYER: Keep arms straight, engage core to pike legs down slowly with control , curl legs in as close to chest as possible, stack shoulders over wrists.
place toes on base's knees

THIGHSTAND COUNTERBALANCE TO SiTTING ON SHOULDERS

BASE: From Thighstand Counterbalance bend arms to draw flyer directly over shins , press through arms with active resistance, tuck ch in to th read
head through flyer's legs, extend legs as flyer sits
FLYER: Draw body back in a plank until standing straight, bend knees to allow base to thread head through, sit onto base's shoulders, as feet
release from knees tuck them around base's torso

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 Acrobatic Flying Transitions

BASE: Transition to forearm grip, keep arms straight, curl up using core as flyer leans away, send knees over toes, as hips lift lean
shoulders away from flyer, keep chest lifted
FLYER: Transition to forearm grip, keep arms straight, sit hips towards heels, lean away from base, as base's hips lift, extend legs and
lean back

BASE: Keep arms straight, place feet hips width, use core to coil chest up as flyer begins to lean away, send knees over toes to lift hips,
lean shoulders away from flyer, lift chest
FLYER: Keep toes on base's knees, arms straight, sit hips towards heels and lean chest forwards , send knees over toes, pull away from
base with arms, send hips forward and extend legs

BASE: Bend knees, send hips backwards, place flyer's feet on knees. Take hands to flyer' s hips, draw head out, lean shoulders back,
extend arms, lift chest for Thighstand Counterbalance. Support flyer's hips until their feet are on the ground
FLYER: Place toes towards base's knees, lean hips into base's hands, send chest forwards, extend legs. To dismount, bring hands to
base's forearms , press through hands, hop feet to the floor

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 Acrobatic Flying Transitions

STRADDLE BAT STEP TO STAR

BASE: From Straddle Bat take hand to hand grip, find active resistance
through arms, elbows squeeze in. Remove one foot from flyer's hip,
bend knee deeply to place foot under flyer's shoulder
FLYER: Take hand to hand grip, squeeze elbows in, active resistance
through arms, maintain piked straddle
BASE: Press through arms and leg to make space to remove
second foot, place to flyer's shoulder. Press heels together
behind flyer's head, take arms wide and straight for Star
FLYER: Press through arms, keep hips over shoulders , maintain
piked straddle, press head into base's shins in Star

STRADDLE BAT POP TO STAR

BASE: From Straddle Bat take hand to hand grip, find active resistance through arms, elbows squeeze in. Bend knees and extend
legs to pop flyer up, keep legs close and feet ready to catch shoulders in Star
FLYER: Take hand to hand grip, squeeze elbows in, find active resistance through arms, maintain piked straddle

BARREL ROLL

BASE: From Straddle Bat take reverse hand to hand grip, bend
arms to allow flyer to twist torso, press through arms to remove
one foot and lift flyer's chest
FLYER: Twist torso, take reverse hand to hand grip, press through
arms to lift chest, circle top leg around
BASE: Press arms straight to lift flyer's chest, step foot to hip of
flyer's free leg crossing in front of other foot, toes turned out
FLYER: Press through arms to lift chest, reach top leg back, place hip
onto base's hip, lift other leg

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 Acrobatic Flying Transitions

STAR STEP TO STRADDLE BAT

BASE: Bend arms, squeeze elbows in , active resistance through arms . Step one foot out from
flyer's shoulder, trace along side body while bending opposite knee, place foot in flyer's hip
crease. Remove second foot and place in hip crease for Straddle Bat
FLYER: Bend arms, squeeze elbows in, active resistance through arms, maintain piked straddle

STAR POP TO STRADDLE BAT

BASE: From Star bend elbows, find active resistance through arms, elbows squeeze in . Bend knees and extend legs to pop flyer up, keep
legs close to flyer's side body, press through arms to slow decent, feet ready to catch hip crease in Straddle Bat
FLYER: Bend arms, squeeze elbows in, find active resistance through arms, maintain piked straddle, press through arms to slow decent

BASE: Stabilize flyer on one leg, hug leg in to center. Bend arms to allow flyer's chest to come down , place other foot
to hip crease for Straddle Bat
FLYER: Pike through leg on base's foot, turn torso to look between arms , circle other leg up and over, place leg on
base's foot for Straddle Bat

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 Acrobatic Flying Transitions
FRONT BIRD TO HIGH FLYING WHALE
BASE: From Front Bird bend one knee to turn foot out, extend leg as
flyer rolls onto foot
FLYER: Place one hand above base's knee on lower leg, extend arm,
pike down through bottom leg to create shelf for Side Star, keep body
in one plane, raise top arm and leg
BIRD TO THRONE TO HIGH FLYING WHALE
BASE: From Front Bird keep arms straight, release one foot, step to
flyer's th igh
FLYER: Press through arms as base releases foot, draw knee towards
armpit to offer th igh, place foot on base's shin
HIGH FLYIN G WHALE TO THRONE TO BIRD
BASE: From H igh Flying Whale switch grip to reverse foot to hand . Bend
arms, remove one foot, knee and place foot to flyer's upper thigh
FLYER: Bend knees, bring arms by sides , engage core
125
BASE: Internally rotate foot to begin to turn flyer, reach
hand for flyer's bottom foot to help continue turning.
FLYER: Maintain straight arm, pike through lower leg,
extend through top arm and leg
BASE: Find active resistance through arms and leg to transfer
other foot to flyer's thigh. Bend both knees until flyer's
shoulders stack over hips, then extend legs
FLYER: Keep arms straight, press through leg to draw other
knee forward , place both feet on base's sh ins and sit up
BASE: As flyer sits up press through leg, use toes on other leg to help
flyer's chest rise. Step other foot to flyer's thigh , stra ighten both legs anr'
arms for Throne
FLYER: Use core to sit up, allow knees to bend , stack shoulders over hips
 Acrobatic Flying Transitions

BASE: Bring free foot to flyer's shoulders, turn toes in , extend through leg as flyer turns to support torso , turn toes down to wa istband ,
catch flyer 's top foot as it comes over. Extend arms, feet parallel either side of spine
FLYER: Keep arm straight to lift chest, maintain pike of lower leg, slowly bring top leg over once base's foot is at shoulders , lift hips.
Release arm once base transitions second foot in place

BASE: Transition hands to flyer 's feet , reverse foot to BASE: Transition second foot to flyer's shoulders, switch grip to
hand grip for Throne. Bend arms and legs , trace one foot flyer 's ankles for High Flying Whale
down flyer's back, flex foot to receive flyer 's weight F LYER: Keep core engaged until both base's feet are engaged, lift
FLYER: Keep core engaged , curl back onto base's foot one leg at a time to switch grip

BASE: Transition flyer 's feet to shins, take BASE: Keep arms straight, step one foot to flyer's hip at a t ime for Front Bird
reverse hand to hand grip, keep arms straight FLYE R: Keep arms stra ight, lift one leg at a time and extend back to Front Bird
F LYER: Place feet on base's shins , take reverse
hand to hand grip

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 Acrobatic Flying Transitions

REVERSE BIRD STEP TO STAR

BASE: From Reverse Bird reach hands towards legs,
find d iagonal power line with straight arms from
shoulders to flyer 's shoulders, hand to hand grip
FLYER : Hand to hand grip with base, keep arms
straight, squeeze legs together with body engaged
BASE: Bend elbows, find active resistance through arms,
remove one foot, step to flyer's shoulder, bend knee
deeply. Wait for flyer 's hips to stack over shoulders, then
press through leg and step other foot to flyer's shoulder
FLYER: Bend elbows , find active resistance through arms,
split legs to tip hips up over shoulders , maintain spl it
and press through arms, squeeze elbows in
BASE: Press both legs to straight,
press heels together behind
flyer's head, straighten arms out
to the side
FLYER: Straighten arms and legs ,
press head back into base's shins

FRONT B1 RD STEP TO REVERSE STAR

BAS E: From Front Bird take reverse hand to hand grip. Find active
resistance in arms, remove one foot, bend knee to place foot to flyer's
shoulder
FLYER: Take reverse hand to hand grip, find active resistance in arms,
pike through leg as base removes opposite foot, allow shoulders to
come towards base's foot
BAS E: Receive flyer's weight by bending knee deeply, take hands widr
turn palms up to open flyer's shoulders . Once flyer's hips are over
shoulders press through leg to step other foot to flyer's shoulder
F LYER : Split legs to stack hips over shoulders, press through arms

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 Acrobatic Flying Transitions

BASE: Bend elbows, find active resistance through arms, remove
one foot, step to flyer's hip. Bend knee deeply. Press through arms
to lift flyer's chest, remove other foot and bring it to flyer's hip
FLYER: Bend elbows, find active resistance through arms, split legs
to bring hip to base's foot, lift chest and lift gaze
BASE: Press arms towards diagonal power line, straighten
legs as flyer's chest lifts, flex feet to help lift flyer's chest
FLYER: Squeeze legs together, lift chest and gaze, straighten
arms to find diagonal power line. If possible, lift chest and
find hands free

BASE: Press both legs to straight, ankles
over hips, transition flyer's hands to
lower legs one at a time
FLYER: Squeeze legs to straight, transition
hands to base's calves, fingers pointing
down, root towards the ground. Squeeze
elbows in , gaze at base's navel
BASE: Transition to reverse hand to hand grip, find active resistance in arms. Step one foot out from
flyer's shoulder, bend opposite knee to lower flyer, place free foot at flyer's hip, flex foot to receive
flyer's torso. As weight transfers bend knee and press through arms to lift flyer's chest, remove
second foot and place at flyer's hip for Front Bird
FLYER: Transition to reverse hand to hand grip, find active resistance in arms, split legs to lower one
hip to base's foot. Press through arms to lift chest, lift gaze

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 Acrobatic Flying Transitions

CORKSCREW

BASE: From Folded Leaf take hand to hand grip as flyer turns BASE : Press through leg to release other foot. Press through arms, place
torso, find active resistance through arms . Turn flyer with hips, other foot to flyer's shoulder, extend both legs and arms for Star
step one foot out from hip, bend knee deeply, place foot on F LYER : Press through arms, maintain piked straddle through legs
flyer's shoulder
FLYER: Turn torso, take hand to hand grip, find active res istance
through arms, maintain piked straddle through l'e gs

CATHERINE' S WHEEL

BASE: From Front Bird raise arms ready to receive flyer's shoulders.
Bend knees to lower flyer into Free Shoulderstand, point toes to raise
flyer's hips over shoulders
F LYER: Place hands on base's forearms, fingertips towards the ground,
squeeze elbows in , keep body straight and engaged
BASE: Take legs outside and around flyer's torso, bend knees
and place feet towards flyer's buttocks. Press arms through
legs to direct flyer's chest towards backbend
F LYER: Switch grip to cup around outside of base's forearm,
bend knees, begin to backbend to take legs over, use arms for
resistance as legs decend and buttocks land on base's feet

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 Acrobatic Flying Transitions

BAS E: Find active res istance through arms, as flyer turns hips remove foot from opposite shoulder, bend arms and knee to lower
flyer, step foot to flyer's hip crease, use hips to turn flyer, place other foot to hip crease for Folded Leaf
F LYE R: Find active resistance in arms, begin to turn hips, mainta in piked straddle. Bend elbows as chest lowers, press through leg
as base places foot to hip crease, turn torso to face base's legs

BASE: Support flyer's hips with feet, trans ition to reverse foot to hand BASE: Bring legs through flyer 's legs, feet parallel , place on the hips
grip, bend arms until elbows are on the ground directly under wrists , as flyer leans forward, release flyer's feet away for Front Bird
squeeze elbows in. Use toes to press flyer up to standing in Low Reverse FLYER : Lean hips forward once base's legs come through , keep
Foot to Hand gaze and chest lifted , lift legs up and back
FLYE R: Release arms along side waist, use core to lift chest to sit on
base's feet and stand into Reverse Foot to Hand . Squeeze legs in , allow
feet to flex deep ly, lift gaze up

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 Acrobatic Flying Transitions
TUMBLEWEED
BASE: From Star bend arms, find active resistance, remove one foot and trace
down flyer 's back to sacrum for Back Bird, release and replace other foot
FLYER: Bend arms, find active resistance, stag one leg, as base places foot
allow weight to transfer back into back bend
REVERSE TUMBLEWEED
BASE: From Back Bird take hand to hand grip, find active resistance
through arms, step one foot to flyer's shoulder. Once flyer's hip are over
shoulders extend through leg, place other foot, extend both legs for Star
FLYER: Take hand to hand grip, bend arms , find act ive res istantce, split
legs to stack hips over shoulders , extend straight to Star
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BAS E: Bend knees to trans ition hands to foot to hand grip on
flyer's feet, place elbows on the ground, wrists stacked over
elbows. Press through feet to help flyer stand in Low Foot to Har -'
FLY ER: Bend both knees, allow feet to lower towards the ground ,
use core to stand up, squeeze legs together, lift gaze
BASE: Transition hands open, keep legs straight, stack wrists
over shoulders ,
FLYER: Transition hands to base's wrists, pike down, legs hips
width , draw feet towards base's hands
 Acrobatic Flying Transitions

BASE: Place feet to flyer's shoulders, bend knees deeply to allow flyer to stack hips over shoulders, transition hands one at a time to hand
to hand grip and press legs straight to find Star
FLYER: Pike forwards to place shoulders on base's feet, take hands to base's shins, fingertips point towards ground, squeeze elbows in ,
press legs up into piked straddle, transition one hand at a time to hand to hand grip, extend up to straight

BASE: Take foot to hand grip, bend knees to free flyer's head and BASE: Take legs through flyer's legs, place feet at low back, bend knees
shoulders, keep legs up to aid flyer into Low Foot to Hand to receive flyer's hips, release feet away, extend legs for Back Bird
FLYER: Place feet into base's hands, release grip, use core to stand up FLYER: Sit onto base's feet as they arrive at lower back, arch spine and
into Low Foot to Hand , use hands on base's legsjfeet if needed stag one leg for Back Bird

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 Thanks & Praises
A huge thanks to so many amazing talented supportive beings that soul has been a grounding chord for me, thank you for all the ways you
have made t his practice a reality. showed me how to receive divine light.

I am humbled by all the amazing people in my life that have To Sianna Sherman, for opening me to the grace within me that I could
supported me and the vision of AcroYoga. Th is is a small list of many not see.
beings that have made th is vision into a practice that continues to
change the way we relate to each other. To Janet Stone, for opening your family to me and being such a consistent
friend .
To jenny Sauer-Kiein, for co-creating many of the flows and sequences
in this manual. For your devotion to compassionate communication To Rusty Wells, for your huge generosity, big heart and bhakti seeds .
and years of dedication to build ing this practice from the seeds of
To )ai Uttal, for teaching me to fall in love with my voice and teach ing me
our first conversations and jams. Through being my most dedicated
how to invite others to do the same.
partner for almost a decade, the lessons you shared with me are a
big part of what AcroYoga is, and always will be. To Carolyn Cohen, for being the first student of AcroYoga , without you
none of this would have happened .
To Kadri Kurgun , for your vision and skill to capture and create this
practice, for being the guy with the lens that sees the world's beauty To Francisco Morales-Bermudez, for your brotherhood and support.
and reflects it.
To Tim & Tara Dale, for being the first people to say yes to AcroYoga.
To Bonnie Argo, for laying out the manual, from the detailed text to
To the Thai Circus Family, for being the cousins I never knew I had , for
giving the book life and a feel. For being such a bad ass in so many
opening your practice to ours and building a big global family of metta
ways, for singing your heart into the world , for being a rock that I can
monkeys .
count on , for mentoring so many.
To Dr. Scott Blossom , for your ins ight into healing arts , amazing intellect
To our AcroYoga models in the manual, Jenny Sauer-Kiein, Jeremy
on so many topics and for playing music for spirit and fun .
Simon, justin Bench, Jane Hansen .

To Dr. Eric Ruben, for being one of the most skilled healers to every lay
To my Mom, for all your support from birth until now, your love and
hands on me, your ability to help the body find balance is a huge source
teachings are the foundation of my being and I will always see you as
of inspiration .
my first teacher of yoga, meditation, and how to be a loving human .
For being my biggest supporter in all ways . You not only said yes to To Alexandra Ruiz, for being one of my best friends , for creating a home
my dreams you helped them come true. for AcroYoga en Mexico, for inspiring so many teachers and being an
amazing leader.
To my Dad, thank you for teaching me about kindness , patience,
hum ility and for sharing Mexican culture. To Jennifer Yarro, for your dedication to sharing healing arts, for teaching
me how to use x-ray vis ion and for bringing your skills and passions to
To my Step Dad, fo r teach ing me about how to honor spirit in plants
the world .
and an ima ls, how to listen, communicate and believe in magic.
To David Lurey, for bringing bhakti to so many AcroYogis, for being an
To my Step Mom, for your positivity, encouragement and always
example of a man living with integrity, for being one of my best friends .
being a cheerleader.
To Adam Rinder, for being there from the start, for singing, for inspiring
To Jenny's parents , for all your love and support and for raising such
so many to become more bright.
an amazing human .
To )onny Nobleza, for your amazing studentship for being my flyer and
To Tom Monas , for teaching me how to train acrobatics and build
brother. For helping me become a mus ician.
progressions.
To Chris Loebsack, for the constant support that you offer to me and the
To Lu Yi , fo r teach ing me how to extend and have good feeling,
practice. For being so strong and soft.
your mastery in teach ing is second to your ability to see the good
in people. To juan P, for building an AcroYoga army in South America . Your ability to
live AcroYoga has produced one of the strongest communities on Earth .
To Dharma Mittra, my teacher of saintly behavior and humility. Your

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 Thanks & Praises
To Jaqui Wan, for being an example of how selfless a community
builder can be.

To Paige Elenson, for putting the world on your feet, turning your
dream of flying some Kenyans into a movement that is changing
thousands of people's lives .

To Jeremy Simon, for dedication to building commun ity, your

studentship, friendship, your ability to be one piece and many hot
cookies.

To Katie Capano, for going to the ends of the earth to bring light to
dark places , for being a friend and a supporter when I needed both.

To Jason & Chelsey Magness, for being real and down to Earth, even
when you spend so much time suspended from it.

To lux, for being an acrobatic genius , masterful teacher and

someone I can lean on in so many ways .

To Pau Castellsague, for how you use your enthusiasm to bring love
to so many.

To Wari Om Castellsague, for bringing your family into AcroYoga and

for capturing the beauty with your perspective.

To Justin Bench, for supporting the photo shoot and supporting

everything you come into contact with that has the letters AY on it!

To Justyna Fiuk and Asha Tyska Mclaughlin, for your diligent work
producing th is manual and the artistic standards of the company.

lastly but very importantly to Rob Izumi and Deven Sisler the two
most supportive people in my AcroYoga life, your dedication hard
work and love are the water that keeps the AcroYoga tree growing, I
will never be able to thank you enough .

To all the students that move me on a daily basis. You are the reason
for al l of th is.

In loving support,

Jason Nemer

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