acraljazs‘AcroYaga Asane Sequence Big Bosin Vineyard, California ‘Acrobatic Flying Transitions | The Great Wall, Beijing, Chine ‘Acrobatic Flying Transitions The Big Buddho, Hong Kong Forword Flying Therapeutics Wat Chedi Luang, Chiang Mai, Thailand Back Flying Therapeutics Esalen, Big Sur California light Manual DVD ‘This DVD was shot while on World Tour in 2007 and features over 90 minutes of footage. Select individuel chapters or continuous ploy Featuring Music by: Michael Franti & Spearhead, Shimshai & Tina Malia, Benjy & Heather Wertheimer, and the Vinyasa Americana Kirtan Choir. $1 from each manual sold will be donated to the AcroYoga Teacher Training Scholarship Fund. Content + Safety First - How to be a good Spotter + AcroYoga Asona Sequence + 6 Acrobatic Flying Transitions Flows + 12 Therapeutic Flying Flows + 1 Thai Massage, Leg Love Flow + 3 Performances, Out Takes and MoreBeroljazs fight Canust = dvd 4th Edition, January 2008 www.AcroYoga.org info@acroyoga.org By Jason Nemer & Jenny Sauer-Klein Copyright 2008 AcroYoga Photos by Tyler Blank, www.onebreatharts.com Design by Lux Luvlore Logo by Nicholas Rubin, www.nicholasrubin.net & Arianne Traverso, www.ariyoga.com Adi ional Contributions by Carolyn Cohen Jason Nemer, Jenny Sauer-Klein, Carolyn Cohen, Tyler Blank, Eve Isbell Printed Locally on Recycled Paper ay we We dedicate this manual to all of the teachers who have passed on their wisdom, to the students who have been our inspiration, to the practice that we are so passionate about, and to the power of love that unites us all. We offer deep heartfelt thanks to: Dharma Mittra, Tom Monas, Kevin & Erin Molle O'Keefe, Nateshvar Ken Scott, Shiva Rea, Rusty Wells, Sianna Sherman and Sofia Dioz for their wisdom and inspiration. prAna, for helping to make our touring “carbon neutral” by purchasing wind credits to offset our carbon emissions. (Our hometown crew in the Bay Ares for keeping it real ur family, for unconditional love and support. Lux, our lay out guru, who has poured great love and countless hours into making this manual into a tool that is cleor, aesthetic, and true to our vision, We are forever grateful All the AcroYoga teachers, who share our vision for this work and all the AcroYogis yet to be! All rights reserved. No par ofthis publication may be reproduced, stored in a retrieval system, or transmitted, ‘any form or by any means ~ electronic, photocopying, recording or otherwise - without the prior written permission of the copyright owner. ReroYoos' Fight Manual aCaution & Encouragement Disclaimer Not all exercise is suitable for everyone. This book presents many advanced postures and voriations that should be used with caution, It is your responsibility t know your own body and its limitations and to choose or modify practices accordingly. “To reduce the risk of injury, consult your doctor before performing this or any other exercise program. If you feel any pain, discomfort or dizziness, do not continue The creators, participants and distributors ofthis book disclaim ‘ony liability or loss in connection with the practices and advice herein. This practice is best done in partnership and community. While this manual is meant to support your learning, i is ahways the best and safest option to study in person with a certified ‘AcroYoga teacher. We highly recommend you: + Always put safety fit. I's not fun if someone gets hut + Use accurate self-assessment in attempting al kis inthis book. + Fin doubt — use spotter. Pro-Claimer From practicing AcroYoga you may find yourself: Experiencing more joy Practicing compassionate communication sills Caltvatng loving kindness (metta) Taking more risks in your daily life Making new fiends Building community Feeling centered Expanding the full spectrum of your being Enjoying life a play Releasing fear bracing the unknown Surpassing the imitations ofthe mind CCommuning withthe divine We wish you infinit Breathe and have fun! ‘ReraYoga’ Flight ManualGalcoce! ‘AcroYoga blends the spiritual wisdom of yogo, the dynamic power of Acrobtics, and the loving kindness of Thai mossage. These three ancient lineages form the foundation of o unique new practice that cultivates trust, connection and playfulness. The word AcroYoga comes from the greek root akros = high and the Sanskrit word Yoga = union. Together they form AcroYoga - High Union. From this place, many amazing physical shapes can be formed, and emotional ond spiritual transformations can occur, Our highest cim is to bring Individuals into o state of union with themselves, with each other, and with the divine. From this place of ‘mutual support the true self can be realized, celebrated and shared for the benefit ofall (Om Shanti Trust * Connection * Playfulness * Community * Teamwork * Communication * Mutual Support Truthfulness * Compassion * Metta - Loving Kindness ‘These ore the themes that inspite our practice of Acro¥oga. We offer tis manual in the hope that t may guide and support you on your path. For us, the real meoning of the work lies in the journey, rather than the destination. The advanced asonas simply elevate the need for trust, communication ond teamwork. This process helps us relate to one another from a place of essence, honoring that in me which sees the light in you. Genuine partnership empowers us to stay true to our own selves, while at the same time acknowledging that we are more powerful together than we are alone. The process of giving and receiving support from one another isthe seed that blooms into giving and receiving support from the divine, and being joyfully immersed in the flow of fe “I know God will nt give me anything I can't handle. | just wish that He didn't rust me so much. Mother Teresa May the fire of honest relationship to ourselves, each other, and the divine, burn away all that is not needed so that we may we live in grecter harmony and peace, Jason & Jenny ‘eroYoga' Flight Manual cTable of Contente About AcroYoga History of the Practices Found n of the Practices AcroYoga Practice ‘AcroYoga Lingo The 3 Elements of Any Physical Practice “The 3 Bos Roles AcroYoga Asana Sequence Inversion Training Portner Flows : Forward Flying igh Flying Whale : Backward Flying Partner Acrobatics Acro Flying Transitions: Great Wall Flow ‘Thai Massage Flows Resources and References Resources & References o 05 10 12 4 16 23 29 39 50 59 66 82 90 100 4 TAcraYogs’ Flight Manvalmeditate everydoy, meet people without fear, ‘ond ploy. Baba Hari Dass y & zViztory of the Practices Yoga ‘Steadfast in yoga, perform all your actions, having abandoned ‘attachment, and become indifferent to success and failure. I is sold that evenness of mind is yoga.” Bhagavad Gita [2:48] Yoga = yoke = union = marriage Yoga is Union between: + Body - Mind - Sprit *+ Physical Body - Emotional Body - Energy Body Basic self “sub conscious” - Conscious self "the ego! Higher self “spiritual sel Yogo's history has many places of obscurity and uncertainty due to its oral transmission of sacred texts and the secretive noture of its teachings. The early writings on yoga were transcribed on fragile palm leaves that were easily damaged, destroyed or lost ‘The development of yoga can be traced back to over 5,000 years ogo. Yogo's roots are olso deeply connected to the ancient traditional medicine system of India called Ayurveda, which Iterally means ‘science of life." This body of knowledge also originated about 5,000 years ago and was passed down orally until it began to be recorded in Sansirit around 600 BC, and was then recorded Jn the Atharva-Veda in about 1500 BC. Ayurveda is « holistic healing system, which treats dis-ease by looking at overall lifestyle, diet, and the mental end emotional health of the patient. Each person is categorized by a combination of doshas ‘ayurvedic contsttutions. Usually each person is a combination ‘of the 3 doshas, with one dominant and one secondary. Related Elements ai and ether Characteristics: col, ight, mobile, dry + Pitts Related Elements: fire and water Choractersties: hot, Fuld, sharp, soft + Kopha Related Elements: water and earth Characteristics: ol, cold, heavy, smooth Yoga’ long rich history can be divided into four main periods of innovation and development. Pre-Classical Period ‘The beginnings of Yoga were developed by the Indus Saraswati Civilization in Northern India over 5,000 years ago. The word yog0 was first mentioned in the oldest sacred texts, the Rig Vedo. The Vedas were « collection of texts containing songs ond rituals used by Brahmans, the Vedic priests. Yogo was slowly refined ‘and developed by Vedic priests, who documented their practices ‘and beliefs in the Upanishads, « huge work containing over 200 scriptures, The most renowned of these Yogic scriptures isthe Bhagavad-Gita, composed around 500 B.C.E. The Upanishads ‘00k the idea of ritual sacrifice from the Vedas and internalized it, teaching the sacrifice of the ego through sel-knowledge, action (karma yoga) and wisdom (jnana yoga) Clossical Period The first systematic presentation of yoga was Patanjali's ‘Yogo-Sutras. Written some time in the second century this text describes the path of Roja Yogo, often called “classical yoga". Patanjali organized the practice of yoga into an “eight limbed path" containing the steps and stages towards obtaining Samadhi or enlightenment, Potanjal is often considered the father of yoga and his Yogo-Sutras stil strongly influence all styles cof modern yoga. Post-Classical Period ‘A few centuries after Potanjal, yoga masters created a system of practices designed to rejuvenate the body and prolong life. They rejected the teachings of the ancient Vedas and embraced the physical body as the means to achieve enlightenment. They developed Tantra Yogo, with radical techniques to cleanse the body and mind to break the knots that bind us to our physical existence. This exploration of these physical-spiritual connections ‘ond body centered practices led to the creation of Hatha Yogo. Modern Period Inthe lote 1800's and early 1900's, yoga masters began to travel 1 the west, attracting attention and followers. nthe 1920's, Hotha Yoga wos strongly promoted in India with the lfe long work of T. Krishnamacharya. Krishnamacharya traveled through India giving demonstrations of yoga poses and opened the frst Hatha Yoga school. Krishnamacharya practiced flying with children and was very much a pioneer of blending acroboties, cond yoga. Krishnamacharya produced three students that would continue his legacy and increase the popularity of Hatha Yooa B.KS. lyengor , TK. Desikachar ond Pattabhi Jois. Many ‘Western and Indian teachers have become pioneers, popularizing hatha yoga and gaining millions of followers. Hatha Yoga now has many different schools or styles, oll emphasizing the many different aspects of the practice. Current Evolution of Yoga Now Yoga is practiced word wide and the growth and fusion are seemingly infinite. The practice must change with the times, and 0s the current masters of different lineages come together in © spirit of sharing and collaboration, the evolution of this art grows ot an exponential rate. a “eroYoga’ Flight ManualAcrobatics Acrobat from the Greek language: okrobat : akros, high; bot, to walk = high walker = tight rope walker. There is no knowledge available about the eadliest times of ‘man's acrobatic efforts. There is no doubt, however, that people performed individual tumbling movements, group acrobatics and ‘swinging from branches early in their history The history of acrobatics can be traced back to the Neolithic period (more than 5,000 years ago). Iti believed that acrobatics originally grew from self-defense skills people practiced and demonstrated during their leisure time The Roots of Acrobatics The Egyptians and Chinese: Stone cuttings show that people were building human pyramids (clong with stone pyramids!) and performing balancing stunts in Egypt as early as 2100 BC. In the 2nd century BC, men and women of Minoan Crete developed the art of bull leaping. In bull leaping the performer would run toward a charging bul, grab its horns, and, upon being tossed into the ai, execute various midair stunts before landing on the bul’ back and dismount with o flip, The Chinese have probably performed such stunts even before this time. Chinese Acrobatics was developed from the annual village harvest celebrotions. The formers and village craftsmen, with relatively litle to do over the long winters, decided to spend their spare time improving their societal postions by becoming ‘crobats. The Greeks: In Ancient Greece, three distinct programs of gymnastic exercise were developed for: ‘+The maintenance of good physical condition + Miltary training + As part ofthe conditioning resime for athletes The early Greek teachers of physical fitness (paidotribes) were the first to design systems of physical activity for both athletes ond the general citizenry: Such programs, which included gymnastics, were considered central to the formal education of children. “The Greek philosophy portrayed the human body as o temple housing the mind and the soul, and the practice of gymnastics contributed to the health and functionality of the temple. Hatha ‘Yoge in India grew out of this concept as wel “They coined the word, “gymnastics” which comes from the Greek word, “gymnos," meaning “noked art." The word gymnasium is Greek for "place to be naked”. Historically, such a place was a place for both exercise, as well as bathing, especially social (communal) bathing, In 1598, the term was adopted from o “place to be naked” to o “place of exercise”. The Greek term gymnestikos (frst e-spelled as gymnast in 1594) now refers to someone skilled in the art of bodily exercise, but no longer necessarily (nor even likely) naked. They built elaborate ‘complexes known as gymnasie for thelr physical education training. The philosophers of Greece such as Plato, Aristotle ‘and Socrates would go into the gym where they would exercise their bodies ond discuss philosophy to exercise their minds. The otttude of those eorly gymnasts wos a “sound mind in a sound body” With the gathering of young and old alike, the gymnasia was more like ¢ town hall than just o gym. In the Greek city of Athens, gymnastic tournaments were held, including tunbling, rope climbing, and other similar activities, Because oftheir love for these tournaments, the Atheniens sponsored the oncient Olympic Games. In 776 BC, the Greeks held the first Olympic gomes, which was @ festival dedicated to their god, Zeus. In his game there wos only a foot race of 200 yards, The games continued for about 1,100 years with boxing, ‘wrestling, throwing, jumping, and weightlifting added. The ‘Olympic games were finally abolished by the Roman Emperor Theodosius in 392.AD, When the Roman's conquered Greece, they discovered that gymnastics was very valuable in their riltary training ‘The Romans: The Romans were a battle-tough people who conquered the known world. After their conquest of Greece, they adopted ‘aymnastics as their own, and developed it into a more formal sport, Gymnastic systems were designed to give strength for military combat, and were used extensively by the Romans. Their practical nature turned sport into warfare. Like the Persians, the Roman Circus practiced horsemanship and chariot racing in o Circle, hence the term circus. Originally designed as a sporting ‘event where Roman soldiers could match their skills and prowess ‘against one another in Olympian fashion, it quickly evolved into pure carnage. The bloodier the spectacle the more popular it became. People killing people, animals killing animals, animals killing people. It reached its gruesome height under the Emperor Nera. The gymnasiums were used to train their sions for worfore, but with the decline of Rome, interest in gymnastics ‘also dwindled and gymnastics would have been lost completely if it were not for the Medieval Gypsies ‘eraYogo' Flight Manual 2E.arly Fusion Era Medieval Gypsies: The fusion of Acrobatics and Yoga strted hundreds of years ago. Gypsies ae believe to have arrived in Europe from northern India in the 1400s. They were called Gypsies becouse Europeans thought they came tram Egypt. This ethnic minority is mode up of distinct groups called “tribes” or “nations. The Sint and Roma spoke dialects of 2 common language called Romani, bosed in Sanskrit, the classical language of Indio. They blended their language, cukure and yoge into thee performance and ‘were keeping their woditons alive ot the some time were creating ‘new lineage. Mony Sint ond Rome traditionally worked os croftsmen, while others were performers such as musicians, circus animal trainers, and dancers. Acrobats, dancers and jugglers performed in the Gypsy shows throughout Europe. The E. Moder Day Acrobatics As the dark ages settled into Europe, circus wos forgotten. Groups of touring performers presenting at marketplaces with trained animals, acrobatic feats and riders kept the circus fre Towards olution kindling inthe hearts of people, Over time, acrobatics would develop into a performance ort and became known worldwide ‘The circus came to the US on 3 April 1793. John Bill Rickets, ‘on English equestrian rider, used @ ring and added acrobats, 0 rope walker and @ clown to his equestrian act. The circus didn't have an elephant — at least not yet. The 1850s ushered in the golden age of the circus. By 1852, about 30 circuses were touring the US. The circus was the country’s most popular form ‘of entertainment becouse its traveling shows went to the people ‘ond often gave them the only entertainment they had all year ‘Competition among the various circuses created this golden cage, 0s each circus tried to outdo the others with a show more spectacular than circusgoers had ever seen. Since the golden €g¢, circus orts continue to thrive in many major cities worldwide. Inthe late 1800's, the frst up-to-date Olympic Games were organized, andt Athens was picked os a location. Gymnastics |was one of seven sports consisting inthis contest, However, ‘aymnastics remained o rather minor sport in many countries. Then, in the 1970's, the world saw of a sudden interest in this, sport. After that it became one of the fastest increasing sports in the US. Modern competitive aerobatics began in the Soviet Union around the 1930s. It progressed and came to the United States in the 1970s. In late 1974 there was very little information weitten on ‘crobotics in English and no national governing body hondling competitive acrobatics in the United States. In 1975 USSAF "United States Sports Acrobatics Federation” wos formed. In 2002, US Sports Acrobatics Federation become part of USA, Gymnastics, This was the first time the disciplines of Gymnastics ‘ond Acrobatics were formally joined. In Janurary 2005, in compliance with the Federation of International Gymnastics, USA Gymnastics officially changed the program's name to Acrobatic Gymnastics. Current Evolution of Acrobatics ‘After over 5000 years of playing, the art of Acrobatics has developed and grown. From early branch swinging to the magic of Cirque du Solel there has been o gradual, systematic ‘evolution of Acrobatics. There re acrobatic festivals every year in Germany and Holland that bring together hundreds of people ‘rom all over the world to play upside down together Africa has ‘number of acrobatic troupes that use performance to moke colving. From teacher to student for mony many generations, ‘Acrobatic knowledge has been concentrated and distilled to its ‘current level of sophistication and diversity, We believe that the best acrobat mokes the hard seem easy and has the most fun doing it 3 ‘eraYoga’ Flight MancalThai Massage Thai Massage, traditionally known as Nuad Bo Rar, is one of the world’s oldest healing modalities. it originated in northern India over 2500 yeors ago, founded by a doctor named Jivaka Kumar Bhaccho, who was also known as “Father Doctor Shivago Komarpohi.” He was a contemporary of and the personal physician to the Buddha, as well as the physician to the King of Indio. The teachings of Kumar Bhaccha probably reached what {snow Thailand at the some time as Buddhism — os early as the 3rd oF 2nd century B.C. Its clear that the evolution ofthis art is greatly influenced by vege (from the movements, which often mimic the oscnas of yoga), as well as Ayurvedic medicine and traditional Chinese ‘medicine (os the pressure points are similar to the nadis of Ayurveda ond meridians of Chinese medicine). Massage was always considered to be a spiritual practice closely connected with the teachings of Theravada Buddhism, Until fairly recently it was tought ond practiced in the Buddhist, temples. Even today one of the most important massage schools in Thailand is at the Wat Po monastery in Bangkok. The establishment of legitimate massage foclities outside of the temples is @ recent development. Inthe hill tribes of Northern Thoiland, massage is skill that is passed down through ‘generations os @ healthcore modality and source of income, ‘Massage troining forthe blind is very popular in Thailand and an ‘ccepted livelhood that is rewarding to those with heightened Teaditional Thai massage still retains elements of this song spiritual connection. Practitioners stort their work day with o prayer to the Father Doctor, whichis recited in the original Pal language, and are reminded of the Four Divine States of Mind of the Buddhist teachings: compassion, loving kindness ’Metto Joy, ond balance. One must begin with compassion - for one’s self as well s for others - and from that compassion springs forth loving kindness - or simply the wish for well being - which leads 10.0 feeling of vicarious joy which enables one to find balance or equanimity in life. ‘eraYoga' Flight Manual 04feundation of the Practice Yoga Origin and Meaning of Sar Sanskrit (sanskrit; meaning ‘perfected’, ‘tefined’, or ‘polshed’) Is the ancient sacred language of India. An official language of kerit Indi, iis believed to be the oldest language of the world The origin of Sonskrit can be accredited to the Vedic society, ‘and dates back to the 2nd millennium BC when knowledge was transmitted orally. The Vedic society eventually produced the oldest surviving literature in the world - the Vedas, which ‘address almost every aspect of human life. Mystic rations of Indio ascribe o wholly sacred origin to the language, describing ites the languoge of the Gods. The fact that many profuound principles relating to human existence were given expression through Sanskrit, continues to amaze those who study the language. ‘Mystic traditions of India escribe a wholly sacred origin to the language, describing it as the language of the gods. When | ‘westerners began to take interest in the language some two hundred years ago, Sir William Jones, a British judge ond orientalis, noted that Sonskrit possessed vocabulary end grommatical structures very similar to many other languoges, including Greek, Latin, and even English. This discovery gave Fise to the study of comparative linguistics, which groups the languages of the world into families. Sensi, is]« member of the Indo-European language family. “In ancient India the intention to discover ruth was so consuming, that in the process, they discovered perhops the most perfect tool for fulfiling such @ search that the world has lever known ~ the Sanskrit language. .. The richness of Sanskrit Ianguage is almost beyond belief. Many centuries ogo that language contained words to describe states ofthe conscious and the subconscious and the unconscious mind and o variety of other concepts which have been evolved by modern psychoanalysis cond psyche-therapy. Further, thas many a word, of which there {sna exact synonym even in the richest modem languages. That is why some modern writers have been driven occasionally to use Sanskrit words when writing in English.” Rick Briggs, NASA researcher 8 Limbs of Yoga 1. Yamas = Restraints Ahimsa pratishthayom tat somnidhau vaira tyagah [2:35] In the presence of one firmly established in non-violence, all hostilities cease. Ahimsa = Non Violence, Compassion, loving yourself and others, gentleness Satya pratishthayam kriya pholasrayatva [2:36] To one established in truthfulness, actions and their resuits become subservient Satya = Non Lying, Truthfulness, being true to your nature Asteya pratishthayam sarva ratnopasthanam [2:37] To one established in non-stealing, all wealth comes ‘Asteya = Non Stealing, not keeping for yourself when others lock Bramacharya pratishthayam virya labhah (2:38) By one established in continence, vigor is gained. Bromacharya means control, not suppression of the sex desire or sex force. Brahmacharya = Non lusting, moderation in all things Aporigraha sthairye janmakathamta sambodhah (2:39) When non-greed is confirmed, a thorough illumination of the how ‘and why of one’s birth comes Aparigraha = Not grasping, desire, non: hording oe ‘eraYoga’ Flight Manual2. Niyamas = Observences Saucha svanga jugupsa parair asamsargah [2:40] Owing to purity, there iso desire to protect one's own body, being the non-contact with whatever is adverse to that Saucha = Purity, inner and outward cleanliness, postive thoughts ‘ond cations: Santosha anuttamah sukha labhah [2:42] By contentment, supreme joy is gained Santosha = Contentment, feeling no loss, tranquility Kayendriy siddhir asuddhi kshoyat tapos [2:43] By custerity, impurities of body and senses are destroyed and ‘occult powers are gained Tapas experience is an opportunity to let go Discipline, heat, fiery cleansing, every painful Svadhyaya ishtadevata samprayogah [2:44] By study of spirtual books comes communion with one’s chosen deity Svadhyoya = Self study, study of spiritual text, Study of your self in relation to the body of knowledge that exists Samadhi siddhirisvaropranidhano [2:45] By total surrender to God, Samadhi is attained Isvaro Pranidhana = Surrender to God, Surrender to higher self,devotion to the universal, seeing itn all things 3. Asanas = Postures Sthira sukham asanam [2:46] ‘Asana is « steody, comfortable posture Prayatna saithilyananto somapattibhyam [2:47] By lessening the natural tendency for restlessness and by meditation on the infinite, pasture is mastered, ‘Through the practice of the physical stretches and opening the bbody, one breaks through blocks as © means of breaking through psychological blocks, conditioned thoughts or behaviors 4, Pranayama = Breath Control, Life Force Control ‘Tasmin sati syasa prasvasayor gati vicchedah pranayamah 12:49) That (fim posture) being acquired, the movements of inhalation ‘and exhalation should be controlled. This is pranayama, “The proctice of pranayama develops 0 steady mind, strong willoower, and acute sound oworeness.” BKS tyengor ‘There are 3 aspects of breath: Puraka (inholotion), Rechake (esholation), Kumbhoka (rentention). Through the practice of breath observation, control and extension, one frees the conditioned mind from its restless scanning and analysis. Thus pranayama is the connection between the body ond the mind. + Ujiayi - Vietorous Breath + Nadi Shodhane ~ Alkernate Nostil Breathing + Kepalahati~ Shining Skull Breath 5. Pratyohara = Sensory Withdraw, Internalization “The best and most beautiful things in the world can not be seen ‘or even touched, they must be felt with the heart.” = Helen Keller With the physiological activities well harmonized and under Control, the next step is to bridge the gap between the body and the mind through psychosomatic taining, with an aim to control the external ond internal senses which affect equanimity ond peace of mind. Strict control over the senses alone will lead to difficulties instead of spirtual progress. Mastering protyaharo, fone transcends. ducites. 6. Dharana = Concentration = Thought Progressively, through a sound and healthy body, the purity of human nature can be focused mentally. In yogo, the control of the mind is followed up through the control of the senses. The next stage begins with concentration "Dhyana". Dhyana will lead to meditation “Dharano” in time. 7. Dhyana = Meditation = Realization ‘Meditation covers a vast field of mental culture projecting into, the higher levels of consciousness. This isa place to commune with the true sel, once the many superficial layers ore removed Its in meditation that deep realizations surface and answers will flow from intrinsic wisdom, 8. Samadhi = Cosmic Consciousness = Absorption Trance-consciousness, wherein the yogi remains unmoved by physical and mental afflictions, is the final stage of yoga and hos been described os @ state of uninterrupted joy ond peace, ‘absolute consciousness and self realization. Intuition and other transcendent powers of the mind and even of the body ‘re suspended and the yog! s freed from the laws of natural causation following the result of the awakening of the human energy potential ‘AcroYogo" Fight Manual 06Acrobatics Current Categories of Acrobatics Competitive Gymnastics & Acrobatics Antstic Gymnastics Atistic Gymnastics is « dynamic spor that is competed with ‘epparatus. There are high levels of risk involved and incredible levels of focus needed to perform safely. Men have 6 events, women have 4 events, Men's Artistic Gymnastics Events: + Vault + Floor Exercte + Rings + Parallel Bars + High Bar + Pomel Horse Women’s Artistic Gymnastics Events: + Voult + Floor Exercise + Uneven Parallel Bars + Balance Beam Rhythmic Gymnastics Rhythmic Gymnastics is a branch of gymnastics that is focused fon flexbilty and artistry. This sport is for women ond is, performed on @ 40! X 40’ floor with different props. Routines ‘re choreographed with music and dance with ballet elements ‘ond basic tumbling. Props; Ribbons, Balls, Ropes, Clubs, Hoops Acrobatic Gymnastics Acrobatic Gymnastics is dane with partners and competed on © 40" X 40’ floor. Routines are choreographed to music with dance, partner bolance moves, tumbling and bolle. Events: + Men's Pairs + Women's Pair + Mixed Pairs + Women's Tito + Men's Fou Tumbling & Trampoline ‘Tumbling and Trampoline are the disciplines of Gymnastics that ‘re the most airborne. The tumbling i ike the loor exercise in ortstic gymnasts, but they have @ much longer floor to play with, s0 the level of dificlty is much higher Trampoline is where the athlete gets to flip and twist with the skill of @ diver. In this branch of gymnastics, courage, speed, agility and timing are the important elements. Flexibility and dance do not have as much, influen« Events: + Power Tumbling + Tampoline + Synchronized Trampoline + Double Mini-Trampoline Circus Di This is @ much larger less defined pool of acrobats. There is ciplines not «federation or panel of judges shaping the way circus is expressed. Circus is much more about the show and the showmanship than the form. Circus artists olso have the ability to get highly trained in o very specific act. A gymnast is trained to be good at everything, circus performers get very specialized ct their oct and very often are taught by their family so they are almost bor doing it. There are mony more circus arts than what is listed here but this gives an idea of some of the most common aisciplines practiced today. + Trapeze; Static, Swinging, Flying, Doubles + Astal Straps + Aetil Hoop + Rope + Spanish Web + Fabrie/Tissu/Acral Sik + Chinese Pole + German Wheel + Contertion + Jussling + Clowning + Tecterbourd + Handbalancing + Russian Pole + Russian Swing + Tight rope + Slack line + Unieele + Sting + Diablos + Poi Being acrobatic is not just for acrobats, there are a number of other sports that are growing closer to the acrobatic fori + Diving + Aerial Skins + Wake Bosrding + Parquore "Free running + Various Extreme Sports, Bikes, Rellerblades, Skateboards, + Horse vaulting 7 TAcroYoge’ Flight ManualThai Massage Traditional Thai Yoga Massage can be traced back 2,500 years ‘9go to India and the spread of Buddhism. Doctor Shivago is ‘acknowledged as the founder of Thai Traditional Medicine, Thai ‘Yogo Massoge, and known as the venerated physician to the Buddha. In Thailand, he is acknowledged os the inventor of Thai practices of herbalism, massage, ond acupressure, The practice of Thai Massage was traditionally practiced in the temples by the ‘monks os on extension of the spiritual practice. Every morning ‘ond before every massage, ritual is practiced to honor Doctor Shivago. Invocation to Dr. Shivago in the Poli language: (Om Nome Shivage Silasa Ahang Karuniko Sopasatanang Osatha Tipa-mantang Papaso Suriya-jantang. Gomalapato Poka-sesi Wantomi Bontito Sumetaso Aroka Sumna-homi We invite the spirit of our founder, the Father Doctor Shivago,, who comes to us through his saintly life, Please bring to us the knowledge of all nature, that this prayer will show us the true medicine of the Universe. In the name of this mantra, we respect your help and proy that through our bodies you will ring wholeness end health to the body of our client “Thai Massage is an ancient hands-on healing form of bodywork. ‘The focus of the massage is to create balance of the energetic pathways restoring heolth, vitality and well-being to the receiver. Through o combination of acupressure, basic hatha yoga postures, and reflexology, the practitioner applies deep compression techniques, gentle stretching, and pressure point cctivation to the major energy lines. The energy lines, known 5 “Sen, run from the feet to the head. The Thai massage practitioner utilizes their thumbs, palms, forearms, elbows, knees, feet and body weight to work all the major lines of the body while ina state of meditation, ‘The effect is uniquely relaxing and energizing to both the giver cond receiver, as @ dance occurs between the two. There is constant movement or rocking that takes place throughout with emphasis on the breath. And while both the giver and receiver ‘benefit from the session, some receivers of Thai massage have likened it to ‘lazy-man's yoga’ as they remain completely passive while receiving all the benefits, {As o holistic practice, some benefits of Thai Massage are: * Balances the body's eneray sytem and frees energy blockages + Increases flexibility + Assists in posture and alignment + Adjusts the skeletal stucture + Improves circulation + Relieves muscular tension Increases range of motion within the joints mal organs + Increases ability to absorb nutiton Stimulates + Enhances elimination of tox + Encourages general feeling of well-being Theory ~ Sen (Energy) Lines ‘One of the foundations of Thai Massage is the focus of vital ‘energy “lor” and energetic pathways “sen’ throughout the: body. By working with the physical body, energy stagnation oF blockages can be removed to restore the flow of vital energy which affects the physical, mental, emotional, and spiritual being In Thai massage, 10 major lines are facused on while working with the physical body. In the practice, the Pranamaya Kasha, \which is meant to contain 72,000 energy lines, is accessed to reach all ofthe other koshas. In the yogic troiton the five koshas interact and intermingle. Namely: Annamaye Kosho physical body, Pranamaya Kesha - energy body, Manamaya: Kosho body, Anandamaya Kasha conscious body, Viinanamaya Kosho ~ subconscious. ‘cosmic body. With the focus on the Pronamaya Kasha to access cll of the kashas,o truly holistic experience can untold and restare imbalances. Philosophy Ethics of Touch ‘As young children, we inherently understand the essential nature of touch and how touch conveys safety and nurturance. As we cage, touch may become reserved only for expressions of sexuality oF a3 relaxation from paid professionals, Massage practitioners Uphold that the element of touch is @ sacred healing art and an ‘essential port of human relations. ‘erooga' Flight ManualThere should always be on open diclogue between giver ‘and receiver so that both partes are heard and respected. ‘Anyone giving touch should be particularly sensitive to areas (of the body that can have sexual connotations, such as the ‘abdomen, buttocks ond chest ~ opting to avoid these areas, work conservatively or with full consent where a relationship Is already well established. Being aware of body mechanies and how the giver places their hands or feet will create o space of honor, safety, end comfort for the receiver. Extra care should be ‘exercised when working around the head and neck, areas that ‘ore natuclly vital to our survival and thus often over-protected, by those receiving, Additional consideration should be paid to possible feelings of vulnerability; most clients will not disclose post abuse, but thase experiences are definitely stored in the body and we as body-workers are responsible for noticing these energetic shifts and working with the client's physical and emotional safety in mind Benefits There are numerous benefits to receiving bodywork:.. + When the body i relaxed, the parasympathetic nervous system is engaged, lowering heart rate and bleed pressure while deepening respiration + Endorphins (feel-good! neuro-chemicals) are released + Toxins ate released from the muscles into the blood steam to be procesied and eliminated fromthe body. + Research has shown that consistent massage improves mild depression. + Repressed or stagnated emotions may be released when patterns cof holding besin to unravel Psychological considerations Its impossible to detach the mind, emotions and spirit into seporate parts. Giving and receiving touch have a host of different mecnings depending on the history and mind-frame of the people involved, as well as the context. It should not be Lunderestimoted that all touch should be consensual, regardless of the setting, As massage providers, the agreement is clear that we will be touching our receivers; this lends a certain power to the relationship wherein we are viewed as experts in control of the situation. As much as we can keep the flow of communication open, we con reduce the omount of discomfort a receiver may repress, in deference to our perceived level of expertise. Contraindications to Receiving Thai Massage ive Cancer, Tuberculosis, AIDS, or other systemic infections (may cause infections to spread) + Pregnancy (unless the practitioner has had advanced training) + History of heat atteck or stroke + Diabetes (insulin and neuropathies; use gentle pressure if the diabetes is regulated) + Fever (may cause spike) + Some heart conditions (such as murmurs, hypertension, pacemakers) + Abnormal blood pressure — high ot low blood pressure + Acute injuries within 24-48 hours + Avoid direct contact with varicose veins, skin ashes ‘or fungal infections + nlammation and swelling + Menstruation (avoid deep compression along the Sen Lines) + Burns and broken bones + Avoid abdominal massage in cases of gastric or duodenal ulcer + Alcohol or drug intoxication Ending Prayer At the end of massage, give homage to the lineage of Thai ‘massage for the wisdom and faculties of healing. Offer gratitude to your teachers ond their sharing, offer gratitude to yourself for being © conduit of healing, and offer gratitude to the receiver for the honor of allowing you to work with them, No-2 No-wa Rokha Payati Vino-santi We pray for the one whom we touch, that he or she be happy and that any illness will be released from him or her. oe ‘eroYoga’ Flight ManualBase: ‘The acrobat that supports other boses or fiyers Flyer: ‘The flyer is the acrobet being lifted or thrown Spotte The acrobat that insures the safe landing of the Fer fist, mide bse second and base lst Sanskrit: + Asana — posture, a comfortable seat + Mudra — seal, a poston that expresses an itention/enersy Pransyama ~ breath (prana) control + Bandhas — locke mula bandhe (root lock) uddiyana bandha (upward flying lock) islandhare bandha (throat lock) + Disti~ gaz Common Sanskrit Profixe + Hasta=Hand + Usthita=Extended + Peda=Foot orLeg + Parna=Side + Sina=Head + Urdhva=Upward Facing + Eka=One + Adbo=Downward Facing + Dwi=Two or Both Upavista=Seated + Ardho=Half + Parivta=Revolved + Supta=Reclined Balance: Any skill performed where there is constant connection between partners Tempo: ‘Any skil performed where there is flight between partners Liste: What a bose calls out asking if portners and spotters ore ready Yes "in Spanish” confirms that oll partners are ready Hep: ‘The base calls hep to get bodies in motion (Calling Listo/Si/Hep is anclogous to soying “1, 2, 3" or “Ready, Set, Go") Down: The magic word, the most efficent way for @ base or flyer to communicate they need to come down to the ground Pike Tuck Straddle Split Foot Folded Leaf: Feet tumed out below hip bones of cements flyer ot top of thigh. Fiyer's thigh rests in the middle of the foot Front Bi Feet parallel, tler's hipbones in the soft part of the foot (the arch) Bot: Feet parallel, inseam of feet touching flyers hip bones ‘AcroYoga’ Flight Manual 4 2 G6 G2 @ @ @ @ @ @ @ 6 @ @ @ @ @ @ 42 @ BG @ ® @& @ @ @ @ 6 @ @ OG @ @ 2 B & BB OG 4 2ae df ( Crossed Forearm Shoulderstand - Thumbs Out ‘ip TE ; y I” Foot to Hand Shoulderstand - Thumbs In ReraYoga’ Fight Manual 7Che 3 lewente of ang Prgaical Practice Strength, Flexibility, and [ech nique ‘Training Philosophy Strength ond Flexibility are frst @ proctice of the mind, then a practice of the body. Confidence, determination ond sensitivity cre 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. Strenath is all cbout wil, 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. Evolution vs. Revolution Evolution iso slow graduel process. This is the rut of a daily practice more common to yogis. Revolution is a much foster path, This is the poth of that starts in the mind. Once a belief is bor in the mind that something is possible, the road to reolization is short, easy and paved! It comes from the abi 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 isthe gift ofa student ready to abandon who they are to see who they con become. Strength Training Dont bea hase race - be © marathon.” Michel Font This section will help you build the strength component in a progressive linear way. This method of strength training fortifies the mind-body connection while enforcing proper body alignment Consistency in training and resting helps the body to Integrate the muscular changes. For example, training 2 days (on, | doy off, or training Monday-Wednesday- Friday. Max Out (One way to quantify your current level of strength is a max out set. Ta max out means to do as many of that exercise 0s you con without sacrificing technique. Once your know your ceiling ‘max out number it is time to scale back and do repetitions. To condition your body divide your max out number in haif to find your training quantity. Do 3 sets of that new number. Example: If your max out number for push ups is 10, and half of 10 is 5, then train with 3 sets of 5 push ups. These sets should be done with excellent clignment to enhance proper technique, By Here are some of the best exercises that acrobats train: Timed wall handstands + Push ups + Down dog push ups Handstand push ups + Vups + Bor dips + Wheel push ups Press walks + Walking on hands + Tightness drills (5 person, laying down on back, plank) + version tightness dill Flexibility Training, This is best done at the end of a practice with o partner. The better the trust and communication is between partners, the deeper the flexibility goins can be. This process takes time and patience and is port of how yoga is different from acrobatics. In ‘acrobatic there is usually a deadline by which to train a skill for © performance or competition, whereas the timeline for yogo is your whole ie ‘The most common ways to provide the needed resistance for, Con isometric stretch are to apply resistonce manually to one's, ‘own limbs, to have a partner apply the resistance, or to use an opparatus such as a wall (or the floor) to provide resistance. Methods to help increase Flexibilit + Massaging before and after deep partner stretches Deep slow breathing + Increasing depth gradually + Mindfulness Knowing the diference between stretching muscles vs tendonsligaments or tessing joints Conscious letting go of tension or holding + Stretching on a consistent bass + Holding the stetch for 1-2 oF more minutes Fechnique “Technique is for the weak.” Rick Newman, Olympic Gymnastics Coach Technique is the way you express your strength and flexibility. If fo student has average strength and flexibility, but great technique they will be able to do asana and acrobatics as wel as « strong student with poor technique. Efficient technique can be learned by @ guru, coach, other students or by trial and error. Tal and ceror can work, but as inefficient techniques ore embodied the students! foundation becomes shaky. The process of undoing poor technique takes lot of time, patience and the expert knowledge of e teacher. The best way to train any physical discipline is to find a technique that utilizes the most of your ‘ReraYoga’ Flight Manualstrength and flexibility, llowing the most amount of ease in your exercises. These techniques are very different from sport to sport and person to person, but over time the laws of gravity will reward students who find the most efficient way to express their divine git of Ite. Stacking the Bones Stacking the bones helps us to utilize our skeletal structure to support and distribute weight. Our bones are much stronger than ourmuscles, and our willis more powerful than both, Wil, proper lignment and the subtleties of strength and practice ere what cllows smaller people to successfully base much larger people. How to Stack the Bones: + Staight Limbs + Align over the major joints (shoulders, hips ete) + Find the best angle (usually 90) + Use the ground as support ‘ReroYous" Flight Manualthe 3 baeic Poles Spotting ~ Safety First Spotting isan art best learned by doing. The safest way to start is to practice with @ partner who can already do the skill safely without e spot. As a spotter you are giving your fll attention and energy towards the safety and well being of the person attempting the skill. Before attempting a new skill there must be two conditions: *+ No doubt that you can spot your partner *+ No doubt thatthe person is ready to attempt the skill Ifeither of these conditions de not exist, da not attempt the skill without an additional spotter ‘The spotter Is the glue between the base ond flyer. Their outside eye can see things neither the base or flyer can. They can serve (5 on interpreter between the acrobats and offer suggestions to ld the stability ofthe skill The spotter is there to increase the potential of a successful skill attempt itfalls: + Not fully present + Eyes focused in the wrong place + Too hands on + Not hands on enough Spotter Virtue: + One pointed focus + Confidence + Too far from flyer + Speed + Sensitivity Techniques & Principles: + Keep your eye on the bal If you are nat looking at your student for even « second, bad things can go down + Find the place that you are most effective spotting (On your knees, wide stance, on the side, front, or back of the student + Stay out of harms way, If you get « foot to the head you cannot spot anything! x + There is too much of a good thing Light spotting will give the student enough sensation to understand how to do it + Never ever ever let the head hit the flor! Many othe en allele ails go forthe center of gravity. their own, dy pats wil heal ~ not the melon! Basing ‘The base is the pillar that everything rests on. The more stable the base isthe more fun can be had above. The base is, Ultimately responsible forthe flyer’ safety, no matter what Bose Virtues: + Stability + Strength + Confidence + Safe + Calm + Trustworthy + Grounded Bose Pitfalls: + Lack of communication + Lack of compassion Unclesr communication + Abrupt movements + Dropping partners due to lack of progressions or spotters + Holding breath 2. ligament + Bent arms and lege when supporting partners Techniques & Principles: + Stack the Bones + Use the best alignment your flexibility wil allow +The straighter the beter, like a building + Strong grip + Find your stance Drills: + Basing flying i an into towards basic acrobatics + Balancing sticks + Learn to balance yourelf in headstand forearm stand and handstand Partner squats + Foot to hand, lo + Weight balane te high Partner conditioning ‘ReraYoga' Flight ManualFlying The fier is the one thot takes the risks ond trusts their base completely. The combination of strength and flexibility in synchronicity is the dance of the flyer. Overtime the flyer must embody 0 wide range of physical states, ranging from highly passive in therapeutic fying to highly engaged in parmer ‘crobatics. As these elements come more into balance for the flyer the more possiblities there are for artistic expression Flyer Virtues: Tightness of muscles Trust Flexibility Bravery High strength to weight ratio ie. “press handstand Fluid and controlled transitions Grace in motion and in static postions itfalls: + Not tusting + Trying to control the balance + Inflexblty + Adjusting positions abruptly + Holding breath + Bending or loosening body when being supported Techniques & Principles: + Stack the bones + When inverted legs in straddle + Tight sip *+ To move body, fall like «plank without changing body positon + Slow smooth transitions Dri + Tightness dill 3 types + Press handstonds + Press walks + Lwale + Wall Handstend * Deep partner stretching ‘RereYoga’ Flight ManualAcroY oga Asana Sequence “On looking at what isin the mirror infront of you, think of what is behing it.” -Wu Wang Purpose ‘Asana warms the body and grounds us individually in preparation for partner work. A mirrored partner asana flow helps to develop concentration, focus, and flexibility. This sequence utilizes {elements from Shei Dharma Mittra's Shiva Nemoskara ond is, complimented with alignment principles from Anusara Yoga It's also infused with gymnastic style strength building drills that teach the body positions ond dynamic power needed for ‘Once the sequence is complete the body and mind core prepared to excel in ony of the AcroYaga disciplines cocrobatics. Philosophy Tightness vs. Steady and Comfortable ‘Yoga postures are prescribed to be Steady and Comfortable, Sthira suka asonam. Acrobatics and Gymnastics often requires ‘tremendous amounts of strength that might seem to violate this yooic ideal. High level ecrobatics demands that partners, especially fiyers ~ can keep their bodies tight, This tightness enables acrobatic postions to be steady and comfortable, ‘Anusara Yoga might soy use muscular energy and hug the mid line. Once this physical state is realized, skills ike peacock, one ‘orm handstand and partner hand balance skils can be realized ‘Sun Solutation aka Surya Namaskar aka Vinyosa “In the system of Surya-Namaskara are combined several Yoga postures with rhythmic breathing, ropid movement, sunbathing ‘and prayerful contemplation of the divine power that the sun Thus, Surya-Nomaskara provides the foundation for the magnifcient all-round culture of body, mind and spin, which 's essential for every human being.” = Swami Sivonanda Surya namaskora has been handed down from the enlightened sages of the Vedic Age, The sun symbolizes spiritual consciousness and, in ancient times, was worshipped on o daily basis, In yoge the sun is represented by pingala or Surya Nadi the pranic channel which cortes the vital, life giving force. Surya namaskora is composed of three elements; form, energy and rhythm. The asanas are the physical matrix around which the form of the practice is woven. Their performance in o steady sequence activates prona and brings us in tune with the rhythm of the universe. RereYoga' Flight ManualBeroljora Qeans Sequence j ( 4 c _ Mountain/ Tadasana Backbend Standing Forward Bend/ Crescent Moon/ 3 breaths, eyes closed 1 breath, kali mudra Uttanasana Anjaneasana 3 breaths 3 breaths. Right foot back, kal mudra, arms reach behind eats to open shoulders ae J AN A- SE ned Child's Pose/Balasana Cobra/ Bhujangasana_— Downward Dog/ Adho Narrow Down Dog 1 breath 3 breaths Mukha Svanasana Stance breath Hands shoulder width, walle feet in towards hands — Downward Dog Leg Lift Scissor Kick Switch Downward Dog Leg Lift 3 breath, lift eft leg 1 breath, look inbetween hands lot 2 breath, it vight les through handstand to swith legs KWH, Warrior Two/ Virabhadrasana Il Yoga Mudra Hip Opener Plank 3 breathe 3 breaths, ont knee bent over 1 breath ankle, forehead to big tor v7 TeroYoga’ Fight ManvalBercljara @zans Sequence NOE aa —_ lank Kee Push Ups Plank Push Ups Elbows Out eee es Push Ups - Choose one Variation: wider than shoulders in Do repetitions of half your max out. (For max out instructions, see page 12) preparation for Push Ups. Bend elbows out tothe side, keep body straight, stack bones Reguler Dynamic One Leg One Le Downward Dog Push Ups - Choose one Variation: Do repetitions of half your max out. (for max out instructions, see page 12) Bend elbows out tothe side, keep body straight hile touching forehead to the floor between hands ARRR High Lunge prayer extended bound 3 breaths, back heel off the Revolved Side Angle/ Parivrtta Parsvakonasana - Choose one Variation: floor, hips face Forward 3 breaths, back heel off the floor. AA Side Plank/ Vasisthasana - Choose one Variation (Both Sides): 3 breaths, stacle bones, lift hips. ‘eraYoga’ Fight Manual 8acrolaa Qgana Sequence NAF EF &- Jump to Crow / Bakasana 1 breath, walk or jump to crow, knees on upper arms Dharma Downward Dog Shoulder Opener 3 breaths, bring forehead towards sound while keeping shoulders engaged and atm straight RA! Upward Facing Dog / Urdhva Mukha Svanasana 1 breath = Choose one Variation: 5 breaths As _*_ 4+ _“ aA, Sideways ce Shoulderstand/ Sarvangasana + Choose one Variation: Forearm Stand / Pincha Mayurasana Crow to Tripod Headstand / Bakasana to Sirsasana 1 breath, use Fingers to control balones 29 A- Downward Dog/ Adho Mukha Svanasana 1 breath —_—————— Standing Forward Bend with Hands under Feet/ Padahastasana al Jump thru to Back ‘Crescent Moon 3 ‘Twisted Thigh Stretch 3 breaths. Bend back leg and eats, right foot 3 breaths. Hands support back, or cactus ams, of forward, ha mada, aces hold inside of lft foot with ight arms fee, maintain hollow body position, press back reach back behind ears hand. Preis foot into hand as — buttocks, sin chest towards sky w ‘Acrovoga’ Flight Manuala ‘Tripod Headstand/ Tripod Headstand to Crow / 4 Limbed Statt / irsasana, Sirsasana to Bakasana Chatturanga Dandasana 5 breaths Use fingers to contol balance Walk o jump back from Crow Forward Bacovard Press Walks: Press walk Forward then Backward one mat length in each diection on fst round, press walk Sideways on second round. Do press handstands instead if posible SS Hollow Body Rocks VUps Squeeze les together, reach arms overhead. Shoulder De repetitions of half your max out. (for and feet never touch ground, ribs in towards spine imax out instructions, see page 12) Star in hollow body position, sit up to Navetana repidly, and return to hollow body [Maintain straight leg, feet together throughout Nee eel Split Prep/ Ardha Hanumanasana Split/ Honumanasana 3 breaths. Swaighten front leg and flex 5 breaths. Slide front leg as forward as far as possible, foot, lean forward over front leg keeping hips squared and sitting straight up over hips AcroYoga’ Flight Manual 20Bercljozs Seana Sequence a~ G&H Pigeon 5 breaths, Lean to one side, bend front leg to 90 degtees for more stretch, oF 45 deg Whe Rocks Rock shoulders over hands to open shoulders Plow/ Halasana 3 breaths. Rounding counterpose. Press back of head into floor to tin natural curve of necle Pigeon Variations - Choose one Variation: 5 breaths. Hold on to back foot, try to keep hips and chest squared tothe front mG + Choose one Variation: Pop Rocks Rock with dynamic hops at either end, bringing weight alternately legs and arms to fee other half ofthe body fT Tuck Pike Straddle One Leg L Roll Forward to Handstand / Adho Mukha Vrksasana - Choose one Variation: 3 attempts towards handstand, any variation TReraYoga’ Flight ManualGcroljaga Gzana Sequence ™m A ————_>, Wheel/ Urdhva Wheel Push Ups Dhanurasana 2 tines, concetatig eff in the ams, bend ul head touche lor and push back oi 3 breaths. Feet parallel and hip width, hands shoulder width OA Drop Backs Rock wight towards fest to come to standing take hips forward and heat high to drop back with cont oo! i Standing Forward Bend/ Backbend Mountain/ Tadasana Uttanasana 1 breath, kali mudea 3 breaths, eyes closed 3 breaths, wrap forearms around calves and place hands under heels **This represents one half cycle of the Asana Sequence, Repeat whole sequence leading with the left leg’* ‘AcroYoga’ Fight Manual mnversions Training “My guru did not waste too much time on postures or on alignment. He mainly tought and practiced the headstand, the eight main poses, and the mudras. His focus was on using the time to practice and concentrate on the yamas and the niyamas Early on | learned about the importance of puntying one’s heart through the eight limbs of yoga, by being reverent, not hurting ‘anyone - in word, deed or action, and by busying myself n the practice of meditation. | also learned that the best ond most important way to clean the heart, the mind ond the physical body 's through the mudras, emphasizing them in the headstand and the shoulderstand.”| Shri Dharma Mittra “Only the person who nsks is truly free. Anonymous Purpose Inversions turn our world upside down ond 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 sills. *hilosophy Stack your Bones ‘The acceleration of gravity is @ planetary constant that yosis, ‘acrobats and all matter on earth exist with, There are no special rules that allow exception to this deeply rooted force. Acrobats ‘and yogis alike position their bodies in ways that gravity will demand strength, increase flexbilty or @ combination. Their ‘applications and training methods often differ. An acrobat becomes more skilled when their technique utilizes their flexibility s0 they dor't expend too much strength. A yogi deepens their practice when their alignment leads to slower deeper breaths for longer holds. Using your God given bone structure is a destination that yoga and acrobatics wil arrive at by tral and terror or the blessings of good teachers. To the degree thot this, principle embodied will be o factor towards the degree of ease in postures ond the difficulty of skills. Effort for Ease Acrobats can do transitions in and out of handstands, on to tone arm with magical grace and ease. What is their trick? ‘They trained hard for many yeors to get to thot level of ease in high level asanas. There is « period of great effort that in time ‘ronslates to a place of ease. This is only true ifthe effort is channeled in a way that will increase your technical efficiency. For example, to get the arms straight in handstand takes many considerable effort. Once the arms are straight the effort pays off with o new sense of ease because the bones are stacked ond the muscles are working more efficiently Tool: Alignment Drills + Wall andstands + Partner alignment tune ups Balance Exercises + One foot wall handstands + Light partner spotting Strength Drills + Max out time Push ups Press work Core conditioning Tightness drills General |nversions Shoulderstand ~ Salamba Sarvangasona Alignment: + Shoulderblades hug together towards spine + Elbows shoulder width or more narrow along sides of body Fingers point up, pinky fingers touching Heels of hends as close to upper buck as possible Hips over shoulders, feet over hips Legs together Execution: + Gaze up at toes Feet active — pointed or flexed Engage al muscles towards midline LLengthen tailbone towards heels Elbows too wide, away from body (usualy due to shoulde inflexibility) *+ Neck discomfort (can be aided by blankets) Tero¥oga Fight MancalHeadstand - Sirsosana Classic ~ Boddha Hasta Sirsasano Alignment + Elbows shoulder width distance + Fingers interlaced + Open palms cradle back of head + Grown of head on floor Hips over shoulders + Legs together Execution: + Walk feet in toward head until legs can float up Press palms into back of head for more stability + Shoulderblades move onto the back body + Distribute weight along forearms and shoulders + Lengthen tailbone towards heels + Feet active ~ pointed or flexed ‘Common Pitfalls: + Placement of head + Too close to forchead + Too far back + Elbows too wide (reduces stability) + Lege slightly piked (usualy fear of falling backwards) + Back arched (lack of hollow body) ipod ~ Mukta Hasta Sirsosane Alignment + Honds shoulder width distance + Equilateal triangle between hands and crown of head + Grown of head on floor + Elbows at 90 degrees between wrists and shoulders + Hips over shoulders + Legs together Execution Walk Fet in toward head until legs can float op + Shoulderblades move onto the back body *+ Elbows squeeze in towards each other LLengthen tailbone towards heels + Feet active ~ pointed or flexed Common Pitfalls + Placement of head + Too close to forehead + Too far back + Hand placement + Too wide Too narrow + Elbows not at 90 degrees (due to incorrect hand placement, no equilateral tiansle) + Elbows opening out to side (reduces stability) + Legs slightly piked (usally fear of falling backwards) + Back arched (lack of hollow body) Forearmstand ~ Pincha Mayurasana. Alignment + Elbows shoulder width distance + Fingers spread + Shoulders over elbows, hips over shoulders, + Lege together Execution: + Shoulders engas + Melt heart between shoulderblades + Shoulderblades move onto the back body + Lengthem tailbone towards heels d ond extended + Feet active ~ pointed or flexed Common Pitfalls + Elbows slide out to the si + Shoulders sag too far forward and down + Head up too much causes, arched back while hands slide in Handstand - Adho Mukha Vriksasana. Alignment: + Hands shoulder width distance + Shoulders over wists, hips over shoulders, toes over hips + Arm seaight + Fingers spread + Legs together +The straighter the better Execution, + Gaze between hands on floor + Shoulders ens Balance with the fingertips Feet active ~ pointed or fled + Engage all muscles towards midline + Hollow body + Pull ibs and pubic bone towards each other + Lensthen from heat towards ground and from tal towards heels d and extended Common Pitas © Hands too wide + Hinging at shoulder sully du to iflenbity) + Bending ams Belancng with shoulden/lbows + Overarching due to head out (increases arched back) * Arched back or “banana handstand” (lack of hollow body) ‘eroYoga' Flight Manual 24(Shoulderstand) > 2 SI Level 1 Level 5 ST at | LX. Sarvangasana ‘Ardha Sarvangasana ‘Sarvangosana Sorvangasana ‘Arms free. hollow body Sirsasana ‘Salamba Sirsasana Prep (Headstand) ‘Tripod Headstand Prep 1 ‘Tripod Headstand Prep 2 A Solamba Sirsasana ‘Tripod Headstand Balance Transitions Sirsasana to Straddle (Also from Handstand) 3 Sirsasana to Split ‘Around the world ‘AcroYogs' Flight Manual= x : pure lnvergion Chart ¥ Skill Level 1 Level 2 Level 3 Foundotion Dolphin Pincha Mayurasana Scorpion (Forearm Stond) f 2 Wall Handstand Back on Wall Belly on Wall ‘One Foot on Wall oe | ' 4 L Jump to Handstand Kick up to Handstand Tuck Jump to Hendstond | Straddle Jump to Hond stand Handstand Transitions Handstand to Wheel g Wheel Kick Over AY! Back Walkover Handstand froe Bi | ‘AeroYoga' Flight Manual5 ure lnvergion Chart (aa Balance Transitions (Also from Headstand) Hondstand to Eagle Level 2 Level 5 Handstand to Ardha Padmasana Handstand to Padmasana i ~ gf Ae = 1 Bm A | \ Se ig 7 é wR A) ‘eroYoga’ Flight Manual— = 5 pure lnvergion Chart Skill Level 1 Level 2 ld ise Pressing down 2 Hondstand to Pancake | Handstand to Uttanasana_| Handstand to Tittibhasona LAN) | * a“ 9 a 7 Mike r c & Jedi Pressing Handstand to Headstand | Headstand to Handstand | Crow to Handstand i i , ) } i Partner Handstands Eye to Eye Handstand Sole to Sole Handstand —_| Sole to Sole Handstond ‘on Down Dog Pike Position Split Position ar ALA ‘AcroYogo’ Flight ManualPartner Flow “The heart ofthis path isto look for and support each other ‘s essence. When each partner actively looks for opportunities to support the other's essence while oso supporting their own deepest self, essence overflows in @ growing spiral that includes both. We seek an experience that unifies rather than divides; there we can actually celebrate the unity of humanity.” -Kathlyn & Gay Hendricks Purpose Partner Flow is « creative sequence of mutually beneficial partner ‘osanes and stretches. Communication, self-acceptance and honesty are the roots of the partner experience. Central to this, practice are trust and compassion, the first two observances of Yoge. When two become one, we become breath in motion together. Philosophy ‘We have distilled the AcroYoga Partner Flow down to poses that: + Ave Mutually Beneficial for both partners + Actively Increate Strenath andlor Flesibilty Foundation of Partnering Communication: There ore many elements that contribute or detract from the fluidity of partner work. Communication is the vehicle that brings partners toa place of common understanding. Words, facil ‘expressions, touch, breath and even thoughts are all ways to communicate. When honest communication is being exchanged the connection deepens ond this bose is where all partner work ‘grows from, Ahimsa (compassion) & Satya (truth): ‘Two of the founding principles of Yoga can strengthen the obilty to give ond receive, Ahimsa tronslates as compession fr kindness, Satya translates os truth or non-iing. If one communicates thelr 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 ruth, their partner can not proceed with kindness. The more honest partners can be about where they are and what they need, the stronger their connection will be Communication Verbal This i the time to start the flow of communication between partners, You can never check in too much. Model questions that you want to encourage your students to ask each other. + Do you need more or les + How are you doing? + How does this fel? + Do you want to re-adjus? Non-Verbal Besides communicating with words, also encourage students to have on awareness oftheir partners: + Breath (ease, depth, and overall quality of the breath) + Facial Expressions (relaxe + Body Reactions (fiom desp release and surender and tension) tense or srimacing) Tactile ‘You may also want to use signals thraugh touch, such os when partners are being stretched and have a forearm grip: * One squeeze means hat's enough right there’ Two squeetes means "you can go further Toc + Seated & Standing Asana (forward bend/backward bend! side bend/tiss) + Transitions + Counterbalances + Mutual Paoer Str + Breathwork ‘eraYoga' Flight Manual 29Partner floor back-to-back gested a Grounding Spinal Twist Sit back to back, cross lessed, Connect palms with thumbs pointing up, twist to the right, bend breath awareness left arm into open chest, keeping arms at shoulder height. Place hands on knees, press down and out, find length in spine SF Easy Baddhakonasana with Backbend Upavistakonasana with Backbend hands Forward to take son receiver's thighs, beddhalonasane, hands forward to take Receiver in easy upavista kone ‘on ground, keep backs connected weight, givers fest on ground, gentle press down and out, keep backs connected Receiver in easy weight, givers f <) i , TOC rvmRoD > Camel on Seated Forward Bend/ Massage Table Ustrasana on Pachimottanasana — Receiver's head rests between shoulderblades of giver, giver flexes Prschimottanasana bends forward to the degree 1d rounds spine hat it still supports the partner in camel. The rarer in camel keeps pressing the tailbone forward and lifting through the heart a ReroYoga Flight Manual= Chest Opener Side Bend Easy Pose with Backbend Giver's atm are under receiver's ‘Aum on floor starts straight, then bring forearm Both partners startin eaty pose, receiver's arms at shoulder height, draw to floor. Upper hand can connect to partner, hands to flor with forward bend as giver hands in towards midline hipe grounded, spiral heat towards sky leans back, backs stay connected Paschimottanasana with Backbend a _ Child's Pose Traction Double Child Giver comes down to elbows, holds wrists of receiver, end tactions Both pariners transition to a foot-to-foot child's po: holding hands arms out and down while pressing til up and back to lengthen spine AcroYoga Flight Manual aPartner Pro Beckcta back Standing > Back to Back Standing Double Prasarita Padottanasana Counterbalance Stand back to back, breath awareness Heels a few inches apart between partners, atm between legs holding at fo lean hips away fram each other bringing weight over toes, keeping eye contact Mini Back Pack Flyer: squat down so that hips Base: lean forward towards Flat bac, Base: traction flyer's arms to side/ove are under the bates hips, eeeping elbows and back connected uaile pressing tailbone back. Keep elbows interlaced Flyer: feet stay on the ground, backs connected to retuin to standing supporting own weight, open heart a SO Full Back Pack - Hero Variation Full Back Pack - Standing —_—Full Back Pack - Base: guide Byer one Bose: bend forward‘ Dismount Back Walkover Dismount foot a tine into cea nile holding Base: unhook fiyer's fet, hold Base: unhook fiyer's fet, lean forward o igh fr ip opener fips of flyer for flyers hip bones to slowly stand, and bend knees until flyers hands Flyer: hook feet around base's deeper stretch keeping backs connected touch the floor. Straighten legs and roll back int flyer to help fier stand Flyer: look and reach forthe floor, arms straight, reach one leg over ata time to stand z ‘AcroYoga’ Flight Manual ner thighs, dew ees towards eachother, lengthen tabonepartrer Poor baclete tack Standing Triple Prasarita Double Uttanasana Double Utkatasana ‘Arms are croated, hold above the Heels afew inches apart between partners, Thighs parallel to ground, ba wrist with a pariner on each side arms on outide of legs holding at traight and pressed together, shift forearms, draw belly towards own thigh righ lg, lft left leg Full Back Pack Bases squat down so that hips Base: lean forward towards» flat Bases traction lyer's ats to si are under the ier’ hips, back, keeping elbows connected, elbows interlaced with flyer taking the full weight head Assisted Front Limber Base: place the back offlyer’s knees over shoulders, hold ankles, bend forward slowly ‘ereYoga’ Fight Manual s— Grounding Spinal Flex Infinity Spiral Twist Seated face to face, cross Flex and round the spine Right arm behind back, left am on legged, knees touching utile holding forearms the outside of partners extended arm to hold thet hand Cs a3 aa ee See-Saw Paschimottanasana Sole-to-Sole Paschimottanasana Holding forearms, one partner rounds and leans aay, while Both partners extend forward. One partner the other extends forward. Reverse flow ata time points toes into the other werk &- mal ‘Straddle Navasana Twist Straddle Side Bend Hold right arm to right rm on the inside of Hold right forearm to righ forearm, lift left arm up and over towards right toes. Draw legs, reach and look behind with left arm right shoulder in front of thigh, adjusting grip as needed, then spiral heat towards sky = TeraYoas Fight Manvelko an SS — Infinity Counterbalance + Baddhakonasana & Paschimottanasana Backbend Paschi partner's legs are straight, feet connected to the shins of baddha. Connect Lean away with extended arms, forearms, paschi leans back, baddha comes forward. Inhale to come up and reverse backbend over bent back arm the fold. Beckbending partne: keeps heart lifted, shoulder blades down Double Navasana Straddle Navasana Bent knees on the inside ofthe arms, toes touching. Connect one side sole to extend leg as straight as posible, do both sides, craw shoulders back and lift heart, off floor, bend knees and draw legs underarms, re-extend legs high on and Kesping aims connected and feet the outside of sims, Lift heart Straddle Whirlpool Easy straddle, feet connected, crossed forearm grip. Close eyes, start with small ices and sradually spin out bigger, then reverse ditections and spiral back in to stillness ‘ereYoga' Flight Manuel 3Partner Poor front-tofront Standing Standing Plank Counterbalance Partners standing 6 inches apart, hold forearms exhale, lean back with a straight body and straight arms ee > Backbending Fountain Steeple Holding forearms inhele and lift the hea, exhale drop Palms touching, reach arms up and walk back, hinge at head back. Inhale to come back to center hips. Arms stagh, shoulder width, palms with even pressure, Draw heart through shoulders towards partner > SS Side by Side Shoulder Opener Table Top Keeping palms connected, take atm behind you Hands rest on shoulders, arms sight, hinge t hips for at shoulder height, standing side by side. 90 degree angle, melt heart between shoulders Reach outside arm around back, connect with ganesh grip. Press palms into each other while slightly turning body away **Repeat second side from diamond twist** 7 “Acravoga’ Flight ManualUtkatasana Counterbalance Parinrs stand about 1 foot apart, hold crosted forearm stip, bend knees zo thighs are parallel to floor. Left arm up and back, and lean away as stance stays deep SE nnn ccna Diamond Twist Double Natarajasana Triple Natarajasana From Stesple, exhale and twist open to Partners connect palms mirroring each fone side, bottom palm stays connected other, hold the inside ofthe back stop arm reaches up and in foot and kick back into the hand ee eS Double Warrior 3 - Both Sides Table Top Counterbalance fet in a few inches towards partner, with frm grip on arms, le Place weisht in right leg. Find a drishti, then simultaneously lift left Wa leg up and back witha flexed foot while keeping the hips level hips away behind heels to lengthen hamsti AcroYoga’ Flight Manual uy‘Therapeutic Flying, "You've got to get the base stable before you can fy." ‘AeraYoga Saying Flying utilizes gravity to release and open the flyers’ spine while ‘grounding and empowering the bose. This is the nectar of ‘AcroYoga, aka Ant-Gravitaional Spinal Elongation. Philosophy Flying is © practice in which all of our emotional withholdings manifest in @ physical form. If « pair of partners are not able to work harmoniously during flying, more likely than not, there: is an emotionel/psychological foundation for the imbalance How people respond to these flying hurdles and move towards, bolance can be broken down into two basic categories: Reacting Reacting is when the partners are coming from a place of seporation, difference, and judgement in which there isa sense of blome thot the exercise is nat working. This kind of approach tends to be centered on "You" statements, demands on what should be happening, and looking to the other person to fix the problem. Relating Relating is when the partners are coming from a place of unity, compassion, and understanding in which there is a sense of cooperation and truthful yet gentle communication. This kind of ‘approach tends to be centered on “I” statements, suggestions in the form of questions, and openness to looking at one’s self in the equation, The best way to help partners who fall into the frst category of Reacting, is by asking them to focus on their breath ~ this, eliminates harmful ar unnecessary eftcism and starts to turn them within to examine their own feelings and sensations in the pose, From there, we act as facilitators and intermediavies between the two partners, asking each individual questions to find out their current level of comfort, oF what could be shifted to make them feel more comfortable or safe, Logistics ‘Teams of 3 When fist learning how to fy itis almost always useful to create teams of 3 - bose, flyer, spotter. Try to rotate through all 3 positions, having @ different role each turn Benefits to 3 Person Flying Teams: + Ensures the safety ofthe flyer + Provides an outside eye for the base and flyer to fine tune and incresse communication + Teaches the spotter how to identify and fix inefficient technique *+ Teaches the spotter how to articulate instruction (like junior teacher + Allows fluidity in roles, inereasing the students full spectrum experience of giving, receiving and supporting + Increases cooperation and teamwork Tool: + Stacking the bones (legs and arms at 90) Clear communication + Deep breathing Move slow and symmetrically a if underwater Surender ust in one sel + Trust in another 38 TReroYoge' Flight Manual—. eS eT Downward Dog Mount lifted Baddhakonasana Folded Leaf Base: place fet turned out on flyers upper Base: straighten arms and legs simultaneously, Base: allow flyer to hang passively, thigh, hands on the inside of flyers shoulders stack the bones, shoulders into the ground keep hands connected to flyers back Flyer: besin in downward dog, feet near Flyer: baddhakonze legs ond lift arms for support and breath awareness base's hips, hands on floor by bese’ shoulders behind back, clasing opposite elbows Flyer: legs wide, feet heavy, torso and head relaxed, palms rest fe up by base's hips EB A em I Folded Leaf with Massage Super Yogi Transition Reverse Namaskar Base: thumb down ether side of Base: legs beyond 90 degrees, Base: move one hand at atime Base: straighten rms, st spine from low back to upper back, elbows bent, arms pull and legs just below elbows the bones, shoulders into squeeze down arms from shoulders push in opposition to create, Flyer: keep grip and arms strong the sfound, bring fiyer's ws towards each other Flyer: interlace sip overhead, baddhakonize, fold hands cxhale during traction bechind heat, relax the head SA Folded Leaf with Brushes Dismount Base: brush 3 times from flyers Base: holding hands, straighten arms while bending knees beck, down the arms, of the hands to hands spinal traction for flyer Flyer: keeping torso relaxed, present hands to base. Press into arms while iting chest, bring feet to floor and stand up. Hold on to base's ankles for srounding/leg low ‘RereYoga' Flight Manual EeHh YS Folded Leaf - Regular Mount Base: place feet turned out on flyer's upper thigh start with straight atm, then bend arms to invite flyers weight forward while straightening legs Flyer: feet neat base's hips, hands connected to bose, exhale and fold forward, softening arms AM 5 ——_L_ Folded Leaf with Massage Base: thumb down either side of spine from low back to upper back, squeeze down arms from shoulders to hands Reverse Namaskar Sidebend - Both Sides Walnut - Head Through Base: hands suppor flyer's elbows, lengthen side body, side bend on exhale Flyer: badchakonize, relax the heed a Folded Leaf with Massage Base: thumb down either side of spine frm low back to upper back, squeeze down arms from shoulders to hands Easy Twist - Both Sides Base: one hand on front of shoulder, other hand on back of shoulder, twist flyer’s upper body on exhale while stabilizing Ayers hips Upper and lower body twist in opposition Fier: one arm through base's less, passive body, twist on exhale SS Base: bend knees to guide flyer's head through, gently squeeze thighs to cup flyer's neck, support upper back with hands Flyer: tuck head through base's legs, hold cown ankles in baddhakonasans ‘eroYoga’ Flight ManualLY Lifted Baddhakonasana Base: hands to flyers shoulders, straighten arms, stack the bones, shoulders into the ground Flyer: baddhakonize legs and lift arms behind back, clasping opposite elbows —_S——E~ER]’_v?_————— Super Yogi Base: legs beyond 90 desrees, elbows bent, ams pull and legs push in opposition to ereate spinal traction for fier Flyer: interlace grip overhead, exhale during traction Hippy Twist - Both Sides Base: bend one leg while keeping other 3 limbs straight, twist on exhale Fiyer: keep feet together, body pessve, twist on exhale Folded Leaf rer to hang passively, hands connected to flyers back for support and breath awareness Flyer: legs wide, feet heavy, orzo and heed relaxed, palms rest fce up by bese's hips Reverse Namaskar a) SS ees Walnut with Massage and Pulses Bese: hands supporting flyer's back, bring legs towards head to bring weight into hands ‘After a few pulses, return to neutral, thumb down both sides of spine, end with 3 brushes Base: straighten arms, stack the bones, shoulder ito the round, bring fiyer's elbows towards each other Flyer: baddhakonize, fold hands behind hear, relax the head ———— Dismount Base: holding hands, straighter arms while bending knee Flyer: keeping torso relaxed, present hands to base, Press into arms while lifting chest, bring feet to floor and stand up. Hold on to base ankles for srounding/leg ‘ero¥oga' Flight Manual aTtigre Uherapenticg: faraard figrz = leva 3 Bird - Hand Mount Base: place fet parallel over flyr's hip bones, streight arms, knees bent, Staighten legs as Ayers weight comes forward. Balance flyer with pointes of fet, keep arms up for safety a” Fier: stand close to base's hip, holding hands, lean forward, active legs and chest lift up, gaze up, arms like wings aaa = a, Folded Leaf with Massage Bese: thumb down either side of spine from low back to upper back, squeeze down arms from shoulders to hands, Shake and traction torso — Yoga Mudra - Head Through Yoga Mudra Double Traction Base: tuck head through legs, squeeze Base: place lyer's palms behind thighs in gently to cup flyers neck head/neck, lean back to traction Flyer: tuck chin towards chest, Fiyer: strong grip wit hands head through bores less —™_—_—_—_— lifted Baddhakonasana Base: hands to flyers shoulders, straighten arms, stack the bones shoulders into the ground Flyer: baddhakonize legs and lift arms bochind back, clasping opposite elbows aaeSeaosoO Yoga Mudra with Massage Base: rotate arm muscles away from midline from shoulder to wrist % ‘ereYoga’ Flight Mancaleum —~+ Bow Base: keep arms up for tafety, balance flyer with point/lex of feet Flyer: tanstion slowly, kek legs back into hand grip to lift chest > Hippy Twist - Both Sides Base: bend opposite arm and leg Flyer: keep feet together, body postive, twist on exhale es Folded Leaf Bases allow flyer to ha ssively, keep hands connected to flyers back for support and breath awareness Fiver: legs wide, feet heavy toro and head relaxed, palms ret face up by base's hips Trem Yoga Mudra Base: guide flyers arms up behind back Flyer: interlace grip, lengthen arms towards base's head aS Ss ee Yoga Mudra with Massage Base: thumb along spine in upper back region Base: with hands in prayer, slide pinky fingers om upper back to occiput Folded Leat Base: llow fier to hang passively beep hands connected to flyer's back for support and breath awarenes Flyer: legs wide, feet heavy, torso and head relosed, palms rest face up by base's hip ‘eroYoga' Flight Manual cdfiging therapentice farcsard Aging - level 3 SS Double Ankle Bind Twist - Both Sides Ardha Gomukhasana Base: guide flyer’ shoulder outside your knee, Base: bend flyer’s arm behind thes back, thumb up keeping it slightly bent, support fyer’s shoulders, push and down under seapular ridge while using other hand shoulders as they exhale to deepen the twist to circularly rotate front of shoulder over thumb Fier: reach across for opposite leg of base, reach Flyer: communicate withthe base about where you have free arm behind back for base's other ankle tension, communicate the amount of presure you need ——. Super Yogi Half Moon - Both Sides Base lege beyond 90 degres, elbows bent, arms pull and Base: extend flyers arms to one side while holding les push in opposition to create spinal traction for flyer wists in one hand, masage with other hand Flyer: interlace grip overheed, exhale during tation Flyer: ka muta, arms extended, exhale on side bend > Walnut Bae: rack the flyer towards your hands back and forth, massaging diferent areas each pulse a “eroVoga’ Flight ManualaD Ardha Gomukhasana - Both Sides Folded Leaf Arm Traction Base: Hippy twist motion in lege, with Base: hend to hand grip, gently pull down Base: holding flyer’ elbows, thumb pressure under shoulder blade flyers hand as you traction tricep upwards shake and traction both arms Reverse Namaskar Reverse Namaskar Sidebend ~ Both Sides Base: straighten arms, stack the bones, shoulder into Base: hands support flyer's elbows, lengthen the ground, bring fiyer’s elbows towards each other side body, side bend on exhale Flyer: baddhakonize, relax the heed Flyer: baddhakoniz, relax the head ——————_ Walnut Massage Dismount Base: pulses with palms on way up, and prayer hands on way down all the way to the neck Base: holding hands, strighten arms while bending knees Flyer: keeping torso relaxed, present hands to base. Pres into arms while lifting chest, bring feet to floor and stand up. Hold on to base's ankles for srounding/eg love preparation AcroYoga Flight Manual =