moanmnerenninonanoa Apout THE AuTHOR Oo Brian Cooper has been practicing Hatha Yoga since 1970 and teaching full time since 1990. His first formal studies were at Yoga Niketan in Rishikesh in 1972. He holds a doctorate in Bio-Engineering and an advanced diploma in Thai Massage. These strands have come together to produce this manual. He was co-founder of the Edinburgh Yoga Centre and director of Union Yoga in Edinburgh. He is director of Teacher Training for Union Yoga, and executive consultant for Yoga Alliance UK. He is the founder of the eco-aware Shanti Griha Retreat Centre in the secluded north west of Scotland. Brian runs teacher training and yoga classes all over the world. You can find more information at: 3 o + www.briancooper.eu + www.unionyoga.co.uk uuUnion Yoga rea koto) a www.unionyoga:¢o: x(ole Wall irlareom Ol. SETTING STANDARDS FOR YOGA IN THE UK www.yogaalliance.co.ukRESOURCES Other Harmony Classics Yoga: The Art of Adjusting 2nd Edition COOPER, Brian Hatha Yoga - The Report of a Personal Experience BERNARD, Theos Penthouse Of The Gods BERNARD, Theos Pranayama - The Yoga of Breathing LYSEBETH, Andre Van Yoga and Health YESUDIAN, Selvarajan and HAICH, Elisabeth Yoga Week By Week YESUDIAN, Selvarajan Autobiography of a Yogi YOGANANDA, Paramahansa Union Yoga Publishings Yoga Asanas - A Natural Method of Physical & Mental Training FREDERIC, Louis Hatha Yoga - The Yogi Philosophy of Physical Well-Being RAMACHARAKA, Yogi Advanced Course in Yogi Philosophy and Oriental Occultism RAMACHARAKA, Yogi www.harmonypublishing.orgea alli Be EE ey ie Conclusion This manual has shown the many ways to use adjusting to enhance asana practice. Whatever the adjustment you choose, you should always use the correct approaches and techniques as discussed in these pages. The adjustments shown are only a cross-section of what is possible. Provided you carry them out properly, there is really no limit to ways of adjusting, and the forms these can take is limited only by the imagination. | hope this manual will give you the confidence, not only to practise, but to experiment and develop your own approach to this skill. Adjusting can be greatly enhanced by studying Traditional Thai Massage. Thai Massage teaches sensitivity, awareness and understanding of the body like few other therapies can. And of course the ultimate way of learning is through your own body. Do your asana practice with the same mindfulness as you would carry out adjusting. 135132 Back BENDING | Adjustments To ensure correct shoulder opening, keep your student's arms approximately shoulder-width apart while the student lifts off the floor and also when they come back to the floor. Do this by pressing against their forearms using your hands or forearms. If 2 student has poor shoulder flexibility they will find this very challenging. In this case you can allow their arms to come a little wider in order for them to tift into position. Bace Bentims To help students lift from the floor, have them grab the adjuster's ankles.They can use this to push and get more lift. You can then assist them further by holding around their shoulders and pulling them up and towards you. The same adjustment can be done using a wall, The student places her wrists against the wall and uses this contact to push into the asana.es ee ee ee Vl i Ww Wu a Back BENDING | Adjustments ee The actions using the wall can also be done using adjustments. Using a belt provides better and safer control compared to holding the student directly, The belt is placed around the lower back just on the rim of the sacrum. The student starts dropping back as you hold the pelvis forward and check that the student's legs are working strongly. Make sure they are breathing in the position and then instruct them to come back up under their own effort, only using the belt to prevent them falling back. Gradually take the student deeper, allowing some movement in the pelvis. The adjuster canalsostandonthestudent'stoesto prevent the heels lifting as they come up. Back BeyorysBack BENDING | Self Adjustments This set of photographs shows how to work towards Urdhva Dhanurasana using a wall. The principle is to push evenly into the wall to open the shoulders and lift the pelvis away from the ground. The legs must work strongly and the breath must be smooth. Bae Beaciny Stay In the first position until there is no effort to hold it for at least twenty even breaths, then move onto the next position, gradually moving further down the wall. In each position you should be able to come back up by moving the pelvis away from the wall without pushing through the hands.eee ee ee eS ww ui Before attempting any adjusting in the backbends, it is important that the student is adequately prepared. There is no point in, for example, helping someone drop back if they are not using their legs to give proper support for their back, or not working correctly to open the shoulders. The classic signs are legs bending almost immediately and pelvis tipped way off vertical. And most importantly, the breath must remain strong and smooth throughout, The following photos show a few simple ways of preparing for Urdhva Dhanurasana. Bie Bema 129eee eee oe CHapter 4 Back BendingStarts Asanas 125UrbHvaA MuKHA PASCHIMOTTANASANA is the balance version of Paschimottanasana. It emphasizes the lifting and lengthening of the back and the forward movement of the sternum which was explored in Paschimottanasana. Without this action the asana is impossible because a rounded back will drag the body backwards. 124 Parmagy Scares Asanasmelt ahem meth hl Urouva MUKHA PASCHIMOTTANASANA _ | Adjustments Opseave Passive Ansustacur + The student is hanging with soft legs + Push and lift with your righthand between and not pulling sufficiently on the feet the shoulder blades + Thisis achieved by pushing your knee against the back of your hand rather than directly with the knee + Thelefthand pulls the feet towards the head + Useaclosing action between both your hands to bring the chest forward and lifted Pecease Scares Asauas 123UrbdHvA MUKHA PASCHIMOTTANASANA Foundation = Legsare straight and heels extended = Hands wrap around the outside edges of the feet * Balance on the sit bones, not the tail bone What to do 2 Lift the sternum towards the legs 2 Lengthen out of the lower back 2 Either hold the outside edges of the feet or take a wrist 2 Pull strongly through the arms to bring chest to legs « Gaze to the toes 122 0 Paewawe Stares AsanasEe eee EF] SuPTA PADANGUSTHASANA C__ [adjustments SS Passtve AbgusTHenT + This adjustment encourages the proper action of the raised leg by fixing the hamstrings near thelr insertion + Thisalso prevents the pelvis on the side of the raised leg from lifting from the floor. Pecmase Seetes Asamas 121SupTA PADANGUSTHASANA C Foundation * Front leg stays on the floor and toes extend = Raised leg stays close to the ear * Top of the foot of raised leg goes to floor and toes extend What todo od © Extend through the front leg = Move back of the knee to the floor 120 Paimany Serres AsamasSupTA PADANGUSTHASANA B eo ee UU UU oo ee Osserve + The side leg has not reached the floor . Passive ADJUSTMENT Use your foot to gently press down on the fixed leg Now rotate the thigh of the opening leg using both hands | Adjustments Passive ApgustmenT + This is an inward rotation as shown which drops thesit bone down and underand brings the outside edge of the foot to the floor, Patvase Seses Asavas 119SuptA PADANGUSTHASANA B Foundation "Both legs straight and heels extended ‘+ Hold the big toe with the thumb and forefinger ‘+ Hips remain level to each other and on the floor * Sitting bones remain grounded ‘+ Shoulders and shoulder blades remain in contact with the floor What todo 2 Rotate the side leg medially until the entire edge of the foot is grounded 2 Extend strongly through the other leg « Gaze to the side 118 Parwasy Seescs Asanaseee ee i SuPTA Lu PADANGUSTHASANA _ | adjustments ey Osserve Active AoJustwent + The student does not have sufficient + Place one foot gently on the thigh of the ‘strength to lift towards the leg leg on the floor to keep it down + Take hold of the foot of the upraised leg + Pull the leg towards you and ask the student to raise her head as close to the leg as possible Active ApousTHenT + You can now slowly let go of the foot while asking your student to keep lifting the head to the leg Parmaay Scaies AsaWas nySupTA PADANGUSTHASANA A Foundation ‘* Handis on the thigh of the leg on floor Heel of this leg extends ‘+ Hold big toe of other leg with thumb and forefinger = Both legs are straight What to do «Extend the leg on the floor forward to bring back of the knee towards the floor ® Engage abdominal muscles to lift head to leg rather than leg to head 2 Keep both legs very active with heels extending and quadriceps engaged 2 Gaze to the toes 116 Primany Scres AsanasUPAVISHTA KONASANA T. Is similar to Badha Konasana except the legs are now straight and wide apart. Good adductor flexibility is required, and if it is present, the pelvis can tilt forward through its full range of movement without the thighs getting in the way. At this stage the hamstrings actually relax and the full expression of the asana is achieved. Patan Scares AsavasUPAVISHTA KONASANA | Adjustments | oo ie ie Li 7 Osseave Passive Angustient Passive AogustMent + The student’ feet are falling in + Stand with your heels very close to the inside + Alternatively, use your hands to roll the a] + The student is allowing her legs to rotate thighs thighs back inwards because she is leting her tailbone lift + Move your feet back to fix the thighs in a + Your knee can be carefully used to push + This will prevent correct lengthening more open position down and forward on the lower back I through the spine + Thetailbone will now be prevented from iting + Use both hands on the mid-back to push 7 down and forward from the grounded pelvis Permagy Scares Asavas 113UPAVISHTA KONASANA 112 Paimane Scares Asasas Foundation * Legs are straight and kneecaps are pulled up = Kneecaps face directly up * Hands hold outside edges of the feet with the thumbs pressing inside big toes * Back retains its natural curvature © Neck is relaxed What todo 2 Liftand open the sternum 2 Move forward from the hips a Lengthen the lower back 2 Move the ribcage to the floor 2 Pull up on kneecaps 2 Roll the thighs back 2 Curl the tailbone back and under © Move the shoulderblades towards the tailbone 2 Use the grip on the feet to pull and lengthen the torso forward © Gaze between the eyebrowsSJ Wy bi os it LI WwW Ww eo LJ Ld Pareaer Sears Asanas waBaDDHA KONASANA forward bend which stretches the adductors but does not involve the hamstrings. To bring the knees to the floor in the upright position requires contraction of the external rotators - the Piriformis and the Quadratus Femoris and relaxation of their antagonists, the adductors. Some of the adductors have a very similar action to the hamstrings and can limit anterior tilting of the pelvis. This will show in the same way as tight hamstrings in Paschimottanasana. The back will be rounded due to forcing spinal flexion at the expense of hip flexion. Students showing a rounded back should not be pushed deeper into the forward bend as this will place undue strain on the lumbar region.ieee SS BavDHA KONASANA | Adjustments Osserve + The student's knees are on the floor showing good abductor flexibility + She can be helped to lift and lengthen out of her pelvis and move closer to the floor Passive AbgusTHENT Hold the knees down gently using your legs The left hand pushes down and forward while the right hand pushes back and down on the tailbone Passive ApgusTHENT + If the knees do not come easily to the floor do not press on them Permaay Semis Asawas 109BapDHA KONASANA Foundation # Soles of the feet together Shoulders away from the ears + Neck is relaxed What todo cs — Bring the knees towards the floor » Lift and lengthen through the spine 2 Hold the tailbone back and down © Move the shoulders away from the ears © Press the feet together to activate the external rotators = Gaze to the nose 108 Pareany Scares Asanatfe ee ee ee ey ee ee) ee fee) ee feel ee eeW hen you enter a womb, you enter into a fresh body, and start the journey of desires. But if you die alert, in that alertness not only the body dies, all desires evaporate.” OSHOi Bt ee) Passive AogustHenT + Squeeze knees closer to give more space for the arms GARBHA PINDASANA [Adjustments Passive AogustHenT Pullthe shoulder while pulling on the wrist This is safer than only pulling on the wrist Use your legs to support the student from falling out of the asana You can also stand behind and push the shoulders to bring the arms further through Poivany Semies Asanss 105al ical What to do —Se = Take the right leg first into PadmasanaWeb dee Passive Aogustwext + Work shoulders under legs by pushing down on the shoulders Passive AdJUsTHENT + Squeeze upper arms towards each other + Keep lengthening through the spine SuPTA KURMASANA | Adjustments Passive AbuustMenT + Place left leg behind head first and fix it with your foot before taking the right leg across Pacwane Seeres Asawe 103SupTA KURMASANA Foundation * Start as Kurmasana What to do © Take the left leg over the neck first © Keep extending the sternum forward 2 Reach back and hold a wrist 2 — Gaze between the eyebrows 102 Peaeaer Seats Aransasa BAKASANA _ | Adjustments Passive AdJustHenT + Fix your knees against her shoulders + Put your hands just above the rim of the pelvis + Lift the hips high and encourage the student to pull her knees towards her armpits Passive ADJUSTHENT You can assist to lift into Handstand + Continue the pull at the waist until her hips are above her shoulders Passive ApJuSTHERT + Ask her to straighten her legs and push strongly through the hands to straighten the arms You can also assist in bringing her from handstand into Bakasana, placing the knees high on the arms Poiwany Senses= Arms shoulder width apart * Knees high on the arms * Big toes touching7A TA mMmAnmnm Hmm we qo Aseuas 99 SeateySesto eee eee ae Se SEE PEDO EIN EN GIANG ANE SRMVCTIL WIE Cltner Have Dent legs or straight legs and a rounded back. Until the hamstrings have stretched, the student should be encouraged to lift and lengthen the back with the legs slightly bent, so the abdominals are still being worked. More flexible students should work on moving to the front edges of the sit bones. ——~ Sy(ye eee eee NAVASANA | Adjustments OsseRve + The studentis not working to lift her sternum and maintain the lordosis in her back Active Apaustwent + Place your hands on her feet and push + Ask her to actively lift her sternum towards you + The reaction from pushing the feet provides the force to lift the back Parmaay Seaes Asawas a7Stes eter eee eee terete eee eee ee © The back retains its natural curve What to do= Legis comfortably in Padmasana = Torsois upright What to do J iWGLd* Torso upright What todo 2 Drop the sit bone of bent leg* Torso faces the front «Sit bone moves towards the floor Peaoutstretched leg.What to do = Draw the shoulders away from the earsLI& straignt leg fs in Nine with the hip = Torso is level over the outstretched leg What to doUdnoulcers and torso remain lever Over Ine OUIStrerched leg Heel of straight leg is extended What to do |1 a ie_. | * Shoulders directly above wrists + Head hangs back —#«Lu-fWhat to do 2 Widen the shoulders away from the ears 2 Move the shoulder blades towards the tailbone peed cs Soften the neckThe role of the breath in forward bending: The interaction between breath and movement is especially clear in forward bending: On the inhale, the spine lifts and lengthens, and the pelvis tips slightly back, which puts increased tension on the back muscles. On the exhale, the pelvis tips forward, flattens the spine and relaxes the back muscles. The diaphragm lifts, which compresses the heart and reduces the heart rate. These responses can be exploited during adju: 1. The adjustments are more effective when carried out on the student's exhale.Et* Feet are flat as if pushed against a wall, inside and outside edges in line + Sit bones are spread with the weight slightly towards the front What todo jadote eae(el* — Arms are actively stretched but the shoulders are relaxed What todo ae Ph Scar ner ee Racer | ee ae athe internal and external rotators of the hip. L ldee ee eee er * Torso and collar bones face front What to do LlLJare worked strongly, and can be worked even harder by squatting down still further. It is sometimes advised to tuck the tailbone under, but this is not necessary.What todo Drop the sitbones Extend up through the spineUleg straight and the chest open. [he lifted leg can be bent to achieve this and straightened out over time. If the standing leg weakens or bends, all energy is lost and the asana collapses. L td"Grab the big toe with thumb and first two fingers, What to do wed,should feel evenly grounded. The hands press evenly together and are moved towards the neck which helps to lift and broaden the shoulders. The back should not round, but lengthen over the front leg. i5Neck relaxed What todo 2 Pull hip of front leg back to stay in line with opposite hip a]L uuuThe neck is soft The back is flat |Ueee What to do ee nega or aes nn ener enemy een enonerolling open, before attempting to place the hand on the floor. Placing the arm inside the bent leg gives more leverage to rotate the torso. Placing the arm outside the bent leg works the legs harder and encourages the hips to open. Wokto fingertips = Head and shoulders are above the front kneeLdHead, shoulders, and torso are in line with front leg Headis above front leg, lower shoulder is directly above hand on the floor What todoEi* Legs are straight and kneecaps are pulled up * Weight is evenly distributed on both feet ea eaeudiaphragm will be restricted and the breathing compromised. If the toes are being held, the legs can be bent just enough to take strain off the back and allow the pelvis to tilt forward. The student then has to work towards straightening the legs without losing length in the spine or straining the back. Taking the elbows out as shown flattens the upper back and allows the shoulders to tift fear sean) oeSee ee eee P ADANGUSTHASANA | Adjustments WHEN NOT TO ADJUST Passive AnJusTHeNT RESISTANCE ADJUSTMENT + Ifthe student is holding her toes but has For more flexible students: + Place your hands on the student's to bend her legs, encourage her to. + Stabilize using your hand on the sacrum elbows and slowly start to push. straighten her legs without rounding her + Push forward and down on the mid-back + The student pushes her elbows against spine (see inset) + Use yourleg or knee to push into your hand yourresistance + There is nothing to be gained from + Lean in to use your weight to full + Carefully match your push with the your adjusting in this position advantage student's Keep elbows in line with the shoulders Stanping Asemss 23«Hold big toes with thumb and forefinger What todo1 |ADHO MUKHA SVANASANA | Adjustments a] Osseave Passive ADJUSTMENT Passive ApJusTHENT + The student is rounding her back + Pull just below the lower rim of the pelvis + Clasp your hands on the lower back + Ask the student to work her hands + Squeeze the arms to the buttocks forward on the mat + Shift your weight back + Lean back using your bodyweight= Distance the feet from the hands so that by maximally stretching the legs the heels are almost on the floor What todo7 i |© Legs are straight and parallel «Legs begin hip-width apart Utnesen claSTScI eect OMe cece eee eee neem ere eae eaere rarest Ot * Theneck is comfortable and not forced past its natural extension Pe teteeirenee tea What to douuu ooo Wt WW uu Sue Sa tareas Sunva Nawaseas n10 CHATURANGA DANDASANA The asana means ‘four-timbed stick posture’ and the aim is to make the body as rigid as a stick, without collapsing in any area. This makes it a highly active asana where opposing forces must be used intelligently to counteract gravity, If you turn the page through ninety degrees you can see it is like Tadasana, The line shown in the photograph runs through the centre of mass of the body, keeping the weight of the torso, hips and legs evenly distributed. In Tadasana, the reaction from the floor keeps the body upright and allows the student to find correct alignment. In Chaturanga Dandasana, the student has to achieve this against the pull of gravity. To do this the body must be held rigidly, the pelvis must find its neutral position, and the body has to be stretched out from a central point at the navel, with the upper body held steady while the heels are stretched in the opposite directlon. This is what provides the necessary tension - like pulling ona rope - to maintain the body firm and steady. Suv Sacurarron Suave Nawaseae | beeu ae ee ee ee CHATURANGA DANDASANA | Adjustments Ooserve + Losing energy through the core + Encourage her to engage abdominals and activate her legs Resistance Aogustmext + Verbally obtain good alignment + Press gently on mid back + Ask student to resist while keeping alignment Active AosusTHENT + Pull back on ankles + Askstudent to pull away from you Soe Sacurar cu Soak NamaseasCHATURANGA DANDASANA Som Savvrarion Scere Manaseas Foundation = Tips of the fingers are in tine with tops of the shoulders = Elbows and hands are in line with the shoulders * Forearms and upper arms approach a right angle to each other «The feet are hip-width apart and parallel to each other «The pelvis remains in a neutral position What todo 2 Draw the shoulders back towards the tailbone 2 Keep the neck relaxed a — Squeeze the elbows to the sides of the torso = Hold Uddiyana Bandha without tilting the pelvis or tifting the sit bones 2 Strongly extend back through the heels — Stretch out from the navel in opposite directions © Gaze between the eyebrows cd ee ee ee ey eeeee Surya Namaskar CHAPTER 1 wot a JXDona eee oe aeu eee FOREWORD BY MATTHEW SWEENEY | am honoured to write the foreword for Yoga The Art of Adjusting. The detailed art of adjusting Yoga postures has been accomplished in this book in a loving and practical format. It also comes at a fortuitous moment. With the rapid increase of Yoga teachers all over the globe during the last few years, greater understanding of the art of adjusting has been missing in the printed form. | think Brian Cooper has done an excellent job of covering the key points of adjusting most of the postures of the Primary Series of Ashtanga Yoga. He clearly explains the main focus of each posture, the direction to take with each posture and eventually how to learn. to do each posture unaided without an adjustment. The visual aspects of each posture are conveyed precisely in a step-by-step format giving the reader practical insight into the wonderful art of touch. Enjoy! YOGA THE ART OF ADJUSTING FOREWORDDeana aeeee THe Art oF AdJUSTING Foreword by Matthew Sweeney ., Chapter 1 Surya Namaskar Chaturanga Dandasana Urdhva Mukha Svanasana Bhujangasana..... Adho Mukha Svanasana.. Chapter 2 Standing Asanas Padangusthasana..... 22 Trikonasana Parivritta Trikonasana 30 Parsvakonasana. Parivritta Parsvakonasana Padottanasana.. Parsvottanasana.... Utthita Hasta Padangusthasana .. Utkatasana .... Virabhadrasana 1 Virabhadrasana 2 ConTeNTS Chapter 3 Primary Series Asanas —————— Dandasana... Paschimottanasana Purvottanasana... Ardha Baddha Padma Paschimottanasana Triang Mukhaikapada Paschimottanasana. Janu Sirsasana .... Marichyasana ., Marichyasana C Marichyasana D Navasana Bakasana Supta Kurmasana.. Garbha Pindasana Baddha Konasana Upavishta Konasana.... Supta Padangusthasana A - C. Urdhva Mukha Paschimottanasana .. Chapter 4 Back Bending ————________ 130 135 Back Bending Conclusion...Acknowledgements The production of this manual has been a joint effort from a dedicated team of yoga teachers and students. | would like to thank Victoria Bosso, Vickl Maggs, Shelley Osman, Kat Shaw, Dee Gates, and Caroline Walsh for their enthusiasm and patience in modelling for the photographs. Jam especially indebted to Alten Bertram for the design and layout, and to Bruce Mackay for his skilful photography. Disclaimer This book Is Intended as an instruction guide ‘only. The author and publisher of this book are not responsible for any injury or consequences from using this book. You are advised to train with a qualified and competent teacher before using the techniques described. First published in Great Britain in 2006 by Harmony Publishing 25 Rodney Street Edinburgh €H7 46L Scotland Copyright © 2006 Brian Cooper 3rd Revised Edition 2010 Produced by Harmony Publishing Design by Aileen Bertram Photographer: Bruce Mackay Brian Cooper has asserted his moral right to be identified as the author of this work. All rights reserved. No part of this publication may be reproduced in whole or part or any form. Printed and bound in Korea ISBN 978-0-9552412-9-1 Be ee eae ee Liee ae oe