PSE Iyengar Yoga Asana Alternatives: The Neck and Shoulders © 2000, Prepared by Lois Steinberg, Ph.D. Complete credit and gratitude to the teachings of Yogacharya B.K.S. Iyengar, Geeta S. Iyengar, and Prashant S. Iyengar of the Ramamani Iyengar Memorial Yoga Institute, Pune, IndiaTeachers of Iyengar Yoga may find this booklet helpful to aid them in working with their students who need alternatives to asanas because of neck and shoulder problems. Students of Iyengar Yoga may also use this booklet with the guidance of a qualified teacher. Points listed are very basic and poses are grouped together by category. They are not in a specific sequence. In order to use the poses in a sequence, thorough knowledge of classic asanas as practiced in the Iyengar Method is vital. This booklet is a work in progress and is not exhaustive of all the asana alternatives for the neck and shoulders. The recuperative poses of cross bolsters and the supine _poses, not shown here, are extremely berieficial for the recovery phase of remedial practice for the neck and shoulders. These asana altematives are listed in the Iyengar Yoga Therapeutics booklet. Depicted in this booklet is a woman (below) who developed poor posture after an emotional trauma. Additonally, her neck and shoulders were injured from repetitive stress. Her theater work required constant lifting of heavy garments to and from high racks. Ultimately, she developed a shoulder impingement. Conventional medicine treated it by isolating the arm and giving physical therapy. Later, she was also diagnosed as having severe degeneration of the cervical vertebrae disc. Although she practiced yoga for 25 years, only in the past year she studied Iyengar Yoga. After four months of Iyengar Yoga, the dysfunction of her neck and shoulders started to express itself as her work load increased. She could no longer do classic asanas. She started to learn the asana alternatives and consented to model the poses for the booklet. This booklet is not intended to diagnose, treat, cure, or prevent any disease. detokeke Many thanks to Nicole Faurant for modeling the poses. ark eaFigure 1. Savasana. Head supported by a blanket Weights on the Shoulders/ arms and hands. Good for acute phase of neck/shoulder injury as the first and last pose. After improvement may be done at the end of the sequence. Figure 2. Supta Tadasana. Preparation. Two belts. One is looped around the shoulders as is3. putting on a jacket. An assistant has to loop the second belt through the first and lift the second belt up to create a tight “harness” on the shoulders. Adjust the loop of the second belt so that it almost reaches the floor when the student is standing.Figure 3. Supta Tadasana. Lie down with the heels to the slanting plank threaded through the loop of the belt at the wall. The student presses their heels into the slanting plank onto the wall. Tighten the belt further if greater traction is needed by the student. The student actively turns the inner upper arms to the outer upper arms and moves the shoulders away from the ears with the traction of the belts. Figure 4. Tadasana. With feet apart and a rope put on like a jacket (see Figure 2) with a weight attached through the rope to hang to the floor.Figure 5. Viparita Ardha Hastasana. Hold the hand behind you to the outer comer of a wall at the height of the waist. The arm is flush to the wall and the deltoid and scapula work downwards. The opposite arm reaches behind the back and the fingers reaches for the wall while moving the deltoid back. While maintaining the arm flush to the wall turn away from the wall as far as possible. Figure 6. Viparita Ardha Hastasana. As above, but if capable, hold the hand higher at the height of the shoulder or slightly higher. You can see the student in the photo is not ready for this pose as she is not able to keep the shoulder down.Figure 7. Ardha Parsva Hastasana. With the hand tumed 90 degrees out, open the center palm, spread and spread the fingers strongly. Keep the hand, fingers, and thumb completely flush to the wall. ‘Maintaining the action of the hand spreading on the wall, lift the pinky side of the elbow joint higher than the opposite side of the elbow joint. Lengthen the arm. maximally so the action is felt intensely in the sternum and shoulder blade. Be sure to keep the deltoid moving down away from the ear. Figure 8. Ardha Parsva Hastasana. With the hand tumed up. An assistant is helpful to keep the student's inner elbow Joint lifting as they slowly tum the hand from the 90 degree position to the upright position. The hand should remain flush fo the wallFigure 9, Urdhva Viparita Hastasana. P reparation. Double the upper ropes from a single hook or from two separate hooks (not shown). Stand sideways to the rope wall and hold the rope with the “less intelligent” arm with the thumb pointing down and the palm facing backwards. Figure 10. Urdhva Viparita Hastasana. Preparation. Turn away from the hand holding the rope so that the back faces the wall. Reach the free hand to catch the second rope with the thumb pointing down to the floor.Figure 11. Urdhva Viparita Hastasana. Preparation. Bend the knees and lower the buttocks: down towards the floor and into the wall. Adjust the feet forward or backward to get the buttock positioned at the wall. Lower the head and hold to your maximum capacity with two to three repetitions. Figure 12. Urdhva Hastasana. Variation at the wall. Face the wall and stand in Tadasana with feet apart approximately one foot from the wall. Place the hands at the height of the shoulders and shoulder width wide apart on the wall. Spread the fingers maximally making sure the wrist is parallel to the floor. Point the elbows down to the floor, shoulders and trapezium down and clavicle bones widen from the center to the sides. Lift the sternum, ,9TFCOSRIECNDFigure 13. Urdhva Hastasana. Pointing the elbows down to the floor, spreading the fingers and knuckles, and pressing on the inner rim of the hand strongly, raise the arms up on the wall without losing the integrity of the hands, arms, and shoulders. Figure 14, Urdhva Hastasana. If the arms extend fully, rest the forehead on the wall and ‘tighten the elbow joints completely straight. Turn the inner upper arm at the deltoid to the outer upper arm. Extend through the inner arms without congesting the neck.Figure 15. Chaturanga Dandasana. Place the hands shoulder width wide apart on the wall at the height of the shoulders with the arms bent at the elbows Lift the heel of the hands away from the wall and move the thumb towards the floor. Press the inner rim of the thumbs into the wall. Slowly move the heels of the hands back to the wall with the inner thumbs resisting the movement. This opens and spreads the hands. Press on the inner rim of the hands, point the elbows towards the floor, adjust the shoulders away from the ears. Lengthen the distance between the sacrum and sternum keeping the four corners of the bottom rib cage in line with the four comers of the top of the pelvis. Raise the heels up off the floor. Keeping the body aligned in Tadasana,bend the elbows to move closer to the wall. Repeat to capacity going to and from the wall. 10Figure 16. Chaturanga Dandasana. Variation with support for the body at a 75 degree angle. Begin with the hands on the trestler or similar support such as a kitchen counter top. Begin with the arms straight. Open and spread the heel of the hands, palms, and fingers. Raise the heels up with the legs and back in Tadasana as described above. Figure 17. Chaturanga Dandasana. As above, then bend the elbows with the triceps, biceps and elbows moving away from the shoulders and forearms moving towards the hands. Maintain the elbows in line to the arms so that they are not going away from the sides of the torso. Bend and straighten the arms maintaining the action of the limbs and torso as described. Repeat to capacity. WFigure 18. Chaturanga Dandasana. Variation with support for the body at a 45 degree angle. Hands may be placed on the height of a platform or seat of a chair. Adjust the position of the limbs and torso as above. Figure 19. Chaturanga Dandasana. Variation at a 45 degree angle with the elbows bending and then straightening. ‘Do repetitions to capacity. 12Figure 20. Chaturanga Dandasana. Variation at a 30 degree angle with the hands tumed out 90 degrees. Repeat setting up as described above. ‘Then with the hands tumed out, widen the collar bones more than was possible with the hands pointing forward. Open the sternum by spreading it from the center to the side chest as well as, from the bottom of the sternum to the top. Expand the sides of the chest laterally then move the sides of the chest forward and up trying to reach beyond the inner upper arms. Maintain the alignment of Tadasana in the legs, torso, neck, and head. Figure 21. Chaturanga Dandasana. Variation with the elbows bending and straightening as described above. Repeat according to capacity. 13Figure 22, Gomukhasena. Variation with the lower am catching a support such as a ledge depicted in the figure. You may bend the knees for the hand to go higher up the back, Figure 23. Gomukhasana. Variation with the lower arm catching a support as well as the outer upper arm supported in towards the body. 4Figure 24. Namaskarasana. Variation with a brick between the hands. An assistant may have to place the brick for the student. Roll the inner upper arms out while the forearms resist the action by moving forward. Widen the Clavicles to the sides. Press the palms and fingers evenly on the brick with the brick centered on the back. Figure 25, Pincha Mayurasana. Variation with the elbows supported up on the irestler or similar support and the brick between the wrists. The forearms should be perpendicular to the trestler. Roll the inner upper arms out, point the elbow forward, and press the wrists evenly upwards on the brick. 15Figure 26. Adho Mukha Svanasana. With the lower rope. The heels at the wall or bricks at the wall to adjust the proper distance of the legs (not shown). The hands up on the highest height of the bricks. Roll the inner upper arms out, extend the elbows straight, open the palm of the hand, and extend the fingers. The four comers of the bottom rib cage should not dip down. Instead they should be lifted in line with the four comers of the top of the pelvis. The muscles of the upper back will feel “worked.” Extend the armpit forward towards the heels of the hands. Figure 27. Adho Mukha Syanasana. As above with the hands on the second height of the bricks. 16Figure 28. Adho Mukha Svanasana. As above with the hands on the lowest height of the bricks. Figure 29. Adho Mukha Svanasana. As above with the hands on the floor, In this Variation the muscles of the upper back should be engaged, working, as much as they were when the hands were on the highest height of the bricks. If the capacity of the student is less, they should go back up to the height of the bricks where the muscles were able to stay strong. 7Figure 30. Adho Mukha Svanasana. As above with the hands tured out 90 degrees. This position of the hands may be done n the bricks as well. The chest can open more in this position by working the collar bones wide apart and lifting the sides of the chest forward and up. Figure 31. Adho Mukha Svanasana. As above with the hands on the. thick edge of the slanting plank. The fingers grip the edge of the plank so that they can slide the plank forward 18Figure 32. Uttanasana. With the lower rope supporting the tops of the thighs. The feet should be directly under the pelvis and are apart the width of the hips. The hands are turned out 90 degrees ‘on the highest height of the brick directly under the shoulders, shoulder width wide apart. Figure 33. Uttanasana. With the lower rope supporting the tops of the thighs. The chin supported up on a halasana box and brick. 19Figure 34,Uttanasana, As above, with the chin on the brick at a lower height. Figure 35, Uttanasana. As | above, with the chin on the halasana box at a lower height. If possible, the hands may catch the legs. The student maintain the extension of the cervical vertebrae, moving the shoulders blades and trapezium away from the ears. Extend the lower sternum to the upper sternum, the whole of the sternum moving towards the chin. Move the chin away from the sternum. 20 eFigure 36. Uttanasana. With the shoulders supported on a platform or chair. A heavy metal rod is held by the hands. | Figure 37. Uttanasana. As "above, then taking the bar over the head. Figure 38. Uttanasana. As above, then straightening the arms at the elbows as completely as possible. Extend, the triceps muscle towards the hands. 21Figure 39. Uttanasana. With the back supported by the trestler, as shown, or a post. Catch the hands on the top of the testler or the post. Release the back of the head and neck towards the floor and extend the arms further on the support. Figure 40. Parvatasana in Tadasana. With the back supported by the wall. Extend the arms up the wall with the inner upper arms rolling to the outer upper arms and raising the sides of the chest up. Keep the tips of the thumbs touching each other and the knuckles extended up. Extend the wrists up. Straighten the elbows completely. 22Figure ‘Trikonasana. At the trestler. The forward leg is outside the end of the trestler. The back is supported by the trestler so that the upper back at the shoulder region is rounding back around the end of the trestler. The point of contact of the back on the trestler should be where the misalignment and stiffness is. Maintain the chin in line with the sternum as the head goes back The bottom hand, on the brick, is placed in the reverse position with the fingers pointing to the back leg. The upper arm is catching the trestler. Figure 42. Trikonasana. As above, depicted overhead. Figure 43. Trikonasana. As above, depicted from the backside.Figure 44. Trikonasana. At the trestler. Both legs are blocked at the feet inside the trestler. The forward leg foot is supported on the quarter round brick to work the outer upper thigh up towards the opposite hip. This lengthens the sides of the torso so that they match as in Tadasana. The lower arm is supported with the hand on the brick in the reverse position. ‘The upper arm is holding a brick and extending back. An assistant may need to place the brick in the student’s hand. The assistant should remain close to remove the brick when the student has reached their limit. maintain the shoulder blade aligned in the back as the arm extends the brick away. Figure 45. Trikonasana. At the trestler with the feet blocked inside the trestler with the forward leg foot turned out on a quarter round brick. The arms catch the ends of the trestler. Lengthen the sides of the neck keeping the head in line with the spine.Figure 46, Parsvakonasana. At the trestler with the feet blocked inside the trestler and the forward leg foot turned out on a quarter round brick. The bottom arm is supported with the hand in the reverse position on the brick. ‘The top arm first extends forward while maintaining the deltoid and shoulder blade in towards the = spine and the shoulder girdle | touching the trestler. The sternum should open forward. Figure 47, Parsvakonasana. ‘As above, with the arm moving slowing towards the ear while maintaining the deltoid and shoulder in. Figure 48. Parsvakonasana. | As above, with the arm overhead " by the ear. The outer deltoid should move towards the side of the chest. The inner deltoid should move towards the hand.Figure 49. Virabhadrasana ILAt the trestler with the feet blocked inside and the forward leg foot turned out on a quarter round brick. The back hand holds the end of the trestler and is “challenged” as the knee bends further over the ankle. Figure 50. Virabhadrasana II. As above but with the arms catching the trestler from behind. ‘The trapezium should “catch” on the (restler so that they are moving down towards the floor and the chest should lift up. 26Figure S51. Trikonasana. ‘Supported by the outer comer of a wall or column and the head looking down. The upper arm/armpit should be exactly flush with the wall. According to the capacity of the student they ‘can extend the upper arm further back. The lower arm is supported with the hand in the reverse position on the brick. As the head is looking down the front of the chest should lift away from the floor side up to the ceiling side. ‘The stermum should open forward away from the spine. Figure 52.Trikonasana. As above but with the head back and the chin in line with the sternum. 21Figure 53. Parsvakonasana. At the outer corner of the wall, with the head looking down and the hand in the reverse position on the brick. See Trikonasana above for the action of the chest. Figure 54. Parsvakonasana. As above but with the head back a sl 28 ind the chin in line with the ternum,Figure 55. Ardha Chandrasana. At the outer corner of the wall with the head back and the lower hand in the reverse position on the brick. Figure 56. Virabhadrasana I. With the back heel supported up on the wall and the arms holding the upper ropes. A wooden dowel is placed behind the head and in front of the arms. An assistant may help the student with the placement of the dowel. The trapezium should move away from the ears. The hands hold the rope so that they resist sliding down as the forward knee bends over the ankle, 29Figure 57. Parsvottanasana, With the back heel supported by the wall, Hands on the highest height of the brick. Head up and back concave. Tum the hands out 90 degrees. Press the hands down for resistance open the chest. Lift and spread the fingers of the hands up off the brick. Widen the clavicle bones from the center to the sides. Turn the inner upper arm to the outer upper arm. Move the lower sternum to the upper sternum. Raise the chin up. Move the shoulders away from the ears. Dig the back rib cage in at the thoracie/dorsal spine. Figure $8. Prasarita Padottanasana. Concave back | position with the hands supported on bricks. Work the hands, arms, chest, neck, and head’ as in Parsvottanasana destribed above. Figure 59. Prasarita Padottanasana. Concave back position with the hands on the floor but in the reverse position of the fingers pointing back.Figure 60, Prasarita Padottanasana. Convex back position with the crown of the head on the floor or on a bolster or brick if the head doesn’t reach. The hands are in the reverse position shoulder width wide apart. Press the hands down, squeeze the elbows towards each other, and without disturbing the head, strongly lift the shoulders up, away from the floor. Figure 61. Adho Mukha Vrksasana. At the outer corner of a wall or the end of a column, The hands are turned out. The feet are on the sides of the wall or column and the inner heels grip the wall and extend upwards. Coordinate lifting the inner arm, the inner shoulder blades, and the inner heels up. 31Figure 62. Adho Mukha Vrksasana. Supported by the wall with the hands turned out and the heels of the hands raised up on the thick edge of slanting planks. Lift through the inner arms, inner shoulder blades, in legs, and arches of the feet up. Figure 63. Salamba Sirsasana I. With dowels supporting the shoulders. The chair is placed at the wall for the dowels to rest on. An assistant may help the student up. Additionally, they may lift the dowels up to lift the student’s shoulders up more. 32Figure 64. Salamba Sirsasana 11. With the shoulders supported up on. the seats of chairs and the hands hold the edges of the chair. Figure 65. Salamba Sirsasana Il. As above but with the arms bent out to the sides and the back of the hands on the seat. ‘The shoulders should lift up. 33Figure 66. Salamba Sirsasana I. With the heels supported by the wall and an assistant places a between the students thoracic/dorsal spine and the wall. 34 £09Figure 67. Salamba Sirsasana I. With the belts on the shoulders as in Figure 2. An assistant may help the student to get the heels into the loop of the belt. However, they can also learn to do this independently. This figure shows the student raising their heels up into the loop of the. belt. Figure 68. Salamba Sirsasana I. As above but with the legs fully extended. The heels pres up into the belt to lift the shoulders up, 35Figure 69. Neck curvature I, Two lower ropes ate looped through the upper rope. The knots of the ropes are placed side by side, not one on tope of the other. ‘The’student holds the ropes after placing it at the base of the neck and arches back. Depending on the capacity and size of the student, the feet may walk forward to touch the wall. The knees are bent to get a deeper curvature to the spine. The thoracic/dorsal spine lifts strongly up to the sternum. The lower sternum moves to the upper sternum. The student should look with their eyes for the floor. Figure 70. Neck curvature II. The hands let go of the rope and interlock behind the back and reach down towards the floor. ‘The bottom of the shoulder blades lift up into the body. 36 roo » vB O09 eKFigure 71. Neck traction 1. One lower rope is looped through the upper rope and placed behind the head at the base of the skull The student may hold the lower rope attached to the wall to help them bend their knees and squat. Figure 72. Neck traction II. The student releases their hands from the support of the lower rope if they are able to squat on their own. The traction will be greater. The face should remain parallel to the wall. 37Figure 73. Bharadvajasana. Seated in the chair sideways, holding the back of the chair. Traction on the shoulders is given by the rope with the weight attached to guide the trapezium down. Figure 74. Bharadvajasana. Seated in the chair backwards with the back hand catching the seat of the chair from behind and the front forearm catching the back rest of the chair. 38Figure 75. Bharadvajasana. Seated in the chair backwards with the back hand catching the arm of the chair from behind. Figure 76. Utthita Marichyasana. The standing leg foot is elevated up on a quarter, round brick, the bent knee leg is supported up on a halasana box. ‘The hands reach up on the wall and catch the ropes. Shoulder traction is given by the rope and weight. The forehead may rest on the wall until the correct turing of the neck and head is achieved. First turn the waist and chest maintaining the chin in line with the stemum. The standing leg hip should lift up while the bent leg outer hip works down towards the floor. 39Figure 77. Utthita Marichyasana. Variation as above but with the hands holding the lower hooks. This variation actually works the lower back more. The variation above works the upper back more. Figure 78. Utthita Marichyasana. Variation with the chair and shoulder traction. ‘The standing leg should be perpendicular to the floor. The bent leg foot can grip the chair with the big toe and second toe catching the top leg of the chair (works only with a folding chair) ‘The back hand is on the wall as works further back to the capacity of the student. 40Figure 79. Parsva Pavanmuktanasana. Variation on_a Pavanmulktanasana bench. Adjust the height of the buttocks and number of bolsters and blankets to support the torso and head, respectively, according to the capacity of the student. Make sure the ear is resting parallel to the blanket. The arm furthest away from the bolsters extends to engthen it’s corresponding side of the torso. The arm closest to the bolsters is bent at the elbow with the hand by the side of the cchest on the bolster support to lift and rotate it’s corresponding side chest. While working the arms to tum the torso in this manner, the head and neck can release more. Figure 80. Rope I. Intermediate variation away from the wall. The hands hold the upper ropes from separate hooks. ‘The feet are hip width wide apart. Let the upper arms get adjusted to the position, then move the inner edges of the shoulders deep inside the body. Lift the sides of the chest up. Gaze sofily forward. 41Figure 81. Rope Lintermediate variation away from the wall up on the balls of the feet. Raise the chest up and the buttocks forward. Extend the side armpit chest forward and up. Elongate the triceps muscle Figure 82. Rope I. Intermediate variation with the feet closer to the wall. Lift the chest higher up, raise the lower ‘sternum to the upper sternum, and Jook up at the ceiling. 42Figure 83. Rope II. Preparation. Hold the upper ropes from either a single hook, as shown, or from separate hooks. Stand with toes up on the wall. Lifi the sides and center chest up and work the trapezium down. Figure 84. Rope IJ. Lifting the chest, arch back. 4BFigure 85. Rope I. Look back with the head, keep the elbows bent to lift the back chest up into the body. The knees may bend slightly to get a good curvature to the spine. Keep the head back and chest lifting to come out of the pose. Do repetitions back and forth to capacity. Figure 86. Viparita Dandasana. Preparation on the support of the platform with the back of the head off the platform and a rolled blanket under the neck. Move the outer deltoids down, widen the clavicles, open the sternum bone from the bottom (o the top. The trapezium should move down towards the feet. co BCODWZBE¥ Figure 87. Viparita > Dandasana. Preparation as above but with the back of the head completely off the edge of ©) the platform and a weight attached |= 10 a rope hanging off the chin. Figure 88. Viparita Dandasana. Preparation as above but with the back of the head, neck, and upper back off the platform. The arms press into the edge of the platform to open the chest more. You can see the lack of opening of the student’s sternum and thoracie/dorsal in this variation, Figure 89. Setubandha Sarvangasana. Variation on the platform with the head hanging down off the edge of the platform. Move the outer deltoids down and raise the inner shoulder blades up. Widen the clavicles and open the sternum bond forward. 45Figure 90. Viparita Dandasana Variation/preparation with the chair. Sit backwards in the chair with a belt tightened around the upper thighs. Sit very close to the edge of the seat and the hhands on the sides of the chair to lift the chest up. A three-fold blanket is on the seat of the chair to support the spine. Figure 91. Viparita Dandasana Variation/preparation with the chair. Lie back keeping the chest lifted, Figure 92. Viparita Dandasana Variation/preparation with the chair. Rest the top of the head on the support of a bolster/ blanket. The height of the support for the head may increase or decrease according to the needs of the student. The back of the ears should be parallel to the wall and the crown of the head parallel to the floor. Keep the knees bent and remain in this position for a while so that the upper back can adjust to the curvature. Make sure the buttock is far enough forward so that the lower back at the waist does not end up curving on the edge of the chair. 46Figure 93. Viparita Dandasana. Variation with the chair and the legs extended straight. The elbows on the seat of the chair give leverage to lift the back chest up off the chair to raise the bottom of the shoulder blades strongly up into the body. Open the sternum bond from the bottom to the top. In this position the head is off the support of the bolster/blanket. Figure 93. Viparita Dandasana. Variation with the chair and the head resting on the support of the bolster/blanket. The hands press into the back of the chair to open the sternum bone more, Figure 94. Viparita Dandasana. Variation with the chair and the arms inside the legs of the chair and the hands catching the back legs of the chair. 47Figure 95. Viparita Dandasana. Variation with the chair and the arms extended over the head. The head is shown without the support. The back of the head and neck should not compress. If so, use the support for the head. This variation should be down after spending some time in the other variations. Ifthe arms are taken over the head too soon, the back may curve at the thoracic/lumbar instead of the thoracie/dorsal. Figure 96, Urdhva Dhanurasana. Variation/preparation over the back of a chair. The student squats first to place the shoulders on the sticky mat on the back of the chair, The trapezium should “catch” the back of the chair so that they are being pulled down towards the floor while the front chest lifts up to the ceiling. A weight may be placed on the rung of the chair to keep it from moving. However, if the student is truly lifting up’ and over the back of the chair, the chair should remain in the same place. Figure 97. Urdhva Dhanurasana. Variation over » the back of a chair. The hands ‘may remain on the chair to adjust the chest open. The back chest should continue to lift up into the body. The sternum bone should move from the bottom to the top and spread to the sides, Look back with the head. 48Figure 98. Urdhva Dhanurasana. Variation over the back of a chair with the hands catching the seat of the chair. Work the elbows in. Figure 99, Urdhva Dhanurasana. Variation over the trestler. Similar to Urdhva Dhanurasana above. 49Figure 100. Urdhva Dhanurasana. Variation over the trestler with the feet elevated. A student who is short in stature may need to stand on the height of a Viparita Karani box, or similar support, to increase the curvature of the thoracic/dorsal spine. Figure 101. Urdhva Dhanurasana. ‘Variation/preparation with support under the upper back and hands elevated. The student may be lifted up by an assistant or can do independently after some practice and healing has occurred (not shown). 50Figure 102. Ustrasana. Variation with the support of a Halasana box, bolster, and blankets. This photo shows the support is not enough. The curvature of the spine is stronger in the lower back. Figure 103. Ustrasana. ‘Variation with the support of a Halasana box, two bolsters, and blankets. This photo shows more support opens the thoracic/dorsal spine more. 51Figure 104. Double belt shoulder traction to upper arms. This photo shows how the distance between the side of the neck and the outer shoulder is greater on the right side than it is | on the left side, The neck is off center to the left. The teacher should observe their student's neck and shoulders in order to Know how to place the position of the buckles (see below). Figure 105. Double belt shoulder traction to upper arms. The student may sit on any comfortable height with their hands interlocked behind their back. An assistant is needed to place one strap on the upper arm at the front of the deltoid. The belt on the front of the deltoid should not slip down. A second belt is placed by the assistant on the upper arms as high as possible. Note that both the buckles are positioned so that the “tail” of the belt is pulled from right to let. The “reels” in the shoulder and over time can correct the position of the neck and shoulders so that they are more aligned and balanced. The student may unlock their hands and rest the back of their hhands on the front of their thighs. The hands will likely become numb. However, the more the student lifts the side chest up and the armpit chest forward and opens the chest, the less the numbness. 52Figure 106. Niralamba Sarvangasana. Variation with the support of the wall, the upper arms with two belts as depicted above. An assistant is usually needed to help the student up into the pose. Work the clavicles open from the center to the side chest. Move the outer shoulders down and the inner shoulder blades up. ‘The head and neck remain soft. Figure 107. Niralamba Sarvangasana. Variation/preparation with the support of the wall, the arms extended back and belted at the wrists. The back of the hands are on the height of the bolster to match the height of the blanket support. 33Figure 108. Niralamba Sarvangasana, Variation the arms extended back and belted at the wrists, with a weight on the hands. Figure 109. Niralamba Sarvangasana. Variation with the support of the wall and the upper arms at the elbows ‘weighted with heavy metal rods. 54Figure 110. Salamba Sarvangasana. Variation with the elbows elevated on a rolled sticky mat. Figure 111. Salamba Sarvangasana. Variation with the support of the chair, bolster, and wall. Two blankets folded the length of the bolster are placed “stepwise” on the bolster to create ‘a support for the neck to curve. A blanket under the head is placed to compensate for the extra height under the shoulders. The heels are supported on the wall. The hands catch the outside of the seat of the chair. This is useful for students with’ very broad and/or tight shoulder 55Figure 112. Salamba Sarvangasana. Variation with the support of the chair, bolster, and wall. The palms of the hands face each other, catching the back legs of the chair. Figure 113. Salamba Sarvangasana. Variation with | the support of the chair, bolster, | and wall. The palms of the hands | are tumed out to work the outer | shoulders down and inner | shoulders up more completely. Figure 114. Salamba Sarvangasana. Variation with the support of the chair, bolster, and wall. The elbows bend and the forearms grip the front leg of | the chair. The front chest opens ‘more. 56Figure 115. Salamba Sarvangasana. Variation with a rolled bandage, depicted close-up, placed between the shoulders at and below the seventh cervical vertebrae. Figure 116.Salamba Sarvangasana. Variation with a sticky mat folded between the shoulder blades to increase the lift of the inner shoulder blades. STFigure 117. Setubandha Sarvangasana. Variation with two Setubandha benches turned cross-wise to the body. One bench supports the feet and the ater supports the ‘hips. ‘The position of the bench allows the ams to extend completely back towards the feet. Two bolsters support the shoulders, arms, and hands. The palms are tuned up and the wrists are belted together. ‘A weight is on the hands. 58