TABLE OF CONTENTS

INTRO • 4 SEQUENCING • 183

ABOUT ME G E N E R A L I N F O R M AT I O N
H OW TO U S E T H I S B O O K H OW TO S E Q U E N C E
W H AT I S Y O G A C AT E G O R Y F L O W S
W H Y S TA R T Y O G A P E A K P O S E F LOW S
D I FF E R E N T T YP E S O F Y O GA COUNTERBALANCE WORK
PROPS & MODS A L L A R O U N D F LOW S
T E R M I N O LO GY C H E C K - I N F LOW
C R E AT I N G Y O U R S PA C E A U T H E N T I C M OVE M E N T S
M E D I TAT I O N & B R E AT H W O R K POSTURE LENGTHS
FAQ S BALANCING OUT BOTH SIDES
C R E AT I V I T Y W E B B I N G
WARMING UP • 32 SEQUENCING LONG-TERM

B U I L D I N G B LO C K S • 5 4 F LOW L I B RA RY • 2 0 0
SUN A
SUN B
P O S E L I B RA RY • 8 4
S E AT E D
S TA N D I N G ( 2 L E G S )
S TA N D I N G B A L A N C E
T W I S T E D / R E V O LV E D / B O U N D
HIP OPENERS
HEART OPENERS
I N V E R S I O N S /A R M B A L A N C E
C O O L D O W N / R E S T O R AT I V E
C AT E G O R Y F L O W S
P E A K P O S E F LOW S
A L L A R O U N D F LOW
F LOW C A L E N DA RS
CLOSING • 310
H OW T O P R O G R E SS
I N S P I R AT I O N S TAT I O N
FURTHER READING
CURRENT BOOKS IN THE SERIES
SNEAK PEAK – BEGINNER’S
GUIDE TO BACKBENDS
 DISCLAIMERS
The content of The Beginner’s Guide to Starting a Yoga
Practice, including text, graphics, and images, are for
informational purposes only. Always consult your phy-
sician or other qualified health provider with any ques-
tions you may have regarding a medical condition, or
before starting any exercise program.

Any involvement in Yoga or fitness training, including

that described in The Beginner’s Guide to Starting a Yoga
Practice, can be strenuous and carries a significant risk
of damage to property, personal injury, illness, or even
death. You participate at your own risk. The Beginner’s
Guide to Starting a Yoga Practice, Stephanie Gongora,
and/or Casa Colibri assume no responsibility for any
and all of the risks described above that may be sus-
tained through the use of this product and the advice
herein.

The advice given through The Beginner’s Guide to Start-

ing a Yoga Practice is in no way intended to be a substi-
tute for professional medical advice and/or personal-
ized Yoga and fitness guidance. Discontinue any exercise
that causes you pain, severe discomfort, nausea, dizzi-
ness, or shortness of breath and consult a medical ex-
pert.

Start slowly and at the level that is appropriate for

you. Not all exercise plans are suitable for everyone.
 COPYRIGHT
The Beginner’s Guide to Starting a Yoga Practice
by
Stephanie Góngora.

(c) 2016 by Stephanie Gongora. All rights reserved.

No part of this book may be reproduced in any written,

electronic, recording, or photocopying without written
permission of Stephanie Gongora. For information on per-
mission specifically granted by the author, email info@
casa-colibri.com.

Although every precaution has been taken to verify the

accuracy of the information contained herein, the author
and publisher assume no responsibility for any errors or
omissions. No liability is assumed for damages that may
result from the use of information contained within.

Usage
All of the information, exercises, and drills in this book
are meant as guided suggestions, based off of personal
practice and experience. Everyone’s body is different, so
please modify as needed and always do what is best for
your body long-term.

It is highly recommended that certain warm ups, includ-

ing the ones described herein, always be included before
jumping into intense asana work. Start slowly, and take
notice of how you feel after each practice session.

Photographed and Designed by Rabah Rahil

Square Circle - sqcr.co
 ABOUT ME
S t e p h G ó n g o r a ( @ c a s a _ c o l b i r i ) i s a c e r t i f i e d Yo g a a n d a e r i a l t e a c h e r c u r r e n t -
ly based in Uvita, Costa Rica. She completed her first formal 200hr training
with Meghan Currie, and continued to pursue an additional 300hr training
w i t h C h r i s t i n a S e l l a t T h e S a n M a c r o s S c h o o l o f Yo g a . W h e n s h e l i v e d i n
Austin, she regularly attended additional training with Erinn Lewis of Sukha
Yo g a , a n d r e c e n t l y s t a r t e d a n o t h e r o n l i n e 2 0 0 h r s t u d y w i t h A l a n n a K a i v a l y a .

An athlete her whole life, Steph practiced gymnastics until high school, taught
pole fitness during college (where she studied Biology and Chemistry), and
s t a r t e d a s e r i o u s d a i l y Yo g a p r a c t i c e o v e r f o u r y e a r s a g o . H e r t e a c h i n g s t y l e
combines precise breakdowns of form and anatomical cuing with a creative
flow style, stressing unusual transitions and authentic movements practices.

She has developed a deep love and respect for inversions of all kinds, which
is what prompted her to write her first two e-books in early 2016 – The Be-
ginner’s Guide to Handstand & The Beginner’s Guide to Handstand Pressing.

Steph is happily married with three furry children and recently moved down
to Costa Rica in the fall of 2016 to start construction on a Functional Med-
i c i n e / Yo g a r e t r e a t c e n t e r o n t h e S o u t h P a c i f i c c o a s t . W h e n s h e i s n ’ t d o i n g
Yo g a , s h e e n j o y s r e a d i n g , w r i t i n g , a n y t h i n g o u t d o o r s , c r a f t i n g m o r e e - b o o k s
( p r o b a b l y a b o u t m o r e Yo g a ) a n d s p e n d i n g t i m e w i t h h e r l i t t l e f a m i l y .

To f i n d o u t m o r e a b o u t S t e p h , p e r u s e o t h e r e - b o o k s a v a i l a b l e , o r s e e w h e r e
she may be planning a future workshop/retreat (with teaching partner Erin
K e l l y ) , v i s i t h e r w e b s i t e – w w w. c a s a - c o l i b r i . c o m .

4
 HOW TO USE THIS BOOK
That’s a great question, isn’t it? So often, we are given man-
uals to pour over, but not a solid method to get ourselves
organized and really delve into the material in an efficient
m a n n e r.

Everyone learns differently, but we suggest the following:

1. Read through the entire Introductory section.

2 . S k i m t h r o u g h t h e Wa r m U p , B u i l d i n g B l o c k s , a n d P o s e
L i b r a r y, f o c u s i n g o n p o s e s o r a s a n a s t h a t y o u ’ r e u n f a m i l i a r
with or perhaps that you could use another perspective on.

3. Read through the entire Sequencing section, especially if

yo u p l a n t o m a i n l y m a ke u s e o f t h e b o o k f o r a h o m e p r a c -
tice.

4 . S k i m t h r o u g h t h e F l o w L i b r a r y, s e e i n g i f a n y c a t c h y o u r
eye, and noting the example flow calendars present at the
end of the section.

5. Read through the entire Closing section.

6. Outline a weekly or monthly plan for yourself. Use one of

the example calendars or develop your own, subbing in public
classes, rest days, and alternative training days as needed.

7 . M a k e a n e f f o r t t o r e v i s i t t h e Wa r m U p s , B u i l d i n g B l o c k s ,
a n d P o s e L i b r a r y b e f o r e e a c h h o m e f l o w, t r y i n g t o r e a d t h e
in-depth cues about 2-3 new poses (or perhaps revisiting old
o n e s ) b e f o r e j u m p i n g i n t o p r a c t i c e . S l o w l y, o v e r t i m e , y o u w i l l
familiarize yourself with all of the includes poses.

8. Don’t be afraid to ask questions. While Steph Gongora

can’t provide p r i v a t e Yo g a c l a s s e s t o e v e r y o n e p u r c h a s i n g t h e
book, we are happy to answer basic questions surrounding a
specific pose or cue relating to the material portrayed here.
Steph@casa-colibri.com.
5
 WHAT IS YOGA?
W h e n m o s t o f u s t h i n k o f Yo g a , w e a r e a c t u a l l y t h i n k i n g o f “ a s a n a ” o r t h e
p h y s i c a l m o v e m e n t s t h a t w e d o , t y p i c a l l y o n a Yo g a m a t o r g y m f l o o r . T h i s
p h y s i c a l p r a c t i c e i s o n l y a s m a l l p i e c e o f t h e h i s t o r y o f Yo g a , a n d w h i l e
this book will focus mainly on the physical or “asana,” it is important to
note the many other layers stemming from a complex and deep seated
background.

I n S a n s k r i t , Yo g a l i t e r a l l y m e a n s “ t o y o k e , ” w h i c h i s t h e n e x t r a p o l a t e d t o
d e f i n i t i o n s s u c h a s “ t o a t t a c h , ” “ t o c o n n e c t , ” “ t o u n i t e . ” A n d Yo g a i t s e l f
is a collection of practices including the commonly known physical form
that we regularly see and recognize in the West, with additional mental,
e m o t i o n a l , a n d s p i r i t u a l d i s c i p l i n e s a s w e l l . I n m o r e m o d e r n t i m e s , Yo g a
continues to expand its definition (to some debate), with people referring
to any type of personal calming, meditative, or flow style practice (on or
o f f t h e m a t ) , a s t h e i r “ Yo g a . ”

T h e e x a c t o r i g i n s o f Yo g a a r e t y p i c a l l y d e b a t a b l e b y s c h o o l , b u t i t i s g e n -
e r a l l y a g r e e d u p o n t h a t Yo g a h a s i t s d e e p e s t r o o t s i n p r e - V e d i c I n d i a , l i k e -
ly becoming recognizable in the 5th or 6th century BCE. There are men-
tions of this practice in multiple ancient texts, such as the Rigveda, Hindu
Upanishads, and Buddhist Pāli Canon.

D e s p i t e t h e d e e p r o o t s , Yo g a o n l y g a i n e d p o p u l a r i t y i n t h e W e s t d u r i n g t h e
2 0 t h C e n t u r y . I n t h e 1 9 8 0 ’ s , t h e p h y s i c a l a s p e c t o f Yo g a b e c a m e r e c o g -
nized as a new “fitness trend,” and popularity has only grown from there.
6
 EIGHT LIMBS OF YOGA
I f y o u ’ r e a s t u d e n t o f m o d e r n Yo g a , e s p e c i a l l y i n a W e s t e r n c o u n t r y , y o u
may often hear teachers noting that practice on the mat is a single limb of
t h e E i g h t L i m b s o f Yo g a . T h e E i g h t - L i m b e d P a t h , r e f e r r e d t o a s “ A s h t a n g a
Yo g a , ” i s b a s e d o n a b o o k o f v e r s e s t i t l e d T h e Yo g a S u t r a s b y P a t a n j a l i .
T h e s e s h o r t v e r s e s s u m m a r i z e t h e p h i l o s o p h y o f P a t a n j a l i ’ s Yo g a a n d t h e
Eight Limb Path. The Eight Limbs are as follow:

1. YA M A S ( 5 ) : U n i v e r s a l m o r a l c o d e s s u c h a s n o n - h a r m & t r u t h f u l n e s s
2. N I YA M A S ( 5 ) : P e r s o n a l m o r a l c o d e s s u c h a s p u r i t y & c o n t e n t m e n t
3. ASANA: Physical postures
4. P R A N AYA M A : B r e a t h i n g t e c h n i q u e
5. P R A T YA H A R A : W i t h d r a w a l o r c o n t r o l o f t h e s e n s e s
6. DHARANA: Directional concentration
7. D H YA N A : W o r s h i p o r d i v i n e c o n t e m p l a t i o n
8. SAMADHI: Merging with the Divine. Union

If that seems fairly complex or is

n ew to yo u , d o n’ t wo r r y. T h e s t u d y o f
Yo g a c a n b e a s d e e p a s y o u p e r s o n -
ally desire. Western practitioners
are often drawn to the mat for phys-
ical practice, and later find them-
selves exploring other aspects of
t h e Yo g i c P a t h , i n c l u d i n g m e d i t a t i v e
breathing, mantra (chanting), or new
moral codes by which they try to live
their lives. The best part is, it’s all
up to you.

If you’re interested in learning more

a b o u t t h e h i s t o r y o f Yo g a o r e x -
ploring the Eight Limbed Path, you
are encouraged to visit the Further
Reading page.

7
 WHY START YOGA?
W h y s h o u l d y o u s t a r t Yo g a ? U n f o r t u n a t e l y , n o o n e c a n a n s w e r t h a t q u e s -
tion as well as you can. Only you know the unique circumstances that led
t o y o u r c u r i o s i t y i n e x p l o r i n g Yo g a a n d t e s t i n g t h e w a t e r s t o s e e i f i t c a n
be right for your body, mind, and soul. There are, however, many benefits
t o s t a r t i n g a p h y s i c a l “ a s a n a ” p r a c t i c e i n s o m e s c h o o l o f Yo g a . S o m e o f
these benefits might include:

I t c a n b e a g r e a t , c u s t o m i z a b l e wo r ko u t – T h a n k s t o t h e w i d e v a r i e t y o f
Yo g a a v a i l a b l e t o d a y , y o u c a n c u s t o m i z e y o u r p e r s o n a l p r o g r a m o r e v e n
f i n d a p u b l i c c l a s s f i t t i n g a l m o s t ex a c t ly w h a t yo u r b o d y n e e d s f o r t h e d ay.
I n t e r e s t e d i n g e t t i n g y o u r s w e a t o n ? Ta k e a h e a t e d c l a s s o r f a s t V i n y a s a
f l ow. Wa n t t o wo r k o n f l ex i b i l i t y ? H i t u p a c l a s s c e n t e r e d a ro u n d l e n g t h e n -
i n g . N e e d s o m e r e s t o r a t i v e l o v e ? T r y Y i n Yo g a .

Yo g a c a n b u i l d m e n t a l & p h y s i c a l s t r e n g t h – W h e t h e r y o u ’ r e h o l d i n g a
pose for longer than you originally wanted or maybe thought you could, or
you’re challenging yourself to try something new in your practice, asana is
h e l p i n g yo u g row m e n t a l ly , p hys i c a l ly , a n d ev e n e m o t i o n a l ly.

A s a n a c r e a t e s b o d y a w a r e n e s s – P r a c t i c i n g Yo g a w i l l h e l p w i t h c o o r d i -
n a t i o n a n d g r a c e . Yo u w i l l l e a r n h o w y o u r b o d y f e e l s i n a w i d e v a r i e t y o f
forms and positions, and students generally notice heightened awareness
off the mat as well, increasing body perception in their every day lives.

Yo u r p o s t u r e w i l l l i k e l y i m p r o v e – W i t h h e i g h t e n e d a w a r e n e s s , a s w e l l a s
increased strength and flexibility from the physical practice, often comes
i m p r o v e d p o s t u r e a s w e l l . Yo g a f o c u s e s o n l e n g t h e n i n g a n d a c t i v e f l e x i b i l -
i t y wo r k , r e i n f o r c i n g g o o d p o s t u r e p r a c t i c e s t h ro u g h o u t t h e f l ow.

Yo u m i g h t s l e e p b e t t e r – B e t t e r s l e e p f r o m Yo g a c a n b e c a u s e d b y m u l t i -
ple factors. First, you’re getting a structured workout regimen. Daily phys-
i c a l a c t i v i t y l e a d s t o i m p r o v e d s l e e p ! I n a d d i t i o n , Yo g a o f t e n i n t r o d u c e s a
specific breathing practice. Paying closer attention to the breath can de-
c r e a s e s t r e s s l ev e l s , l ow e r i n g c o r t i s o l a n d i n c r e a s i n g s l e e p q u a l i t y.

Meditation Meditation Meditation – Meditating doesn’t necessarily mean

sitting in silence with incense lit and a mantra soundtrack playing in the
background. A few minutes of quiet sitting, standing, walking, or lying be-
fore practice can help you settle into your space, tune in to your body,
detach yourself from the myriad of thoughts flashing through your mind,
and focus on your practice at hand. It becomes a useful tool off the mat as
well, since most of us encounter stressful situations in our modern lives
that could benefit from a little detachment and quiet contemplation.

8
 LOOKING FOR MORE INSPIRATION ABOUT
STARTING YOUR YOGA PRACTICE?

Tu r n t o t h e I n s p i r a t i o n S t a t i o n s e c t i o n a t t h e e n d o f t h i s b o o k , w h e r e y o u
can see multiple yogis, including author Steph Góngora (@casa_colibri),
s h a r e W H Y t h e y s t a r t e d a r e g u l a r Yo g a p r a c t i c e a n d W H AT i t h a s b e c o m e
for them!

9
 STUDIO VS HOME PRACTICE
IS IT B ETT E R TO P RACT I C E AT HOME OR IN A STUDIO?

H OW DO I FIND A Y O GA T E AC H E R ?

IS IT ALL RIGHT TO JUST USE FREE ONLINE VIDEOS TO S TA R T A Y O GA P RACT I C E ?

W H AT STUDIO IS RIGHT FOR ME?

T h e r e a r e s o m a n y q u e s t i o n s s u r r o u n d i n g h o w t o s t a r t a Yo g a p r a c t i c e a n d w h e t h -
er it should be done on your own or at a studio, with the assistance of a teacher
and in a room full of peers. Often, new students seem afraid or embarrassed to
start going to a studio, and want to practice on their own first, obtaining a certain
level of skill before they feel comfortable showcasing their asana in public.

This is an understandable, if not a slightly flawed view point. Studios welcome

brand new students with open arms. In fact, many teachers actually prefer new
students (as long as they are coming to the appropriate classes) so that they can
mold them into their specific style of practice, and they don’t have to deal any
bad habits they have previously built.

K n o w t h a t e v e n i f y o u a r e j u s t s t a r t i n g y o u r Yo g a o r f i t n e s s j o u r n e y , y o u w i l l b e
w e l c o m e i n a Yo g a s t u d i o . H o w y o u g o a b o u t f i n d i n g o n e d e p e n d s o n w h a t k i n d
o f Yo g a y o u ’ r e s e e k i n g a n d f o r w h a t p u r p o s e ( t o s w e a t a l o t , t o w o r k t h r o u g h a n
injury, to relax, etc).

Studios typically appreciate people who call in during nonpeak times (check
their websites for schedules) and discuss what class might be right for them.
Of course, most studios also welcome drop ins and new students, but if you’re
j u s t s t a r t i n g y o u r Yo g a j o u r n e y , i t m i g h t b e b e s t t o a s k i f t h e r e ’ s a s p e c i f i c c l a s s
geared toward the fundamentals or basic postures.

I f y o u h a v e n e v e r d o n e Yo g a , a n d y o u s h o w u p f o r a f a s t V i n y a s a F l o w p r a c t i c e
where each pose is held only for a single breath before moving to another, you
will probably sweat, but you will probably also leave the class a little confused,
overwhelmed, and not much wiser when it comes to alignment in these postures.
So taking the time to call in and introduce yourself and your needs can make all
the difference.

I f y o u ’ r e l u c k y a n d l i v e i n a n a r e a w h e r e Yo g a s t u d i o s a b o u n d , y o u c a n c h o o s e o n e
b a s e d o n r e c o m m e n d a t i o n , Y e l p / G o o g l e / Fa c e b o o k r e v i e w s , o r e v e n j u s t p o s t i n g
on your favorite forms of social media what type of teacher and class you’re
l o o k i n g f o r. C h a n c e s a r e , a f r i e n d o r t h r e e w i l l h av e s o m e t h o u g h t s o n a t e a c h e r/
studio/class that might fit your needs.

10
STUDIO VS HOME PRACTICE (CONT)
But what happens if you can’t go to a studio regularly? Maybe there isn’t one
nearby, perhaps your schedule varies too much to attend weekly classes, or
maybe you just can’t afford it. While donation studios are growing more pop-
ular, drop in rates are typically fairly expensive in most US markets ($8-25/
c l a s s ) . C o s t s o f d o i n g Yo g a c a n a d d u p q u i c k l y , e s p e c i a l l y i f b u y i n g a s t u d i o
package or monthly membership doesn’t make sense for you.

Practicing at home is a fabulous option, and to some degree, should supple-

m e n t e v e n a n a v i d s t u d i o p r a c t i t i o n e r. Wo r k i n g p o s e s o n y o u r o w n , w h e t h e r
guided online or personally compiled, allows you the unique opportunity to
spend as much time as you need in each posture, moving on only when your
b o d y a n d m i n d a r e r e a d y. O f c o u r s e , t h e r e i s a lways t h e c o u n t e r a r g u m e n t t h a t
students who practice on their own may either push themselves too far (with-
out the guidance of an instructor) or not far enough (we know you can hold
that Chair Pose for more than 1 breath).

For this reason, it is important to enter each practice (especially each home
p ra c t i c e) w i t h a f u l l u n d e r s t a n d i n g o f W H Y yo u a r e o n t h e m at e a c h d ay. If
you are there to put in a solid physical effort, make sure you’re not cheating
yourself out of longer holds in each pose or only practicing something on your
good side. If you’re there to honor your body or an injury, stay safe and listen
to your own body signals.

T h e I d e a l Wa y t o S t a r t a Yo g a P r a c t i c e
I n a p e r f e c t w o r l d , t h e b e s t w a y f o r m o s t p e o p l e t o s t a r t a r e g u l a r Yo g a p r a c -
tice would be to either seek out a fundamentals series in a studio or have 5-10
private lessons with an instructor well qualified to teach beginners.

These private lessons or beginner’s series will allow you to learn the basic
poses and have a qualified instructor nearby to provide assists and correc-
t i o n s , s o t h a t yo u c a n b e g i n to u n d e r s t a n d h ow t h ey f e e l i n yo u r s p e c i f i c b o d y.
It will also help you sort through some of the online classes to find ones that
fit your style and have adequate “cueing” and safety instructions for your lev-
el.

Once you create those muscle patterns and learn what is and is not safe in the
popular postures, you can begin exploring them on your own, or with the help
of additional online classes.

It is then very helpful to attend public classes in a variety of styles to watch

other bodies flow through the same postures, and expand your posture dictio-
n a r y . Yo u w i l l l e a r n n e w t r a n s i t i o n s , m o r e a d v a n c e d a s a n a t h a t y o u c a n w o r k
up to, and find out more about what you do and don’t like.

Yo u r p r a c t i c e w o u l d t h e n c o n t i n u e b e i n g a b a l a n c e b e t w e e n p u b l i c / p r i v a t e
classes to introduce new postures and ideas, and home practice, where you
can take all the time you need to explore these new ideas and more.

11
 DIFFERENT TYPES OF YOGA
T h e m o r e Yo g a b e c o m e s p o p u l a r i z e d , t h e m o r e d i f f e r e n t s t y l e s s p r i n g u p .
Below is an incomplete list of some of the more well-known practices and
t h e i r b r i e f d e s c r i p t i o n s , i n a l p h a b e t i c a l o rd e r.

ACRO – Acro Yoga or Partner Yoga is a modern form of the practice

that focuses on connection, both with your partner and the com-
munity around you. It is a combination of acrobatics (typically done
with one partner), Thai massage, and some traditional Yoga poses.
There is a large aspect of trust that comes into play and is cultivat-
ed in many poses, and Acro is often practiced in large groups, where
people share information, tips, and “spotters” to make sure everyone
stays safe in more challenging transitions. Acro can range from sim-
ple restorative postures to extreme, circus-like feats in groups of
2 or more. Appropriate for beginners, but always use “spotters” and
seek out a Level 1 class.

AERIAL – Aerial Yoga is literally yoga in the air! Students utilize

a silk sling or specially designed hammock (occasionally with foot/
hand straps) to assist with typical postures and/or add additional
inverted postures. Inspirations come from Pilates, Yoga, calisthen-
ics, and aerial acrobatics. Appropriate for beginners, but seek out a
qualified instructor with insured “rigs” and and preferably an entry
level class.

ANUSARA – Anusara is a child of Hatha yoga, started in the late

90’s by John Friend. Similar to Iyengar, Anusara has heavy focuses
on alignment and cueing, however, there are added aspects of Hindu
spirituality, and cueing is less anatomical and more descriptive in
terms specific to Anusara. “Anusara” literally means, “flowing with
Grace,” and often focuses on heart opening postures or backbends
as a staple in the practice. Great for beginners, although finding
Anusara classes may prove difficult in some areas.

A S H TA N G A– A strict form of Yoga consisting of six series (by diffi-

culty), it is also sometimes called Raja Yoga or Royal Yoga. Typical-
ly understood to be a high level physical workout, students will do
the same set series on a daily basis until they graduate to the next
series, which simply gets added on to the previous one. Great for be-
ginners looking to build strength and regular workout habits, but
cueing is limited. Make sure to seek out an instructor guided class,
not “Mysore,” where the instructor is in the room watching, but ev-
eryone is practicing the sequence on their own.
12
 DIFFERENT TYPES OF YOGA (CONT)
BHAKTI – Looking for something less physical and more spiritual?
Bhakti Yoga might be for you. Known as the Yoga of Devotion, Bhakti
is more about your time Off the mat than your physical asana prac-
tice. It is considered the Yoga of a personal relationship with God,
whatever that God might mean to you. The practice itself consists
of concentrating one’s senses and emotions on the Divine, in order
to achieve self-realization and experience a connection or a one-
ness with everything. Whether Bhakti means a formal puja (ceremo-
ny) to your chosen Divine, or just a set of practices that help you
center around the divinity in yourself, Bhakti is accessible for any
level of student, but interested parties might have a difficult time
finding classes catered to Bhakti practices.

BIKRAM/H OT Y O GA – B i k r a m i s a s e t p r a c t i c e o f 2 6 p o s t u r e s a n d 2
breathing exercises done in a room heated to 105* F and about 40%
humidity. It is a 90 min class with the same sequence each time, how-
ever, some studios have since started offering “Hot Yoga” or “Heated
Vinyasa,” thereby changing the series, but still practicing in a heat-
ed room, to varying degrees. Great for beginners because of the set
sequence and increased flexibility in higher temperatures, however,
one should be careful to avoid dehydration/dizziness, and not to
overstretch when the body is supple.

BUTI – Buti Yoga is a very modern combination of primal movements,

tribal dance, and cardio intensive conditioning geared toward a
high energy Yoga class. Started by celebrity trainer Bizzie Gold,
Buti focuses on sculpting and toning, all while embracing creativ-
ity, dance, and movements that challenge the body in all planes of
motion. Appropriate for beginners, but seek an entry level class.

DHARMA – Dharma is another fairly young practice of yoga started by

Sri Dharma Mittra, who opened the first official school in 1975. This
form of yoga is known for its unusual flows and postures. There is
typically no set sequence, although there are traditional levels
(1-2 for beginners, 3-4 for advanced), and cueing is limited to allow
students to “feel” the pose in their bodies. Dharma firmly believes in
daily meditation to accompany the asana practice, as well as Pran-
ayama or breathing techniques similar to Iyengar. Level 1-2 appro-
priate is for beginners with some alignment knowledge.

H AT H A – O r i g i n a l l y u s e d t o r e f e r t o a n y t y p e o f c l a s s t h a t o f f e r e d
physical postures, now Hatha typically means slower moving class-
es where fairly basic poses are held for multiple breaths, and there
is less focus on the transitions or flow between poses. Don’t be
fooled by basic poses, however, as the longer time period and typical
higher frequency alignment cues can make even a rudimentary pos-
ture difficult. Great for beginners!

13
 DIFFERENT TYPES OF YOGA (CONT)
I Y E N GA R – Are you someone that loves props and specific alignment
instruction? Iyengar might be for you. This type of practice typical-
ly holds poses for multiple breaths, offering precise cueing and at-
tention to detail. Great for beginners learning anatomy and align-
ment basics. Start with Level 1.

J A PA – J a p a s t e m s f r o m t h e S a n s k r i t r o o t j a p - , m e a n i n g t o u t t e r i n
a low voice or repeat internally. The practice of Japa Yoga involves
meditative mantra work, with the practitioner speaking the same
mantra (or short phrase) again and again, quite softly, or even si-
lently, within the mind. Japa can be practiced in traditional medita-
tion postures, while going about every day activities, or in a formal
group worship or meditative setting. The goal is different depend-
ing on the practitioner and the background (Hindu or Buddhist), but
typically aims toward communication with the Divine, similarly to
Bhakti. Japa is available for all levels, however, finding classes ca-
tered to this type of Yoga may be difficult.

KARMA – Another practice that focuses less on the asana, and more
on the time spent off the mat. Karma Yoga is the Yoga of Action,
stressing self-less deeds in order to achieve purity of self. Prac-
titioners of Karma Yoga offer a service or provide a self-less act
without any expectation or even hope of payment, recognition, or
receipt of something in return. The goal of Karma Yoga is to seek
purification of the spirit and therefore cultivate a oneness with
humanity. Karma Yoga is accessible for all levels, however, one will
not find a “class” on it in a studio.

K U N DA L I N I – Kundalini, also known as Laya Yoga, gained fame thanks

to several celebrity followers and is fairly different from many of
the above Yoga practices. It consists of performing Kriyas or specif-
ic physical movements paired with unique breathing methods, as well
as meditation, chanting, and mantra. Great for beginners looking to
push their barrier and explore a more spiritual side of Yoga.

– Prental Yoga is typically a gentler school of Yoga uti-

P R E N ATA L
lized by expecting mothers. The practice hones certain breathing
techniques to soothe and calm during birth, as well as cultivate
a stronger management of breathing overall. Gentle stretching is
involved, and some prenatal classes can be fairly challenging, but
all focus on adhering to postures that are safe for pregnant moth-
ers. Appropriate for beginners, but if new to Yoga and pregnant,
seek out an intro level and gentle class, and always speak to your
doctor before starting a new fitness regimen.

14
 DIFFERENT TYPES OF YOGA (CONT)
SUP – SUP Yoga or Stand Up Paddle Board Yoga is asana performed
on a stand up paddle board. The added balancing aspect of an unsta-
ble board on the water can make SUP Yoga quite challenging, even
in seemingly simple postures. Luckily, due to it’s recent popularity,
many classes are offered for beginners, and students can usually
rent a board indefinitely, since purchasing one can be fairly pricey.
Appropriate for beginners at an entry level class.

V I N YA S A / V I N YA S A F L O W – T y p i c a l l y r e f e r s t o c l a s s e s t h a t l i n k b r e a t h
with movement, focusing on both postures and the transitions be-
tween them. Don’t expect to hold postures long here, although a
good class will have focal point postures where alignment cues are
given. Great for sweating and joint flossing. Fine for beginners with
a general understanding of basic alignment and safety.

YIN Y O G A / R E S T O R AT I V E – L o o k i n g f o r a s l o w e r m o v i n g p r a c t i c e t h a t
will increase flexibility and help you relax? Try Yin or Restorative
Yoga. Here, postures are typically held for minutes at a time, gener-
ally in a more passive state, and often with the assistance of props.
Yin Yoga is typically the more challenging of the two, focusing on
flexibility and softening into postures, while Restorative focuses
on relaxation and tapping into your parasympathetic nervous system.
Great for beginners but naturally flexible students should be care-
ful not to overstretch in either.

15
 HOW OFTEN TO PRACTICE
O n e o f t h e m o s t c o m m o n q u e s t i o n s a b o u t s t a r t i n g a Yo g a p r a c t i c e i s h o w
often one needs to or should practice to make progress.

T h e a n s w e r , l i k e m o s t a n s w e r s p e r t a i n i n g t o Yo g a , d e p e n d s o n m a n y f a c -
t o r s , i n c l u d i n g y o u r c u r r e n t p h y s i c a l s t a t e , g o a l s s u r r o u n d i n g y o u r Yo g a
practice, what style you’re currently engaged in, and of course, everything
else happening and taking up space in your life.

That being said, when starting

a Yo g a p r a c t i c e , i t c a n b e v e r y
helpful to get into a pattern by
setting time aside each and ev-
ery day to be on your mat. Time
on the mat doesn’t have to be
spent in physical asana or pose
practice, but could instead
translate to 5 minutes of con-
scious breathing, 10 minutes of
light stretching, and/or 3 min-
utes of laying over a block and
3 minutes of journaling.

For those looking to cultivate a

strong physical practice or make
steady improvements, it is suggested that 4-5 times a week, you set aside
45-75 minutes to move on your mat. Giving your body some kind of physical
attention for the majority of the week allows you to set out a well-round-
ed plan (check out our sequencing section), combat any tightness from a
previous practice, and again, develop healthy patterns that tend to stick.

Is it bad to practice every day? Absolutely not. But practicing every day
should mean the style of practice that is right for your body on that spe-
c i f i c d ay. M ay b e yo u ’ v e o u t l i n e d a s t ro n g V i n ya s a F l ow c l a s s f o r yo u r s e l f
and aim to do it all seven days this week. But Day 5 hits and you’re simply
exhausted, body and mind. Perhaps it’s time to tune inward and consider
if what you had “scheduled” is really what your body needs that day, and
what would advance your practice more in the long haul. Subbing in some
restorative or even a slower moving Hatha class might help soothe some
o f t h e s t i f f n e s s a n d h e l p p r e p a r e yo u f o r t o m o r row ’ s v i g o ro u s f l ow.

The key here is to learn to listen to your body and differentiate between
laziness (aka…meh…I don’t really feel like Chair Pose today) and truly need-
i n g a b r e a k o r to c h a n g e t h i n g s u p o r ev e n h av e a r e s t d ay.

16
 TIPS & TRICKS
S T A R T S L O W LY – T r y s e t t i n g a g o a l f o r 2 d a y s o f f l o w t h e f i r s t w e e k , a n d
m ay b e 3 d ays t h e s e co n d w e e k . Ev e n j u s t 2 0 -3 0 m i n u t e s o f c a r e f u l m ov e -
ments on the mat can make a big impact, especially if they become a reg-
ular habit!

S E T U P Y O U R S PA C E – I f y o u ’ r e p r a c t i c i n g a t h o m e , h a v e a d e d i c a t e d s p a c e
that feels safe and private, where you can store your mat, props, and any
form of decorative articles or alter items.

WARM UP FIRST – We know it sounds much more fun to walk around on

your hands or maybe even delve into some deep backbends, but if you
want your practice to be sustainable for decades to come, always warm up
first.

BE OPEN & HONEST – If you’re going to classes, inform new teachers that
you’re a beginner, and let them know about any injuries you might have. If
p ra c t i c i n g at h o m e , b e h o n e s t w i t h yo u rs e lf a b o u t w h at yo u r b o d y i s c u r-
rently capable of.

FOCUS ON THE JOURNEY – Try not to fixate on a certain pose or transi-

tion. Enjoy the time on the mat and know that regardless of whether you
achieve those advanced poses, you’re still making a great choice for your
body and soul.

NEVER SKIP S AVA S A N A – O f t e n w h e n a s t u d e n t i s n e w t o Yo g a o r w h e n

practicing at home, Savasana, or the silent, still resting pose at the end of
c l a s s c a n f e e l aw k wa rd a n d u n n e c e s s a r y. B u t yo u r b o d y n e e d s t h i s t i m e to
r e s e t a n d r e s t o r e . Yo u w o r k e d h a r d ; r e w a r d y o u r s e l f f o r i t .

DON’T FORGET TO B R E AT H E – N o m a t t e r w h a t l e v e l o f p o s t u r e o r f l o w y o u ’ r e
working on, don’t forget to invite breath into it. Breathing regularly and
d e e p l y i s a f o u n d a t i o n a l a s p e c t o f Yo g a , a n d i f y o u f i n d y o u r s e l f u n a b l e t o
breathe in a pose, it’s time to back off.

PUSH PAST COMFORT…BUT – As they like to say, growth comes

JUST B A R E LY
outside of the comfort zone. That means that often to progress in a pos-
ture, we need to push slightly past our normal level of ease, but at the
same time respect our body and know when it is only the Ego telling us to
g o f u r t h e r a n d r i s k i n j u r y.

17
 TIPS & TRICKS (CONT)
TO VIDEO OR NOT TO V I D E O – Ta p i n g s o m e o f y o u r h o m e p r a c t i c e c a n b e a
huge benefit, especially if you know the fundamentals about what a pose
should look like to be “safe.” Using video can help you mesh what a pose
feels like in your body and what it actually looks like, but make sure you’re
not obsessively taping every time on your mat, as it’s important to simply
be undistracted in the moment as well.

S P E A K K I N D LY TO Y O U RS E L F – Avoid comparison. Nudge yourself forward,

but always with a smile and a kind word of encouragement.

18
 PROPS & MODS
O n e o f t h e b e s t t h i n g s a b o u t Yo g a i s t h a t t e c h n i c a l l y , y o u n e e d v e r y l i t t l e t o
get started. No classes around you? Develop a home practice. No mat? Try
p r a c t i c i n g o n t h e g r a s s . T h a t b e i n g s a i d , i f Yo g a i s s o m e t h i n g y o u ’ r e p a s -
sionate about, we do suggest you invest in a few good props to assist with
your practice. All suggestions below are based on personal experience and
s h o u l d b e t a k e n a s r e c o m m e n d a t i o n s o n ly. Ev e r y b o d y i s d i f f e r e n t .

Y O G A M AT
Having a good mat can make a big difference in your practice, especially
if you’re someone with sweaty hands/feet, or sharper joints. High quali-
ty, dense mats might seem pricey, but many, such as the brand Manduka
Yo g a h a v e l i f e t i m e g u a r a n t e e s o n s o m e o f t h e i r p r o d u c t s . To f i n d a m a t
that’s right for you, test that mats of your friends, try out mats at differ-
ent studios (often available for a small rental rate), or check out money
back guarantee options for different companies before ordering. Things to
consider when ordering a mat include stickiness, density, weight, length,
m a t e r i a l . O u r Fa v o r i t e = M a n d u k a e KO 5 m m M a t o r L i f o r m e T r a v e l M a t .

19
 PROPS & MODS (CONT)
Y O GA B LO C K S
Blocks are very beneficial for all levels. Whether they are providing sta-
bility, bringing the floor closer to you, or serving as supporting shelves
for poses like Heart Bench and Pigeon, blocks assist with proper align-
ment and ease in a variety of postures. They typically come in a variety of
materials including cork, wood, foam, dense foam, as well as a few sizes.
D o n ’ t f e e l l i k e b u y i n g b l o c k s ? H o w a b o u t s o m e s o l i d b o o k s ? O u r Fa v o r i t e =
M a n d u k a d e n s e c o r k 4 i n c h b l o c k s o r H u g g e r M u g g e r B a m b o o Yo g a B l o c k s .

Y O GA S T R A P
A Yo g a s t r a p i s e s s e n t i a l l y a l o n g p i e c e o f c l o t h o r f a b r i c w i t h s o m e k i n d o f
buckle on the end. It is used for stretching and supporting, and can often
make a difference for beginners looking to safely get into more complex
p o s t u r e s w i t h o u t p u s h i n g t h e b o d y t o o f a r. S t r a p s c o m e i n a va r i e t y o f
l e n g t h s a n d m a t e r i a l s . D o n ’ t h a v e o n e ? T r y a s c a r f o r m e n ’ s t i e . O u r Fa v o r-
i t e = M a n d u k a R e a c h 8 ’ Yo g a S t r a p .

BLANKETS/BOLSTERS
Sometimes a block is too much of a shelf or too hard. A bolster or a blan-
k e t r o l l c a n b e j u s t t h e r i g h t a m o u n t o f s u p p o r t . Ty p i c a l l y , w e f i n d t h a t
h av i n g 2 -3 b l a n k et s i s m o r e f l ex i b l e t h a n a b o l s t e r , a s w e l l a s m o r e co s t
e f f e c t i v e . Yo g a b l a n k e t s a r e f a i r l y u n i v e r s a l , a n d c a n b e p u r c h a s e d c h e a p -
l y o n A m a z o n o r e v e n a t a l o c a l m a r k e t . O u r Fa v o r i t e = A n y t h i n g m a d e o f
recycled cotton or humanely harvested wool.

ADDITIONAL PROPS
Yo g a W h e e l s , H a n d s t a n d C a n e s , M e t a l F o l d i n g C h a i r s , W a l l S p a c e .

20
BASIC YOGA TERMINOLOGY & ANATOMY
MEDIAL

L AT E R A L

C R OW N

STERNUM
HUMERUS/UPPER ARM

FOREARM

Q UA D R I C E P S O R
Q UA D ABDUCTION

ADDUCTION

SHIN

A B D U CT I O N = M OV E M E N T AWAY FROM THE MIDLINE

A D D U CT I O N = M OV E M E N T T O WA R D THE MIDLINE

21
BASIC YOGA TERMINOLOGY & ANATOMY
ANTERIOR SIDE OF THE B O DY POSTERIOR SIDE OF THE B O DY

RIGHT KNEE/HIP ARE

IN FLEXION

LEFT KNEE/HIP ARE

IN EXTENSION

SHOULDERS ARE
IN EXTENSION
TRICEP MUSCLE
SHOULDER JOINT/SOCKET

H I P J O I N T / S O C K E T / P E LV I S

HAMSTRING MUSCLE

DORSIFLEXION P L A N TA R F L E X I O N

22
 THE CHAKRAS
T h e s e v e n C h a k r a s a r e s p i r i t u a l o r e n e r g y c e n t e r s o f t h e b o d y . To v i s u a l i z e
each Chakra, imagine a swirling wheel of energy, typically in the color de-
p i c t e d b e l o w , r e s i d i n g a l o n g t h e s p i n e . M a n y s c h o o l s o f Yo g a b e l i e v e t h a t
having a blocked Chakra will stop the overall flow of energy through the
b o d y , a n d c a n l e a d t o i l l n e s s o r i n j u r y.

There are even Chakra-centered classes that will focus on opening one or
two Chakras in particular, and often play certain sounds and colors along
w i t h t h e f l ow.

7. SAHASRARA - Crown Chakra (purple) – Connection to spirituality

6 . A N JA - Third Eye Chakra (indigo) – Ability to see the big picture

5. VISHUDDHA - Throat Chakra (blue) – Ability to communicate

4 . A N A H ATA - H e a r t C h a k r a ( g r e e n ) – A b i l i t y t o l o v e

7 • C R OW N C H A K R A
6 • T HIRD E YE C HAKRA
5 • T HROAT C HAKRA
4 • H EART C HAKRA
3 • S OLAR P LEXUS C HAKRA
3. MANIPURA
Solar Plexus Chakra (yellow) –
Confidence and control in
ourselves
2 . S VA D H I S T H A N A
Sacral Chakra (orange) -
Connection to others and
ability to accept new
experiences
1.MULADHARA
Root Chakra (red) –
Foundation. Being Grounded.

2 • S ACRAL C HAKRA

1 • R OOT C HAKRA

23
 THE BANDHAS
W h i l e m a n y Yo g a s c h o o l s r e f e r t o t e r m s a n a t o m i c a l l y , o t h e r s h a v e a m i x o f
scientific and more spiritual terms. Just like the Chakras can’t be attributed
to an actual organ or physical portion of the body, the Bandhas, or energy
locks, are not quite the areas we try to describe them as.

But having a general region can often help new students understand the
three Bandhas and start to explore activation of each and all during their
p r a c t i c e . I t i s s a i d t h a t m a s t e r i n g t h e l o c k s m e a n s y o u ’ v e m a s t e r e d t h e Yo g a
practice, and learning to engage the related muscles will make floating in
and out of postures, as well as holding poses with proper alignment, more
accessible.

JALANDHARA
BANDHA

Throat Lock

U D D I YA N A

BANDHA

Diaphragm Lock
MULA
BANDHA

Root Lock

24
 THE BANDHAS (CONT)
MULA BANDHA – Also known as the Root Lock, you can think of Mula Bandha
a s yo u r p e lv i c f l o o r. Fo r wo m e n , i t i s e a s i e s t t o i m a g i n e t h a t yo u a r e s t u c k
in traffic and really have to use the restroom, or maybe you unexpectedly
got your period (yay!). What muscles would you use to hold everything in?
T h a t ’ s yo u r p e lv i c f l o o r. Fo r m e n , c o n c e n t r a t e o n l i f t i n g a n d c o n t r a c t i n g
the area between the testes and the anus, but both genders should try to
focus on the space between, and not the anal sphincter itself.

It may seem weird, it may seem hard, but traditionally, Mula Bandha should
b e h e l d t h r o u g h o u t y o u r e n t i r e Yo g a p r a c t i c e ( y i k e s ! ) . F r o m a s c i e n t i f i c
standpoint, Mula Bandha stimulates the pelvic nerves, endocrine system,
genital system, and excretory system. From a more philosophical perspec-
tive, Mula Bandha helps keep the flow of energy UP, inside the body, and
allows you to “float” through transitions and poses with ease.

U D D I YA N A B A N D H A – A l s o k n o w n a s F l y i n g U p L o c k o r D i a p h r a g m l o c k .
Moving upward from the pelvic floor, Uddiyana Bandha resides near the
b o t t o m o f t h e d i a p h r a g m . Yo u c a n a c t i v a t e t h i s l o c k d r a m a t i c a l l y t o h e l p
understand its immense power in recruiting the entire core to bring light-
ness and ease to your practice. Standing with feet hip distance apart, bend
the knees, fold forward slightly, placing your hands on your lower thighs.

Exhale all of the air from the mouth, close the mouth, and holding the bot-
tom of the exhale, suck the low belly up and back toward the spine and
the back low ribs. It should feel almost like a strong suction. Release the
lock and inhale through the nose before rising to a stand. When this lock
gets engaged during practice, typically less dramatically, it assists with
i n v e r t i n g , f l o a t i n g , a n d t w i s t i n g d e e p ly. I t a l s o s t i m u l a t e s d i g e s t i o n , to n e s
your abdominal organs, and can supposedly increase your metabolism.

JALANDHARA BANDHA – Further north of the Uddiyana Bandha, we find the

J a l a n d h a r a B a n d h a o r T h r o a t L o c k . To a c t i v a t e , s i t i n a c o m f o r t a b l e c r o s s
legged position, hands on your knees. Inhale lightly through the nose,
retain the breath, and then bring the chin down slightly toward the ster-
num, sternum lifts lightly toward the chin. Pressing down with the hands,
straighten the arms, pulling the chin back even further, dipping it lightly
towa rd t h e c h e s t . R e l e a s e by l i f t i n g t h e c h i n a n d ex h a l i n g s l ow ly. I f yo u
felt a suction in the throat or an extreme double chin, you probably did it
right!

Jalandhara Bandha is engaged to a lesser degree in certain breathing

techniques, but is rarely done to its full extent in regular practice. From a
scientific standpoint, this Bandha stimulates and compresses the sinuses
and main arteries of the neck, assisting with regulation of the circulatory
and respiratory system. It has also been said to trigger mental relaxation
and anger relief.

25
 CREATING YOUR SPACE
As suggested on the Tips & Tricks page, setting up or creating a space to
practice at home can make a difference in your motivation to get on the
m a t . W h i l e Yo g a s h o u l d n ’ t b e a b o u t t h e a e s t h e t i c s , h a v i n g a n a r e a t h a t i s
“ y o u r s ” t o d e c o r a t e ( o r n o t ) t o y o u r l i k i n g a n d s t o r e y o u r Yo g a g e a r i n c a n
make you feel safe and eager to revisit it more often. Even just a small
corner of a room/porch/yard is perfectly suitable.

Beyond the obvious aspect of setting up your mat and arranging today’s
props neatly nearby, setting the space typically refers to getting yourself
ready, from a physical, mental, and emotional standpoint, to practice.

We all lead such busy lives with stressors regularly being flung in our
direction. Throw in the constant connection we have to work and friends
via pocket technology and social media interactions, and it can be hard to
calm the body, quiet the mind, and prepare to leave that all behind for a
few moments while you flow on your mat.

So turn off your phone, or if you’re using it to film, put it on airplane

mode, make sure the lighting in the room isn’t blinding or fluorescent, and
then sit/lie/stand/huddle on your mat in stillness. If you’re having a very
stressful day, try lying down, allow the eyes to close, and just tune in to
yo u r b o d y.

Imagine that all the heaviness, the weight of your life is spooling off of you,
m e l t i n g l i k e a p u d d l e a s y o u s i n k i n t o y o u r m a t . Yo u ’ r e n o t y e t c o n t r o l l i n g
yo u r b r e a t h i n g , b u t m ay b e n o t i c i n g i t f o r t h e f i r s t t i m e t o d ay. Wa t c h i n g t h e
shallow or deep inhales and exhales, and for now just being content with
that awareness, trying to practice nonjudgement.

If you still find yourself tense, or maybe if you think you’re relaxed, but
would like to check, do a gentle body scan. Starting with the toes and
working the way up the legs, torso, arms, neck, face, crown, focus on re-
leasing each body part or muscle group. Notice if you were holding ten-
sion in the face (we often do), glutes, shoulders. Try to relax each piece of
yourself, also giving your mind something else to quietly toil with, hope-
fully releasing some of the pressures/needs/worries of your time off the
mat.

Once relaxed, many students like to turn back toward the practice in front
of them. What are they practicing today? WHY are they practicing? How
does the body feel? Anything noteworthy? Many set an intention for the
day’s coming work or dedicate the practice to someone or something. Oth-
ers might do some inspirational or emotional reading before lying down,
or play quiet music, chant mantra, journal quietly, or even light incense.

It is all up to you. The time on the mat is yours. Use it as your body needs,
but allow yourself a few moments to transition from the busy lives we all
lead, into this space that you’ve set for yourself.

26
 MEDITATION & BREATH WORK
Once you’ve created your space, settled into your body, and worked on relaxing
and preparing yourself for the work ahead, now is a great time to introduce Med-
i t a t i o n o r B r e a t h Wo r k ( P r a n a y a m a ) .

Now, these ideas can be separate or cohesive, but if you’re looking to just begin
a meditation practice, then breath work can be an excellent and unintimidating
place to start. It gives you something to concentrate on, which hopefully allows
the mind to detach from the stressors of the day, but is not as intimidating as
“not thinking of anything at all.”

While sitting, laying, or standing, eyes closed or soft, try inviting more breath
i n to t h e b o d y. A s a s o c i e t y , o u r b r e a t h i n g i s t y p i c a l ly o n t h e s h a l l ow e n d , w i t h o u t
enough emphasis on a deeper exhale to strengthen the diaphragm and core. With
the mouth shut, begin a slow, warm inhale through the nose, counting slowly to
four and focusing on making the entire length of the breath smooth and contin-
u o u s , h i t t i n g t h e p e a k o f t h e i n h a l e w h e n yo u r m i n d s t r i k e s f o u r. B e g i n t o ex h a l e
in the same manner, counting to four slowly, engaging the low belly to help you
press the remaining air out at the bottom.

Continue utilizing this four count breath system for 4-5 complete rounds, at
which point you can try extending to a six count, and/or attempt to put spacers
in the breath, meaning a 2-6 count hold at the top and/or bottom of the breath.
Outlined on paper, this may look something like this:

Inhale 1 2 3 4 R E P E AT X 3
Exhale 1 2 3 4

Inhale 1 2 3 4
HOLD 1 2 3 4 R E P E AT X 3
Exhale 1 2 3 4

Inhale 1 2 3 4
HOLD 1 2 3 4 R E P E AT X 3
Exhale 1 2 3 4
HOLD 1 2 3 4

Inhale 1 2 3 4 5 6
R E P E AT X 3
Exhale 1 2 3 4 5 6
27
 MEDITATION & BREATH WORK (CONT)
This simple pattern can be changed to suit your needs, both in your prac-
tice and concerning how much time you can give yourself to get centered
a n d p r e p a r e t o f l ow. I t i s a l s o v e r y h e l p f u l t o u s e s o m e va r i a t i o n o f t h i s
breath awareness off the mat, especially in stressful situations such as
being stuck in traffic, or when your nerves are getting to you before a big
presentation at work.

W h e n y o u ’ r e u s i n g i t o n t h e Yo g a m a t , o r a n y o t h e r t i m e y o u c a n a f f o r d t o
close your eyes and focus, adding in visuals can help as well. If you’re sit-
ting, imagine the bottom of the inhale entering through your pelvic floor
(Mula Bandha). The deeper the inhale, the more the breath rises through
the central column along the spine. At the top of the breath, feel it crest
y o u r c r o w n a n d b e g i n t o d e s c e n d w h e n c e i t c a m e w i t h t h e e x h a l e . Yo u c a n
i m a g i n e t h e b r e a t h h ow ev e r yo u p r e f e r. M a n y p i c t u r e a c o l u m n o f r i s i n g /
falling white light or airy vapor sweeping along the length of their bodies.

Something as simple as
watching and regulating
the breath CAN serve as
your meditation, espe-
cially when you’re first
starting a home prac-
tice. In fact, one of the
main points or purposes
of meditation is to calm
the mind and center the
meditator, and simply be-
ing aware of deep, even
breathing has been shown
to reduce stress, slow the
pulse, and help you steer yourself toward a parasympathetic state, aka the
rest and digest mode for your body that helps you cut anxiety and recover
from the go-go-go of the modern world.

For more information about exploring meditation in its many varieties,

visit our further reading section for suggested reads.

28
 UJJAYI BREATHING
P R A N AYA M A OR B R E A T H I N G T E C H N I Q U E i s a v e r y s i g n i f i c a n t a r e a o f Yo g a ,
and one could write many books on all of the different varieties, lineages,
and benefits of exploring specific breath practices. For the purpose of this
book, we will focus on just two types of Pranayama – Uj jayi and Kapal-
abhati (covered in the core section).

U J J AY I OR O C E A N B R E AT H i s u n i q u e a m o n g s t m a n y t y p e s o f P r a n a y a m a i n
that it is often done throughout the asana practice, while many techniques
are done at the beginning, end, or while holding a certain pose.

It is typically practiced with both inhalation and exhalation through the

nose, but starting with the mouth open can help new students understand
the slight constriction of the throat necessary to obtain that deep sound
of the sea moving in and out.

Start sitting or standing. Hold one palm about two to three inches in front
of the face, hand open wide. Pretending that your palm is a mirror, open
the mouth and exhale slowly, as though you were trying to fog up the mir-
ro r. T h e b r e a t h t y p i c a l ly s l ows a n d wa r m s , a c c o m p a n i e d by t h e s o u n d o f
static or breathing through a dense mask.

Continue to the inhale, trying to maintain similar speed and throat com-
pression, as though you were trying to carefully suck or pull the fog back
off the mirror, using the throat, not the lips. Once you’ve gotten the hang
of it, close the mouth and breathe through the nose, continuing the same
throat constriction (Jalandhara Bandha) and oceanic noise.

Using this breath throughout your practice can help maintain steady ox-
ygen, provide regulated energy through your movements, and assist with
awareness through transitions between poses. The slight throat constric-
tion slows the breathing, helping to reduce stress levels, and use of the
diaphragm to regulate speed also strengthens the second Bandha.

29
 FAQS
IF I’M 65, AM I TOO OLD TO S TA R T Y O GA ?

N o . T h e r e i s a Yo g a p r a c t i c e f o r e v e r y o n e .

IF I’M 12, AM I TOO YO U N G TO S TA R T Y O GA ?

N o . T h e r e i s a Yo g a p r a c t i c e f o r e v e r y o n e .

DON’T YO U H AV E TO BE FLEXIBLE TO DO Y O GA ?

N o . Yo g a c a n h e l p b u i l d f l e x i b i l i t y .

DON’T YO U H AV E TO BE STRONG TO DO Y O GA ?

N o . Yo g a c a n h e l p b u i l d s t r e n g t h .

WHO IS THE IDEAL C A N D I D AT E TO S TA R T A Y O GA P RACT I C E ?

Everyone. There are so many different styles and schools that there is a
Yo g a p r a c t i c e f o r e v e r y o n e .

W H AT IF I H AV E AN I N J U RY ? CAN I STILL DO Y O GA ?

Yes. Inform your teacher about specific injuries or limitations.

SHOULD I L E A R N S O M E P O S E S AT H O M E B E F O R E G O I N G TO A ST U D I O ?

T h at i s e n t i r e ly u p to yo u . M o s t s t u d i o s h av e b e g i n n e r- b a s e d c l a s s e s . J u s t a s k .

H OW OFTEN DO I NEED TO P RACT I C E Y O GA ? Refer to page 16.

WHY SHOULD I S TA R T A Y O GA P RACT I C E ? Refer to page 8.

W H AT DOES Y O GA EVEN MEAN? Refer to page 6.

30
 FAQS (CONT)
H OW DO I PICK A STYLE OF Y O GA ?

We recommend you try multiple styles and then stick with some that you
e n j o y . Yo u d o n ’ t h a v e t o p r a c t i c e o n l y o n e s p e c i f i c s c h o o l . M a n y s t y l e s a r e
listed on page 12.

DOES P R ACT I C I N G Y O GA MEAN I H AV E TO DO ALL T H AT OT H E R WEIRD ST U FF LIKE

M E D I TAT E A N D C H A N T A N D B E N I C E T O P E O P L E ?

M a n y p e o p l e s t a r t j u s t f o r t h e p h y s i c a l a s p e c t o f Yo g a . T h a t i s p e r f e c t l y
fine, and whether or not your practice evolves into something else is com-
p l e t e l y p e r s o n a l . Yo u s h o u l d , h o w e v e r , a l w a y s t r y t o b e n i c e t o p e o p l e .

H OW LONG WILL IT TAKE ME TO SEE P R O GR E SS I N MY Y O GA P RACT I C E ?

That depends on many things, including what you consider progress, your
background, what/how you are actually practicing, and how often. Re-
m e m b e r , i t ’ s a l l a b o u t t h e j o u r n ey.

CAN I P RACT I C E IN FRONT OF A MIRROR?

If you would like, but make sure it’s a tool for alignment, and that some-
times you practice without a mirror to understand what the poses FEEL
l i k e i n t h e b o d y.

CAN I LISTEN TO MUSIC WHILE I Y O GA ?

S u r e . I f t h a t h e l p s yo u f l ow. J u s t m a k e s u r e i t ’ s n o t d i s t r a c t i n g .

WILL I B E A B L E T O D O A H A N D S TA N D A F T E R R E A D I N G T H I S B O O K ?

Maybe, but that is not the purpose or focus of this book. Try our other
books for that.

IS IT OK IF MY O N LY FORM OF FITNESS IS Y O GA ?

T h e r e a r e m a n y d i f f e r e n t s t y l e s o f Yo g a t h a t a s s i s t w i t h m a n y d i f f e r e n t a s -
pects of fitness. That being said, unless you are adding in something like
aerial yoga, much of the asana practice on the mat does Not involve pull-
ing motions. It will always be helpful to diversify and see if a new found
l o v e o f Yo g a l e a d s t o e x p l o r i n g o t h e r f i t n e s s t r a d i t i o n s a s w e l l .
31
WARMING UP

32
 WHY PHYSICAL WARM UPS ARE ESSENTIAL
It is recommended that no matter what you plan for your daily practice,
that it includes some aspect of warming up the muscles/movements/
joints, as well as winding them down toward the end.

Even though our bodies may at times feel ready to jump right into more
intense asana, that will typically raise the risk of injury, as well as
make the practice less sustainable over time.

As an example, you may be comfortable hopping into a few quick hand-

s t a n d s . Yo u m i g h t t h i n k … w e l l … t h e s e d o n ’ t a c t u a l l y r e q u i r e m u c h f l e x i -
bility, so why I don’t get the juices flowing, help create some heat, and
then proceed from there?

B u t i n h a n d s t a n d , y o u n e e d o p e n , s t r o n g s h o u l d e r s . Yo u n e e d s t r o n g ,
supportive wrists and a heavily engaged core with active legs. And
w h i l e Yo u m a y n o t n o t i c e a n y p a i n o r d i s c o m f o r t w h e n p l a y i n g o n y o u r
hands, you could be doing damage that will start to add up over time,
as well as drill some poor movement patterns into your head, which will
be extra work to reformat down the road.

Something like a handstand requires a lot of wrist flexibility and strength.

If you’re not warming up the wrists with stretching AND strengthening
work, you can develop wrist pain over time (same goes for other deep
wrist flexion like Plank and Chaturanga).

Handstand also requires open shoulders and a very firmly engaged

core. If you’re just hopping up, your shoulders and core might not be
ready, which means you’re breaking the straight line and compensating
with the dreaded “banana back.” Learning to change the body position-
ing after so many times of doing it a different way can be frustrating.

Also, when learning to balance on your hands, having active, strong

legs can help. So if you’re just throwing them into air, allowing them to
flail all about because you haven’t focused on engaging them in solid
standing postures, then you’re just making the drill harder on yourself
and in a sense, more dangerous. Along the same lines, if the arms ar-
en’t warmed up, you increase the risk of not being able to engage the
muscles properly and may find yourself collapsing, which is typically
one of the central fears around handstand.

Suffice it to say, handstand may be an extreme example and not some-

thing you’re currently working on, but the point is that even postures
that seem more basic, like plank pose, require some warm ups for cer-
tain body parts (i.e. wrists) to make them more beneficial and sustain-
able to your practice as a whole.
33
WRISTS

34
 TABLE TOP STRETCHES
Wri st s s u p p o r t a lot of weight in re gular Yoga pract ice. Wh et h e r it’s in Pl an k Pose ,
D ownwa rd Fa cing D o g, o r m ay b e an inversion like Crow Pose, t h ey ex p e r i e n ce a
po rt i o n of yo ur bo dy ’s weight while in fairly de e p flexion . Warmin g up w i th so m e
si mp le st r et c hes c a n a dd a lot to your pract ice .

St art i n a Ta b le To p p os itio n with sh oulders ove r w rist s, h ips over kn ee s, co r e l i ghtly

e ng a g e d .

Slowly t u r n h a nds a ro u nd, over , to t h e side, backwards, on t h eir backs, etc.

If co mfo r t a b le, yo u c a n a ls o ro c k slow ly side to side or front to back.

Co nt ro l t h e a mo u nt of weight a nd pre ssure on t h e wrist s by t h e dist an c e of th e si t
b o ne s to t h e h eels , a nd a lways kee p t h e core act ive .

S U G G E ST I O N : H O L D F O R 3 - 5 S E C O N D S P E R PO S I T I O N .

PROPER TABLE TOP ALIGNMENT

DIFFERENT WRIST SHAPES

35
 SHAKE OUTS + ROLLS
Adding some quick, easy movements is another great way to get the blood
flowing to the wrists. Rolling the wrists can be used at any time before,
during, or after practice. Reserve shaking the hands out for the beginning
only, as once you’ve put a good deal of weight on the wrists, something
more gentle like rolling can have better long-term benefits.

S i t t i n g i n Va j r a s a n a ( k n e e s / f e e t t o g e t h e r ) , s h a k e t h e w r i s t s v i g o ro u s ly u p
and down, back and forth, and around in a circle.

Use one hand to clasp the other wrist, and begin to slowly roll the free
wrist in large circles, trying to get as much motion as possible, and
making sure to go both directions.

Suggestion: Clockwise for 10 seconds and counterclockwise for

10 seconds with alternative grip.

36
 PALM ROLL UPS
It is important to not only stretch the wrists, but strengthen them as well.
These simple drills help strengthen all of the small stabilizer muscles in
t h e f o r e a r m , w h i c h i n t u r n , h e l p s o l i d i f y w r i s t s t r e n g t h a n d f l ex i b i l i t y.

S t a r t i n a m o d i f i e d Ta b l e To p p o s i t i o n w i t h s h o u l d e r s l e a n i n g s l i g h t l y p a s s e d
wrists, hands are shoulder width apart and parallel or slightly turned out.

Making sure to do both hands at exactly the same time, inhale and peel
both palms off the ground so that only the length of the fingers remain
planted.

Exhale to lower both palms in a controlled fashion at exactly the same

time.

If this becomes simple, you can back up your knees for a longer table top,
or even go all the way to plank, but make sure that the shoulders always
s t ay s l i g h t ly ov e r t h e w r i s t s a n d t h a t b o t h p a l m s l i f t a n d d e s c e n d t o g e t h e r.

Note: These can also be done faster than one per every other breath.
Just make sure to move with control.

S U G G E S T I O N : R E P E AT 2 SETS OF 15

37
 NECK STRETCH
W e d o n ’ t o f t e n t h i n k a b o u t w a r m i n g u p t h e n e c k i n Yo g a , b u t g i v i n g i t a
little attention at the beginner or end can help with flexibility through-
out your practice. Never force the neck, always moving in and out of new
s t r e t c h e s s l ow ly.

S t a r t i n g i n Va j r a s a n a ( k n e e s / h e e l s t o g e t h e r ) o r e a s y s i t , g ro u n d d ow n
through both sit bones and engage the core lightly, thinking length through
the crown of the head.

Keeping even weight in both sit bones, drop the right ear toward the right
s h o u l d e r. T r y t o m a i n t a i n ev e n s h o u l d e r s h e r e , n o t a l l ow i n g t h e r i g h t s h o u l-
d e r t o c o m e u p t o m e e t t h e e a r.

To d e e p e n t h e s t r e t c h a l o n g t h e l e f t s i d e o f t h e n e c k , t e n t t h e l e f t f i n g e r s
next to the left sit bone for support, and take the right arm up and around
t h e h e a d , r e s t i n g t h e r i g h t h a n d o n t h e l e f t e a r. N o t e : T h e a r m N E V E R p u l l s
on the neck. It just provides additional weight for the stretch.

To a c c e s s o t h e r s u p p o r t i n g m u s c l e s i n t h e n e c k , r e m o v e t h e r i g h t a r m , a n d
explore tilting the chin slightly down and then slightly up.

Carefully use your right hand to move your head slowly back to the neu-
tral /straight position before switching sides.

SUGGESTION: 5-6 LONG S LOW B R E AT H S IN E AC H HEAD POSITION

38
 CAT/COW (MARJARYASANA/BITILANASA)
S p i n a l f l u i d i t y i s k e y t o a s u c c e s s f u l Yo g a p r a c t i c e . M a n y o t h e r p o s t u r e s
require flexion or extension of your central column, so getting the move-
ment going early can let you achieve greater range of motion later in your
practice. Pay attention to alignment
details and move slowly, utilizing the
entirety of the breath.

S t a r t i n Ta b l e To p p o s i t i o n .

Inhale to draw the upper back in (think

pulling the earth up to plug your up-
per arms into the shoulder socket),
lift the gaze to follow the direction
the chest is pointing, and allow the
belly to lower toward the ground,
keeping the core active.

Focus on squeezing shoulder blades C OW P O S E

together and down the back to keep
space along the neck and muscularize the upper and middle back.
.
The head doesn’t crank back, but instead think of pressing backward, al-
most trying to give yourself a double chin (Cow Pose).

Exhale to press the earth away,

scoop the navel to the spine and al-
low the shoulder blades to separate.
Head drops down as you think about
puffing the upper and middle back
u p to t h e s k y.

Even as you puff the back of the

heart toward the ceiling, see if you
can keep the tricep wrap –elbows
pointing straight back and Not lock
out the arms (Cat Pose).

C AT P O S E

S U G G E S T I O N : R E P E AT T H E C O M P L E T E M O V E M E N T 5 - 1 0 T I M E S , M O V I N G W I T H
T H E B R E AT H . F E E L F R E E T O L I B E R AT E T H E F L O W A B I T , A L L O W I N G T H E H I P S T O
M OV E , N OT I N G T H E M OV E M E N T O F T H E S CA P U L A A S YO U M OV E BAC K A N D F O RT H
BETWEEN THE POSTURES.
39
 SHOULDER CIRCLES
The shoulder is actually made up of two joints, which means that it has the
capacity to be very mobile with proper warm up and alignment. Shoulder
Circles provide a form of joint flossing that, over time, will help you increase
your range of motion. Move slowly and never force the motion of the shoul-
ders.

G r a b a Yo g a s t r a p o r s c a r f o r m e n ’ s t i e a n d s i t i n Va j r a s a n a ( k n e e s / h e e l s t o -
gether).

Start with the hands wide on the strap and pull it taught low, near the pubic
bone.

Keeping tension on the strap, and an engaged core, slowly lift the arms, ide-
ally looking to slowly bring them up and over, so that the strap comes to rest
on the sit bones before reversing the motion.

If this motion is too easy, feel free to bring the hands closer on the strap.

If too difficult, never force the shoulders, and just stop the circle in a sticky
patch, breathing a few times to see if there is any more softening available
before carefully going back to start.

Note: This is meant to be a shoulder flossing or a shoulder stretch, not a

backbend. We have a tendency to flair the ribs out, pressing the chest for-
ward to make space to squeeze the shoulder blades together and complete
the rotation. Instead, focus on knitting the low ribs in, magnetizing them to-
ward the pubic bone, and only going as far as your practice currently allows.

1 2 3

PROPER FORM IMPROPER FORM

40
 HEART ON A BLOCK
We spend so much of our day hunched over (in the car/at our desks/
watching TV) that it can often be helpful to give our heart a little lift be-
fore jumping into practice. If more lift is required, try putting the block a
d i f f e r e n t d i r e c t i o n . I f l e s s l i f t , u s e a b l a n k e t ro l l o r b o l s t e r.

Lay back over a block (lowest setting) so that the block rests on your
shoulder blades, with the bottom edge corresponding to the bottom edge
of your scapula.

Legs can be straight out or bent at the knee, sit bones are both grounded
as you cactus your arms to add a little extra stretch to the pectoral liga-
ments.

To i n c r e a s e t h e h e a r t o p e n i n g , p u t t h e b l o c k ( s ) o n a h i g h e r s e t t i n g .
To d e c r e a s e , u s e a b l a n k e t r o l l i n t h e s a m e s p o t .

If there is any neck strain, you can grab opposite elbows behind your head
for an additional shoulder stretch or place an additional block or blanket
under your head (preferably a bit shorter than your first block).

SUGGESTION: 2-3 MINUTES

41
CORE

42
 CORE FOUNDATIONS
While there are certain poses we think about with core (plank, boat, etc),
h a v i n g a s t r o n g a n d s t a b l e t o r s o i s e x c e e d i n g l y i m p o r t a n t t o a l l Yo g a p o s -
tures, including less obvious poses such as backbends.

Learning to utilize
y o u r c o r e i n Yo g a h a s
less to do with get-
ting that “six pack”
and more to do with
activating deep bel-
ly muscles that as-
sist with floating
and transitioning be-
tween postures, as
well as stabilizing
your spinal or central
column so that no
matter its position-
ing, it is always safe
and secure.

For the purpose of

this book, try to stop
thinking of your
“core” as those washboard abs and instead, imagine your whole torso,
front back and sides, extending from your pelvic floor, up to the sternum.

Just as it’s important to always warm up certain body parts such as the
wrists, it is also important to always continue working on our foundation,
o u r c o r e . A l m o s t e v e r y p o s e i n m o s t s c h o o l s o f Yo g a ( o u t s i d e o f Y i n / R e -
storative) require at least minimal core activation, so while the following
p o s e s w i l l t a r g et yo u r co r e , yo u c a n wo r k o n i n n e r b e l ly s t r e n g t h a n d h a r-
n e s s i n g t h o s e B a n d h a s o n e a c h a n d ev e r y p o s e i n t h e Po s e L i b r a r y.

43
 BREATH OF FIRE – KAPPALABHATI
B R E AT H OF FIRE IS A FORM OF P R A N AYA M A t h a t r e l i e s o n r a p i d e x h a l e s
t h ro u g h t h e n o s t r i l s w i t h a n a u to m a t i c s h o r t i n h a l e to to n e t h e l ow b e l ly.
Yo u m a y f i n d y o u r s e l f r e c e i v i n g a w a v e o r a f l u s h o f e n e r g y , b u t s t o p o r
slow down if you feel faint.

S t a r t s i t t i n g i n Va j r a s a n a o r S u k k a s a n a ( e a s y s i t ) w i t h o n e h a n d o n t h e l ow-
er belly and another on the sternum.

Inhale deeply through the nostrils.

Exhale forcefully through the nostrils, as if trying to expel something from

the nose while drawing the navel in toward your spine. The goal is to very
quickly rid much of the air from the lungs with the main mover being the
diaphragm.

Allow the lungs to naturally inflate, really with no effort at all, and repeat
the sharp exhale

P e r fo r m t h e s e s h a r p ex h a l e s q u i c k ly ( b u t at yo u r ow n p a c e) fo r 2 0 -3 0 s e c-
onds at a time, stopping between sets to allow your breath to return to
normal.

SUGGESTION: 3-4 SETS OF 20-30 SECONDS AT A REASONABLE PA C E .

(Point of reference: I have approx.34 rapid exhales in 20 seconds)

44
BOAT POSE – PARIPURNA NAVASANA
Boat Pose is a full body strengthener that can be used at the beginning, during,
or toward the end of practice. Explore the variation that is right for you, focus-
ing on spinal length over getting to the more advanced form of the pose.

Start in Dandasana with hands slightly behind the hips, fingers pointing toward
the toes.

Pull navel to spine and lift through the sternum to keep a flat back as you lean
back slightly, feeling the legs grow light.

Bend the knees, lifting the feet off of the ground, big toe mounds squeeze to-
gether with shins parallel to the mat and thighs at approximately 45*.

Extend arms out parallel to the mat on either side of the legs, and keep spine
straight and strong, lengthening through the crown and grounding down through
the sit bones.

Stay here or begin to extend the legs out straight at the 45* angle without al-
lowing any rounding in the back.

Modify by keeping the hands on the hamstrings for support (easier) or lifting
the arms overhead (harder).

45
 HOLLOW HOLDS - HALF BOAT
Another full body strengthener, Hollow Hold or Half Boat will fire up your
core and legs to assist with the rest of your practice. As the low belly
drops down to the spine, try to decrease the lumbar curve slightly, but not
necessarily flatten it all the way to the mat.

Start lying on your back, arms by your side and sides of big toe mounds
touching.

Inhale to engage the legs, pull belly button to spine, and lift the legs,
head, arms, and shoulders to hover off the ground. Do not lift either the
feet or the head/shoulders more than 12 inches (goal is a slight hollow).

To i n c r e a s e d i f f i c u l t y , b r i n g t h e a r m s o v e r h e a d b y t h e e a r s .

Note: It is all right to allow a small natural lumbar curve in the low back.
Keep the navel pulled tightly toward the spine to protect the low back.
Try your best to breathe normally.

M O R E D I F F I C U LT

SUGGESTION: 4 SETS OF 5 B R E AT H S

46
 CORE CURL UPS
Small movements can make BIG differences. Core Curl Ups require only a 1-2
inch lift of the tailbone, but it’s enough to turn on the low belly, strengthening
those floating muscles for the rest of your practice. Keep active legs through
this drill, and elbows stay wide.

Start lying on the back hands by your sides.

Lift the legs to 90*, pressing the sides of the big toe mounds together to acti-
vate inner thighs.

Interlace the hands behind the head, keeping the elbows wide. ( 1 )

Inhale to activate your core and lift your tailbone off the floor by 1 inch. ( 2 )

Exhale to lift the shoulder girdle off the ground by 1 inch, keeping the elbows
wide. (3)

Inhale to lift both an inch higher and hug navel to the spine.

Exhale release tailbone and shoulders back to the ground, but keep legs lifted
at 90*.

1 2

3
SUGGESTION: T WO SETS OF 10
CORE CURLS

47
 SUNBIRD CRUNCHES
Sunbird Crunches take the Cat and Cow movements from earlier and add
in a balancing aspect with core work. Move slowly and with control, try-
ing to maintain level hips.

S t a r t i n a Ta b l e To p p o s i t i o n w i t h h i p s o v e r k n e e s a n d s h o u l d e r s o v e r
wrists. Length from the crown reaching forward and out through the sit
bones. Core is engaged.

Inhale and shift the weight into the left hand and right knee as you ex-
tend the right arm and left leg long.

Keeping an engaged core and hips square toward the mat, imagine two
people are pulling you apart from your right wrist and left ankle. Pulling
the shoulder blades slightly together and lifting the limbs slightly higher
than parallel is acceptable. (Similar to a small cow pose). (1)

As you exhale, curl the extended limbs into the chest, aiming to press
your right elbow to the left knee. Puff the back of the heart up toward the
sky, pulling navel firmly to spine and feeling the shoulder blades sepa-
rate. (Similar to cat pose). (2)

Continue these movements with the breath.

SUGGESTION: 4-5 “CRUNCHES” PER SIDE, M OV I N G S L O W LY WITH THE B R E AT H

48
HIGH PLANK (UTTIHITA CHATURANGA DANDASANA)
T h e r e a r e m a n y v a r i a t i o n s o f p l a n k . Fo r b e g i n n e r s , i t ’ s i m p o r t a n t t o m a x i m i z e
t h e c o r e i n v o l v e m e n t . Fo r t h a t r e a s o n , t h e a l i g n m e n t w i t h t h e h i p s b e i n g n e a r
to or level with the shoulders, instead of a traditional straight line from shoul-
der blades to heels is suggested. It is easier to find the scoop of the low belly
when the hips are set slightly higher, and there is likely to be less sagging in
the core.

Start with hands shoulder distance apart, parallel or slightly turned out near
the top of the mat and feet together or hip distance apart near the back of the
mat.

Shoulders are stacked over wrists and core is engaged strongly, pulling belly
button to spine.

Engage legs firmly, squeezing quads and focus on finding length from the top
of the crown to the back of the heels.

Increase difficulty by pressing the hands down and dragging them isometrical-
ly toward the back of the mat. Decrease difficulty by lowering the knees.

Wo r k i n g o n o t h e r v a r i a t i o n s , s u c h a s f o r e a r m s ( e l b o w s d i r e c t l y u n d e r t h e s h o u l -
ders) can help prepare you for poses like Dolphin and Pincha Mayurasana.

K N EE S D OW N P L A N K PLANK

S U G G E S T I O N : R E P E AT
T WO S ET S OF 8 - 1 0 B R E AT H S .

FOREARM PLANK
49
 TURBO DOG
Tu r b o D o g i s s i m i l a r t o S u n b i r d C r u n c h e s , u t i l i z i n g o n l y t h e m o v e m e n t o f t h e
legs and spine while both hands stay planted. When done correctly, they also
help you create space to step the foot between the hands, a very common and
deceptively difficult transition in yoga.

S t a r t i n D o w n w a r d Fa c i n g D o g .

Inhale the right leg back and up, straight and strong with the foot flexed and all
five toes facing the ground (hips are square). (1)

Exhale round forward, curling your right leg deep into your chest so that the
right knee presses into the right armpit or tricep.

Keep pushing the ground away firmly as you puff the back of the heart up to-
ward the sky, right heel stays close to sit bone and tricep pushes into knee,
knee to tricep. (2)

Hold for the duration of the exhale, sucking navel to spine, then extend back to
three legged dog on the inhale, hips stay square.

Repeat, moving with the breath, or take the option to cross the right knee across
the body, bringing it to the left armpit or left tricep for an added challenge. (3)

1 2

3
SUGGESTION: T WO SETS OF 3-5
PER SIDE, M OV I N G S L O W LY WITH

THE B R E AT H

50
 SIDE PLANK – VASHISTASANA
Side Plank is a full body strengthener that helps us understand alignment and inte-
gration needed in other poses. While traditional side plank is accessed from Plank and
you remain on the knife edge of the bottom foot with the supporting wrist under the
s h o u l d e r , w e p r e f e r t h e v e r s i o n f r o m D o w n w a r d Fa c i n g D o g , w h i c h c r e a t e s l e s s d u m p -
ing in the shoulders and allows you to plant the supporting foot.

S t a r t i n D o w n w a r d Fa c i n g D o g .

Lift the right leg, bend the knee, and open the hip, keeping heel close to the sit bone.
(1-2)

Transfer weight to the left hand and spin to the outer edge of the left foot, right knee
stays lifted high, right fingertips become light but are still touched down for balance.
Hips stay lifted.

BEND deeply into the left knee until you can plant the foot, focusing on the grounding
through the big toe mound. ( 3 )

Carefully lift right hand straight up to the sky, hips lifted high, right knee still bent.
Pushing firmly through the left hand so that you don’t collapse into the left shoulder,
t u r n y o u r g a z e t o w a r d t h e s k y. ( 4 )

1 2

3 4

SUGGESTION: HOLD FOR 3-5 B R E AT H S PER SIDE. SIMPLIFY BY P L AC I N G THE

R I G H T F O OT D OW N , S L I G H T LY IN FRONT OF OR BEHIND THE LEFT FOOT. AD-
VA N C E BY STRAIGHTENING THE LIFTED RIGHT LEG.
51
 FALLEN TRIANGLE
F a l l e n T r i a n g l e a l l o w s u s t o t a k e t h e c r o s s b o d y Tu r b o D o g o n e s t e p f u r -
t h e r. I t i s a g r e a t way to a d d a d e l i c i o u s s i d e s t r e t c h to a ny f l ow , a n d i s
a l s o a f u l l b o d y s t r e n g t h e n e r. Fo c u s o n m ov i n g i n a n d o u t o f i t w i t h c o n -
t r o l , w h e t h e r t h a t m e a n s c o m i n g b a c k t o y o u r Tu r b o D o g o r p l a c i n g y o u r
sit bones gently down in a wide legged forward fold.

S t a r t i n D o w n w a r d Fa c i n g D o g .

Inhale right leg lifts, straight and strong, hips stay square. (1)

Exhale round forward, crossing the body to bring the right knee toward
the left armpit. (2)

Inhale transfer the weight to the right hand as you roll to the inner edge
of the left foot and extend the right leg out straight and strong, gently
placing the knife edge (outer edge) on the ground. (3)

Keep the hips lifted as you raise the left arm up toward the sky, both legs
are straight and strong, core is engaged. (4)

Stay there OR lift the hips even higher for a side stretch, reaching your
l e f t b i c e p u p by yo u r l e f t e a r. (5)

1 2 3

4 5

SUGGESTION: HOLD 3-5 B R E AT H S PER SIDE

52
 REVERSE WILD THING
R e v e r s e W i l d T h i n g i s e s s e n t i a l l y a m o r e c h a l l e n g i n g v e r s i o n o f Fa l l e n
Triangle. Without the supporting foot on the floor, there is more work and
s t r e n g t h e n i n g f o r t h e a r m s , s h o u l d e r s , c o r e , a n d l e g s . Yo u s t i l l g e t a d e -
licious side stretch with added oblique work from the cross body holds.

S t a r t i n D o w n w a r d Fa c i n g D o g .

Inhale right leg lifts, straight and strong, hips stay square.

Exhale round forward, crossing the body to bring the right knee toward
the left armpit.

Inhale transfer the weight to the right hand as you roll to the inner edge
of the left foot and extend the right leg out straight and strong, hovering
it about 12-24 inches off the ground.

Keep the hips lifted as you raise the left arm up toward the sky, both legs
are straight and strong, core is engaged.

Stay there OR lift the hips even higher for a side stretch, reaching your
l e f t b i c e p u p b y y o u r l e f t e a r.

SUGGESTION: HOLD 3-5 B R E AT H S PER SIDE

53
BUILDING BLOCKS

SUN SALUTATIONS

54
 SUN SALUTATIONS
The Sun Salutations or Surya Namaskar A & B are fairly straight forward
s e t s e q u e n c e s t h a t c r o s s m a n y s c h o o l s o f Yo g a w i t h l i t t l e v a r i a t i o n .

Traditionally, each sequence (Surya A & Surya B for short) was done at or
n e a r t h e b e g i n n i n g o f a Yo g a f l o w , t y p i c a l l y a t s u n r i s e a n d / o r s u n s e t a s a
salute to the rising and setting of the sun.

While the Sun Salutations may seem simple and something you often rush
through at home or in class, they can be very challenging when done cor-
r e c t ly. N ev e r c o n f u s e a “ b a s i c ” p o s e w i t h a n e a sy o n e . I n f a c t , i t ’ s b e s t to
acknowledge that are are no easy poses.

This section will discuss basic Surya A & B, fully explaining each com-
ponent, as well as show-
ing some simple variations.
Even if you feel comfort-
able with Sun A & B, we
encourage you to spend
time in each pose, studying
how small activations can
change the posture.
When developing your
home practice, Sun Saluta-
tions can be used in a vari-
e t y o f w a y s . Yo u c a n m o v e
slowly with control, focus-
ing on transitions and full
body activation in each
pose.

O r yo u c a n m ov e q u i c k ly , b u t c a r e f u l ly , c r e a t i n g h e a t to o p e n u p t h e b o d y.
It is generally recognized that Sun Salutations are not done faster than
one breath one movement.

While it is suggested that Sun Salutations are combined with other pos-
tures, if you’re in a rush, doing some Sun Salutes by themselves is a great
way to s q u e e z e s o m e m ov e m e n t i n to yo u r d ay. T r y s t a r t i n g w i t h 2 -3 ro u n d s
of each and building up from there. These sequences also make a great
starting point to start adding your own variations to, depending on your
g o a l s f o r t h e d ay.

55
SUN SALUTATION A– SURYA NAMASKAR A
1 2 3

Start in Tadasana Inhale Urdhva Hastasana Exhale Uttanasana

4 5 6

Exhale step back to plank OR jump/ Inhale Bhujangasana or Urdvha

Inhale Ardha Uttanasana
float to Chaturanga Dandasana Mukha Svanasana

7 8 9

Exhale Adho Mukha Svanasana At the bottom of the exhale, float/

Inhale Ardha Uttansana
(3 breaths) hop/step

10 11 12

Exhale Uttanasana Inhale Urdvha Hastasana Exhale Tadasana

56
COMPONENT BREAKDOWN

57
 MOUNTAIN POSE – TADASANA
M o u n t a i n P o s e i s o n e o f t h e t r u e b u i l d i n g b l o c k s o f Yo g a . T h i s s e e m i n g l y s i m p l e
posture is actually quite difficult if done correctly, and requires full body aware-
ness and activation. While performing this posture, run scans up and down the
body to reaffirm alignment of each piece, and the structure as a whole.

-Start at the top of the mat with feet together or hip width apart and parallel.
Stack hips over ankles, shoulders over hips, and the crown of the head over the
shoulders with a slight bend in the knees and arms down by your side, palms face
forward.

-Ground down through all four corners of the feet equally, thinking about mag-
netizing each corner together to lift up the inner arch like a suction cup.

-Keep the shin bones magnetizing to the midline, as if you were squeezing a
block between them (or actually do this). This will keep you from allowing the
ankles to relax and the weight to fall to the outer edges of the feet.

-Maintain a gentle bend in the knees so that the muscles are working, not just
stacking bone on bone.

-Pelvis should feel buoyant and neutral with the core lightly engaged and low
ribs magnetizing to pubic bones, not flaring upwards.

-Pull shoulder blades gently together and down the back, toward the hips to
drop the shoulders away from the ears.

- G e nt ly p r e s s t h e b a c k of t h e s k u l l b a c k 2 -3 i n c h e s to p ro p e r ly st a c k c row n ov e r
shoulders and start the slightest throat or bandha lock.

-T h i n k a b o u t g r o u n d i n g d o w n t h r o u g h t h e f e e t w h i l e y o u a r e l i f t u p t h e c r o w n ,
b u oya n t , f u l ly a c t i vat e d , a n d awa r e of a l l t h e p i e c e s of yo u r b o dy. B r e at h e .

H A N D S D OW N H E A RT C E N T E R

SUGGESTION: HOLD AS LONG AS YO U LIKE WITH FULL A C T I VA T I O N .

58
UPWARD SALUTE – URDHVA HASTASANA
Upward Salute is a nice shoulder stretch and combines the full body activation of
Ta d a s a n a w i t h s o m e e x t r a l e n g t h e n i n g . U s e i t a s a r e m i n d e r t o k e e p t h e s p i n e l o n g
before folding forward or moving into the next posture of choice.

- S t a r t i n Ta d a s a n a , M o u n t a i n P o s e .

-Inhale arms up overhead, pinky fingers spiraled in (external rotation).

-Aim to bring the biceps up by the ears, but still keep the shoulders depressed
down away from the ears. The external rotation of the arms will assist with this.

-Hands can stay separate, palms can press together, or fingers can interlace,
r e l e a s i n g i n d ex f i n g e rs u p towa rd t h e s k y.

-Focus on grounding down through the feet while the crown and hands lift up
toward the sky, core stays active.

SUGGESTION: HOLD AS LONG AS YO U LIKE WITH FULL A C T I VA T I O N .

59
FORWARD FOLD – UTTANASANA
When done correctly, Forward Folds help stretch the hamstrings, affirm length of
the spine even during flexion, and starts to help you understand the compression
o f t h i g h s t o l ow b e l ly. T h i s i s a m o r e a d v a n c e d a n d a c t i v e v e r s i o n o f R a g d o l l P o s e ,
a n d b l o c k s c a n a lways b e p l a c e d u n d e r t h e h a n d s , o r h a n d s l e f t o n s h i n s t o m o d i f y.
N e v e r s a c r i f i c e s p i n a l l e n g t h j u s t t o t o u c h t h e f l o o r.

- S t a r t i n m o u n t a i n p o s e ( Ta d a s a n a ) w i t h y o u r f e e t t o g e t h e r o r h i p d i s t a n c e a p a r t .

-Fold forward, hinging at the hips, not the waist, emphasis on keeping the front
body as long as possible, aiming to drag your heart (not head) down to your toes.

-If available, place your fingers or hands firmly on the ground in front of your
feet, shoulder distance apart. If not available, bend the knees slightly or place
the hands on blocks or your shins.

-W i d e n t h e i n n e r t h i g h s o u t a n d b a c k , s i t b o n e s s p r e a d i n g g e n t ly towa rd t h e s k y.

-For a little extra, press the hands down and push isometrically toward the top
of the mat to help deepen the bend, bringing belly closer to thighs.

SUGGESTION: HOLD FOR UP TO 10 B R E AT H S

60
HALF LIFT – ARDHA UTTANASANA
Half Lift reaffirms any length of the spine that was lost during your Forward Fold.
It continues the hamstring stretch, while igniting the core and setting the body up
for stepping, hopping, or floating back to the next posture. Keep an active belly
here and the head in line with the spine (no need to crank the neck back). Since
this is a prep pose for eventually floating into Chaturanga Dandasana, there is
an option to keep the hands planted flat (or on blocks), or ground down strongly
through all fingertips.

-Start in a Forward Fold, feet together or hips width and parallel.

-Grow long through the crown, bringing the hands approximately 6 inches in front
of the feet, shoulder width, knees stay just slightly bent to avoid locking out.

-Imagine your sit bones are pulling you back while the crown stretches you for-
ward, elongating the spine with an engaged core. It is not necessary to lift the
upper body to a 90 degree angle.

-Make this more difficult by keeping flat hands and isometrically pulling them
toward the toes to propel your heart to the top of the mat. Make it easier by com-
ing up on fingertips or placing hands on blocks.

SUGGESTION: HOLD AS LONG AS YO U LIKE WITH FULL A C T I VA T I O N .

61
 STEPPING/HOPPING/FLOATING BACK
How often are you in class when you hear a teacher say something like “step, hop,
or float back to Chaturanga”? If you’ve never been to a class and have no idea
what we are referring to, don’t worry! Just feel lucky that you probably don’t have
any bad habits yet, and this book will explain to you what each of these terms
mean, and more importantly, the different destinations for them.

The first thing to note is, there is NEVER any shame in simply stepping back. The
other two options take their toll on the wrists, especially for a new practitioner
a n d a l s o u s e a l o t o f e n e r g y a n d h av e a h i g h e r r i s k o f i n j u r y i f d o n e i n c o r r e c t ly.
Stepping back takes out a lot of the guesswork and doesn’t require nearly as much
c o r e s t a b i l i z a t i o n s i n c e i t c a n b e d o n e v e r y s l ow ly.

S T E P PI N G B AC K : Stepping back is just what

is sounds like. From your Half Lift position,
keep the hands planted or plant them firmly
( b lo c ks a n d /o r b e nt k n e e s a r e f i n e) , a n d st e p
one foot, followed by the other to the back of
the mat, ending up in High Plank Pose. It is
important to note that Plank Pose has straight
or almost straight arms, and is not Chaturan-
ga or Half Plank. When we step back, we step
to Plank, slowly, and with control.

H O P P I N G B AC K : When you hop and float back,

there is momentum involved. This means that
no matter how much hop:float ratio there is
going on (meaning how softly will you land), something has to absorb that shock
of landing in general. The shock absorber here is the arms. Hence, we land a hop
or float back in Chaturanga or Half Plank, NEVER in High Plank. Hopping simply
refers to planting the hands after a half lift, and then bending the knees to load
the spring. Ideally, try to get your hips more UP than back, sending your feet to the
back of the mat and landing in Chaturanga. Keep a very active core through this to
m a i n t a i n a s t r a i g h t s p i n a l l i n e a n d n o t s a g a t t h e b e l ly.

F L O AT I N G B A C K : A s y o u b e g i n t o c u l t i v a t e l o w b e l l y a c t i v a t i o n a n d l i f t , y o u r h o p
may start to look more like a float. There will be less bend at the knees required,
as you will be able to use the strength of the hands pressing down into the earth,
coupled with the low belly to lift the hips off the ground and gently shoot the feet
back. Even though this is generaly considered a more controlled maneuver, there
is still momentum involved, so land in Chaturanga, not High Plank.

62
HIGH PLANK (UTTHITA CHATURANGA DANDASANA)
There are many variations of plank. For beginners, it’s important to maximize the
core involvement. For that reason, the alignment with the hips being near to or
level with the shoulders, instead of a traditional straight line from shoulder blades
to heels is suggested. It is easier to find the scoop of the low belly when the hips
are set slightly higher, and there is likely to be less sagging in the core. Plank
b u i l d s h e a t a n d i s a f u l ly b o d y a c t i v a t o r a n d s t r e n g t h e n e r.

-Start with hands shoulder distance apart, parallel or slightly turned out near
the top of the mat and feet together or hip distance apart near the back of the
mat.

-Shoulders are stacked over wrists and core is engaged strongly, pulling belly
button to spine.

-Focus on not locking out the arms. Instead, place a slight bend in them and ex-
ternally rotate to send the elbows toward the back of the mat. This should feel
more difficult.

-Engage legs firmly, squeezing quads and focus on finding length from the top
of the crown to the back of the heels.

-Increase difficulty by pressing the hands down and dragging them isometrically
toward the back of the mat. Decrease difficulty by lowering the knees.

PLANK IMPROPER FORM KNEES PLANK

S U G G E S T I O N : 1 - 1 0 B R E AT H S .

63
HALF PLANK – CHATURANGA DANDASANA
Oh Chaturanga…Love it or hate it, when done correctly, it really is an ideal full
b o d y s t r e n g t h e n e r. H a l f P l a n k s h o u l d b e t h o u g h t o f a s a m o r e a d v a n c e d p o s e , s o
never feel bad about skipping it or taking your knees to the ground. This is not
about doing a lot of push ups. It’s about being able to maintain correct alignment
while moving slowly and with control through this difficult and intricate posture.

-Start in High Plank, feet together or hip distance apart, shoulders over wrists.

-Inhale, moving as one stiff board, shift the body forward, bringing the shoulders
past the wrists and coming onto the toe tips, legs and core are super strong.

- Exhale and bend the elbows straight back, keeping them close to the side ribs.
Maintaining length through the spine, lower until there is a 90-degree bend in
the arms, elbows over wrists and shoulders still lifted.

-T h i s p o s i t i o n , i n t h e m i d d l e o f t h e l o w e r , i s C h a t u r a n g a . H o l d f o r a m o m e n t , a n d
t h e n p r e s s b a c k u p , l ow e r t o t h e b e l ly f o r C o b r a , o r m ov e i n t o U p w a rd Fa c i n g
Dog.

Note: Common problems with Chaturanga include winging the elbows wide, allow-
ing the belly to droop, not going far enough forward so that the elbows end up still
b e h i n d t h e w r i s t s , o r d i p p i n g t h e s h o u l d e r s t o o l ow.

PLANK F O R WA R D L E A N C H AT U R A N G A

I M P R O P E R C H AT U R A N G A ( S H O U L D E R C O L L A P S E )

S U G G E ST I O N : M OV E S LOW LY A N D W I T H C O N T R O L , STA RT I N G W I T H S I N G L E B R E AT H H O L D S .
64
LESS CHATURANGA PLEASE – KNEES/CHEST/CHIN
If Chaturanga is not the right fit for your practice today, but you are still looking
for an option to lower yourself to the ground for a belly-down backbend, then
Knees/Chest/Chin might be a good option. It is important to note that despite the
backbend present in this pose, the core is still actively engaged, and you should
still focus on length of the spine.

-From Plank Pose, lower the knees at the same time.

-Keeping an engaged core, tilt the body forward, bending at the elbows, which
remain close to the side ribs, aiming to bring your chest down to the ground be-
tween or just slightly behind your hands.

-Keep the chin lifted and bring it to the ground about a foot in front of the fin-
gertips.

-At the end of the exhale, slither through to the belly, untucking the toes to pre-
pare for Cobra

K N EE S D OW N POSE

65
 COBRA – BHUJANGASANA
When moving from Chaturanga to the backbend posture in Surya A, you have two
choices. The less deep of the two backbends is Cobra pose. This posture should
be thought of more as a bloom of the chest, the point being to stretch the abs,
warm up the shoulders, and learn to engage the mid and upper back while protect-
ing the low back. Do not simply blast through this posture, trying to get as high as
possible. Focus on breath and the puff of the chest, not height.

-Start on the belly, feet together or hip distance apart, palm planted on either
side of the chest, elbows in close to the side ribs.

-Ground down through the tops of both feet, lift the knee caps, engaging the
legs.

-Give a gentle tuck of the tailbone to protect the low back and engage the core,
pulling navel to spine.

-On an inhale, press down with the hands to lift the head and chest off the
ground, staying low and not straightening the arms.

-T h i n k a b o u t p r e s s i n g y o u r h a n d s d o w n a n d p u l l i n g t h e m t o w a r d t h e b a c k o f t h e
mat to propel the heart and sternum toward the top of the mat.

-Shoulder blades squeeze gently together on the back and drag down toward the
hip points to keep the neck long. Keep the gaze following the sternum, do not
crank the head back.

-To i n c r e a s e d i f f i c u l t y , b a c k t h e h a n d s u p t o t h e l o w r i b s f o r a d e e p e r b e n d . To
reduce, place the hands on either side of the shoulder, more like a pushup.

-Other variations include no hands (relying on back strength) and sprinkling the
fingertips 6 inches outside of the chest, pointing the elbows up, and going for
more of a funky cobra.

REGULAR COBRA NO HANDS COBRA FUNKY COBRA

SUGGESTION: HOLD FOR 1-5 B R E AT H S AND THEN DRIP YO U R HEART BAC K D OW N TO THE GROUND.

66
 UPWARD FACING DOG – URDHVA MUKHA SVANASANA
T h e o t h e r t r a d i t i o n a l b a c k b e n d o p t i o n a f t e r C h a t u r a n g a i s U p w a r d Fa c i n g D o g , a n d
it is usually considered a the deeper and more advanced backbend. Also a great
f r o n t b o d y s t r e t c h , U p w a r d Fa c i n g D o g p o w e r s u p t h e l e g s , s t r e n g t h e n s t h e a r m s ,
and cultivates the muscles along the spine to assist with safer bends. As always,
the focus should be on moving with control and attention to alignment, not trying
t o g e t t h e d e e p e s t s p i n a l e x t e n s i o n y o u r b o d y c a n h a n d l e . To o b t a i n p r o p e r a l i g n -
ment in this deeper bend, it is often necessary to move the hands back further
than Cobra, having them near the low ribs so the wrists end up under the shoul-
ders.

-From Chaturanga, , keep the shoulders lifted as you press the hands down and
drag them isometrically toward the back of the mat to flip to the top of the toes.

-Legs stay charged, strong, and lifted as you bring the arms toward straight,
ra i s i n g t h e h e a d , c h e s t a n d b e l ly.

-At this point, the only things on the ground are the hands and the tops of the
feet. Gaze follows the direction the sternum is pointing; do not dump the head
back.

-Bring attention to the knee caps. Are they active and lifted? Is the tailbone
tucked just slightly to push the bend to more mid/upper back?

-Instead of locking out the arms or hyperextending, keep a soft bend in the el-
bows, as you point them toward the back of the mat, biceps close to the side ribs.

-Gently squeeze the shoulder blades together on the back body and drag them
down toward the hips, as the hands continue to drag back slightly, propelling the
chest forward.

SUGGESTION: HOLD FOR 1-5 B R E AT H S AND THEN DRIP YO U R HEART BAC K D OW N TO THE GROUND.

67
DOWNWARD FACING DOG ADHO MUKHA SVANASANA
P r o b a b l y o n e o f t h e m o s t w e l l - k n o w n Yo g a p o s e s , D o w n w a r d Fa c i n g D o g i s b o t h
difficult and restorative. Again, this posture is a full body strengthener, as well
as a hamstring and shoulder stretch. Attention should be consistently returned to
the shoulder girdle (discussed below), and even as legs approach straight, they
should avoid locking out or hyperextending.

-Start with hands shoulder distance apart at the front of the mat, parallel or
slightly turned out.

-Feet are hip distance apart near the back of the mat, parallel, with heels drag-
ging down toward the earth.

-Pressing down into the earth through the hands (especially the index and thumb
mound, which tend to lift), send the hips up and back toward the back of the
room.

-Legs do not have to be straight, but should be engaged with inner thighs spiral-
ing out and wide to find broadness across the sit bones.

-T h i n k l e n g t h f r o m t h e h a n d s u p a n d b a c k t o t h e s i t b o n e s a s w e s t r e t c h t h e s i d e
body and pull navel to spine to activate the core. Head is neutral between the
arms.

SUGGESTION: TAKE 8-10 S LOW AND CONTROLLED B R E AT H S HERE

68
 TRICEP WRAP
D o w n w a r d Fa c i n g D o g i s t h e p e r f e c t t i m e t o a d d r e s s a c o m m o n a n d e x t r e m e l y i m -
p o r t a n t c u e i n Yo g a – t h e t r i c e p w r a p . T h i s w r a p i s k e y t o n o t j u s t D o w n w a r d Fa c i n g
Dog, but stabilizing the shoulder girdle and warding off hyperextension in plank,
table top, handstand, and more.

-To t a k e D o w n w a r d F a c i n g D o g a s t e p f u r t h e r , l i f t t h e s h o u l d e r g i r d l e s l i g h t l y t o
give yourself space and externally rotate the upper arm bones to bring the tri-
ceps down toward the earth.

-Keep that motion and pull the chest down, energetically pulling the arm bones
b a c k i n t o t h e s h o u l d e r s o c k e t a n d s l i g h t l y d o w n t h e b a c k . Yo u m a y f e e l s o m e
broadness come to the upper back, while still finding engagement there as well.
This tricep wrap is key to stabilizing the shoulder girdle in many poses, but feels
m u c h m o r e e v i d e n t i n D ow n w a rd Fa c i n g D o g .

PROPER FORM IMPROPER FORM

69
 BUT HOW DO WE GET THERE?
Many times, especially in faster Vinyasa classes, the instructor simply tells you to
e x h a l e t o D o w n w a r d Fa c i n g D o g a f t e r y o u r b a c k b e n d o f c h o i c e . T h e r e a r e a f e w
d i f f e r e n t m e t h o d s y o u c a n u s e t o g o f r o m e i t h e r C o b r a o r U p w a r d Fa c i n g D o g i n t o
Down Dog while still strengthening and maintaining proper alignment. The most
important thing to note is, no matter what transition you’re doing, focus on keep-
ing the spine engaged and the same tricep wrap.

D I R E C T – I f y o u ’ r e t y p i c a l l y c h o o s i n g U p w a r d Fa c i n g D o g , y o u c a n k e e p a s t r o n g l y
engaged core as you lift the hips up and back, legs are very active, finally rolling
o v e r t h e t o e s t o e n d u p i n D o w n w a r d Fa c i n g D o g . T h i s i s d e f i n i t e l y t h e m o s t d i r e c t
approach, and it’s up to you how mechanical or fluid you make this wave. Either
way, keep the low belly pulled in to protect the spine, and see if you can roll over
all the toes at the same time.

T A B L E T O P – If you’re typically choosing Cobra as your backbend, keep the core

e n g a g e m e n t a s y o u p r e s s y o u r s e l f u p t o Ta b l e To p . S t a y h e r e f o r a m o m e n t , f l i p
the toes, then lift both knees off the ground at the same time by one inch. Hover
for half a breath to turn on the core, then send the hips up and back to Down Dog.
A s a n a l t e r n a t i v e , y o u c a n a d d i n a C h i l d ’ s P o s e b e f o r e t h e Ta b l e To p , f i r s t p r e s s i n g
t h e h i p s a l l t h e w a y b a c k t o t h e h e e l s , t h e n r o l l i n g / r o u n d i n g f o r w a r d t o Ta b l e To p
before lifting the knees and hips.

C H A T U R A N G A P U S H U P – Yo u c a n p u s h b a c k u p t o p l a n k t h r o u g h C h a t u r a n g a f r o m
b o t h C o b r a a n d U p w a r d Fa c i n g D o g . T h i s i s f a i r l y a d v a n c e d a n d r e q u i r e s a g o o d
deal of bent arm and core strength. Flip the toes back under, tighten the legs and
core, and lower the shoulders back to Chaturanga (but not lower). Then, moving
your body as flat as a board, press back up to plank before sending the hips up
and back to Down Dog.

70
 THE “VINYASA”
Have you ever been in a class where a teacher tells you to “Vinyasa” or “take the
Vinyasa of your choice”? Well, after reading the last few pages, you now know
w h a t t h a t m e a n s ! W h i l e V i n y a s a i s a l s o a s t y l e o f Yo g a , w h e n s o m e o n e r e f e r s t o
taking a Vinyasa in class, they are usually talking about the movement from Plank,
t h r o u g h C h a t u r a n g a , t h e b a c k b e n d , a n d t h e n b a c k t o D o w n w a r d Fa c i n g D o g .

Yo u a l w a y s h a v e a c h o i c e t o v a r y y o u r V i n y a s a b a s e d o n t h e p r e v i o u s l y d e s c r i b e d
methods, or if you prefer to skip it, just step back from your Half Lift position di-
r e c t l y t o D o w n w a r d Fa c i n g D o g .

71
 GETTING TO THE TOP OF THE MAT
Similarly to the questions surrounding how to step/float/hop back to Chaturanga/
P l a n k , t h e r e a r e o f t e n q u e s t i o n s s u r r o u n d i n g h o w t o g e t f r o m D o w n w a r d Fa c i n g
Dog back up to the Half Lift position at the top of the mat. Again, you can rotate
any of these options during your practice or stick to one. It’s up to what your body
a n d p r a c t i c e n e e d f o r t h e d ay.

S T E P U P – Fa i r l y s e l f e x p l a n a t o r y , b u t a c t u a l l y a l s o f a i r l y d i f f i c u l t . I f y o u ’ r e t r y i n g
to take two large steps (one foot at a time) to the top of the mat, you will need to
push the ground away firmly to create space as you suck the first thigh deep into
your low belly and round forward, bringing your knee up by your nose. Keep press-
ing the ground away with the hands, puffing the back of the heart up toward the
sky to create space to step that foot between, or right behind the hands. Trans-
ferring the weight into that leg, suck the other leg up to meet it, before extending
the arms and spine to come into Half Lift.

T I P T O E – P ro b a b ly o n e of t h e m ost u n d e r- u s e d va r i at i o n s fo r m a k i n g i t to t h e to p
of the mat, tip toeing slow and with control allows you to understand how to plug
the upper leg bone into the hip socket to create space, as well as create some
nice slowly hamstring stretches. Go as slow as you need to, keeping the core en-
g a g e d f i r m ly.

H O P – Just like hopping back to Chaturanga, you can use the power of the legs to
bring you back to the top of the mat. Inhale come up high on the tip toes, gazing
just past the finger tips to see where you are going. Exhale bend the knees deeply,
thighs to low belly, loading your spring. At the bottom of the exhale (no breath),
your core is the most active, so use that space to hop the hips up, landing at the
top of the mat with bent knees to absorb the shock and momentum. The more you
get the hips up, the more you will have time to begin to control the hop.

F L O AT – F l o a t i n g t o t h e t o p o f t h e m a t i s t y p i c a l l y c o n s i d e r e d t h e m o r e a d v a n c e d
option in Sun A. It starts the same as a hop, but once in the air, the hips stack all
the way over the shoulders, if not just slightly past them. This allows you to slow
the movement down, almost like you were moving through molasses, or coming
down from a slow handstand. Even a slow float should allow a small bend in the
knees upon landing, just to absorb left over momentum

72
 SUN SALUTATION B – SURYA NAMASKAR B
1 2 3

Start in Tadasana Inhale Utkatasana Exhale Uttanasana

4 5 6

Exhale step back to plank OR jump/ Inhale Bhujangasana or Urdvha

Inhale Ardha Uttanasana
float to Chaturanga Dandasana Mukha Svanasana

7 8 9

Exhale Adho Mukha Svanasana

Inhale Right Leg Virabhadrasana I Exhale Chaturanga Dandasana
(3 breaths)

10 11

REPEAT STEPS
8-11 WITH
Inhale Bhujangasana or Urdvha Exhale Adho Mukha Svanasana
LEFT LEG
Mukha Svanasana (1 breath)

73
SUN SALUTATION B – SURYA NAMASKAR B (CONT)
13 14 15

At the bottom of the exhale,

Exhale Adho Mukha Svanasana Inhale Ardha Uttansana
float/hop/step

16 17 18

Exhale Uttanasana Inhale Utkatasana Exhale Tadasana

74
COMPONENT BREAKDOWN • SUN B

75
 CHAIR POSE – UTKATASANA
I f y o u g o t o r e g u l a r Yo g a c l a s s e s , y o u m a y b e f a m i l i a r w i t h t h e g r o a n s t h a t t e n d t o
murmur around the room as the teacher announces Chair Pose. This posture will
fire up and strengthen the legs, core, and arms (in some variations), as well as al-
low you to understand a little more about pelvic positioning and the importance it
p l a y s i n Yo g a . A t t h e r i s k o f s o u n d i n g l i k e a b r o k e n r e c o r d , t h e c o r e i s s i g n i f i c a n t l y
e n g a g e d d u r i n g a n y v a r i a t i o n o f C h a i r.

- F r o m Ta d a s a n a , i n h a l e a r m s u p o v e r h e a d , b i c e p s b y t h e e a r s a s y o u b e n d t h e
k n e e s d e e p ly , s i n k i n g t h e h i p s l ow. F e e t c a n b e t o g e t h e r h e r e o r h i p d i s t a n c e
apart.

-Focus on tracking the knees over the ankles (not allowing them to splay in or
out), keep the core engaged, and think length from the sit bones down and the
crown up.

-T h e p e l v i c p o s i t i o n i n g h e r e i s n e i t h e r a f u l l t u c k o f t h e t a i l b o n e , w h i c h s t r a i n s
the low back, or an anterior tilt, which turns this into a backbend.

-Instead, try to balance in a neutral space, which means that for most of us, there
is the smallest tailbone tuck, while still widening the inner thighs out and back.
Low ribs knit into the body like a corset, magnetizing toward the pubic bone to
integrate the core.

-Arms can stay up by the ears, rest on the thighs (not knees) for support), or
come to prayer position at the sternum.

I M P R O P E R P O S T E R I O R T I LT I M P R O P E R A N T E R I O R T I LT PROPER LONG SPINE

SUGGESTION: HOLD FOR 1-15 B R E AT H S TO BUILD LEG STRENGTH

76
 KNEE TO NOSE
A n o t h e r n e w c o m p o n e n t o f S u n B i s t h e s t e p f o r w a r d f r o m D o w n w a r d Fa c i n g D o g
t o a S u p p o r t e d H i g h L u n g e , a s yo u g e t r e a d y t o r i s e t o Wa r r i o r I . W h i l e w e h a v e
already touched on the space needed briefly, this section provides some extra
d e t a i l s f o r t h i s c h a l l e n g i n g t r a n s i t i o n t h a t w e s e e t i m e a n d t i m e a g a i n i n Yo g a .
For those just starting a practice or with certain physical limitations such as tight
hips/hamstrings/back, it can be helpful to practice with hands on blocks to give
the upper body added lift and create more space to step forward.

- F ro m D ow n w a rd Fa c i n g D o g , i n h a l e t h e r i g h t l e g i n t o t h e a i r , s t r a i g h t a n d s t ro n g ,
keeping the hips square.

-Exhale round forward, coming up high on the left toes and bringing the shoul-
ders over the wrists as you pull the right knee deep into the chest, aiming to
touch the right knee to the nose.

-Push the ground away firmly with the hands, keep the tricep wrap, and think
about puffing the back of the heart up toward the sky to create more space as
you feel the shoulder blades separate.

-Suck the navel to the spine for extra lift, and silently, carefully, gently place
the right foot inside the right thumb, toes facing forward.

-If the foot doesn’t quite make it there, don’t worry! Just shimmy it up where it
needs to be and keep practicing this difficult and underestimated transition.

KNEE IN FOOT PLANT

77
 WARRIOR I – VIRABHADRASANA I
Another deceptively difficult posture thanks to foot/hip positioning, but also key
t o s t r e t c h i n g a n d s t r e n g t h e n i n g t h e l ow e r b o d y. W h i l e a n c i e n t t ex t s s t a t e t h a t t h e
hips should always be square toward the front of the mat, we have since accepted
that all bodies are different, and the goal is to maintain proper foot positioning
while trying to square as much as possible. It may be helpful to separate the feet
hip distance here (or as they often refer to it in class, “railroad tracks”) instead of
heel to arch alignment. As always, the focus is on proper alignment and lengthen-
ing.

- F ro m D ow n w a rd Fa c i n g D o g , r e p e a t t h e s t e p s f ro m t h e p r e v i o u s p a g e t o f i n d
yourself in a supported lunge, right leg forward, hands still on either side (or on
blocks).

-Spin the back foot to a 45-degree angle, and make sure the whole foot can plant
flat, especially the knife edge or outer edge. Here is where it might to useful to
inch the left foot to the left 3-8 inches to create more space for the hips to stay
facing the front of the mat.

-Magnetize both feet together to find some buoyancy in the hips, and keeping
the back leg straight and strong lift the arms up overheard, stacking shoulders
over hips.

-T r y t o m i n i m i z e a n y b a c k b e n d i n t h i s p o s t u r e w i t h a g e n t l e t u c k o f t h e t a i l , a n d
knitting the low ribs in, keeping an engaged core.

-Right knee tracks over right ankle, working toward a 90-degree angle, and not
f a l l i n g i n t owa rd t h e c e n t e r.

-Spiral the pinky fingers in to externally rotate the arms and drop the shoulders
down from the ears.

SUGGESTION: HOLD FOR 1-3

B R E AT H S , FOCUSING ON LENGTH

THROUGH THE C R OW N DURING THE

INHALE AND SINKING IN A L I TT L E

DEEPER ON THE EXHALE. `

78
SIMPLE VARIATIONS

79
 ROLLING VINYASA
The Rolling Vinyasa allows you to remove the Chaturanga, backbend, and
Down Dog in lieu of a simple spinal roll that keeps the fluidity level up and
helps you understand how to round the mid and upper back. Focus on flu-
idity here, rounding the spine so each vertebrae hits the floor on the way
down and up, keeping the thighs close to the chest to maintain control.

1 2 3

Start in Tadasana Inhale Urdhva Hastasana Exhale Uttanasana

4 5 6

Inhale Ardha Uttanasana Exhale sink sit bones and Roll Inhale Ardha Uttanasana

7 8 9

Exhale Uttanasana Inhale Urdhva Hastasana Exhale Tadasana

80
 MOON SALUTATION
If you’re looking for something a little slower and not as vigorous as a
Sun A/B, but you’re not really feeling the roll, a Moon Salutation may be
just the ticket. Again, this variation of a Sun B removes the Chair Pose
and traditional Chaturanga and replaces it with the more gradual Knees/
Chest/Chin descent, traditionally followed by a Cobra. Moon Salutations
are usually done around sunset, but don’t let that stop you from adding
t h e m i n to yo u r p r a c t i c e , n o m a t t e r t h e t i m e o f d ay.

1 2 3

Start in Tadasana Inhale Urdhva Hastasana Exhale Uttanasana

4 5 6

Exhale left foot steps back,

Inhale Ardha Uttanasana Inhale Anjaneyasana (Low Lunge)
knee drops

7 8 9

Inhale roll to Uttitha Chaturanga

Exhale Adho Mukha Svanasana Exhale Knees/Chest/Chin
Dandasana

81
 MOON SALUTATION (CONT)
10 11 12

Inhale Bhujangasana Exhale Adho Mukha Svanasana Inhale Hold

13 14 15

Exhale left foot steps up,

Inhale Anjaneyasana (Low Lunge) Exhale hands plant
right knee drops

16 17 18

Inhale Ardha Uttanasana Exhale Uttanasana Inhale Urdhva Hastasana

19

Exhale Tadasana

82
 SAMPLE FLOWS
A practice can be as simple as doing multiple Sun A/Bs, or combining
these traditional sequences with one or both of the variations listed here.
In addition, all of these sequences, including the variations, make excellent
l a u n c h p a d s f o r c r e a t i v i t y. C o n s i d e r w h a t yo u c o u l d d o i n s t e a d o f s t e p p i n g
t o Wa r r i o r I i n S u n B , o r w h a t yo u m i g h t p l a c e a f t e r/ b e f o r e t o ex t e n d t h e
sequence. Often, new students developing a home practice will start a flow
with simple Sun A/Bs, then add in 1-2 new postures each round, slowly cre-
ating a longer, more complex sequence that is still fairly simple to remem-
ber due to its repetition.

EXAMPLES OF P O S S I B L E P R A C T I C E C O M B I N AT I O N S :

• 5x Rolling Vinyasa, 5x Sun A, 5x Sun B

• 3x Rolling Vinyasa, 2x Moon Salute, 2x Sun A, 2x Sun B

83
POSE LIBRARY

84
 SECTION SET UP

The pose library is organized by style of pose – seated, standing,

backbend, etc. It is important to note that many poses overlap cat-
egories. In this case, we did our best to choose the most prominent
feature to select the proper section for easy searching. Many of
the common poses from the Warm Ups and Building Blocks sections
are repeated here to complete the library.

85
SEATED POSTURES

86
 CHILD’S POSE - BALASANA
Child’s pose is a restorative pose, warmup, and resting stretch that can
be used between segmented flows in practice. It is a flexion posture that
helps prepare the hips for deeper bends, and can also provide a light
shoulder stretch. If using for restorative reason, Child’s pose can employ
p ro p s , s u c h a s a b o l s t e r u n d e r t h e c h e s t / b e l ly.

- K n e e s a r e w i d e , b i g t o e m o u n d s t o g e t h e r , t o p s o f t h e f e e t o n t h e f l o o r.

-Chest drapes down on the mat, still thinking length through the crown and
along the spine, hips drop toward or on the heels.

-Forehead comes gently to the mat, and arms can stretch out long in front or
reach back along the body, palms up.

-If comfortable on the low back, the low belly can be released to help soften
into the posture.

SUGGESTION: AS LONG AS NEEDED, B R E AT H I N G D E E P LY

87
 EASY SIT - SUKHASANA
When a teacher says to come to a comfortable seat in class (usually at the begin-
ning/end or during a demo), one of the more common options is Easy Sit. This can be
thought of as a less tightly bound cross-legged seat, and if straight posture can’t be
achieved on the mat, a block or bolster can be placed under the sit bones.

-Both sit bones ground down equally into the earth.

-Legs cross at the ankle (not high up on the shin), knees wide.

-Core is engaged to help create length through the central column and up
through the crown of the head.

-Low ribs knit in gently, and the shoulder blades pull together lightly on the
back and down toward the hip points, elongating the neck.

-Back of the head presses gently backward, stacking ears over shoulders, plac-
ing the spine in one long line.

- H a n d s c a n r e s t l i g h t ly o n t h i g h s o r p r e s s t o g e t h e r a t h e a r t c e n t e r.

SUGGESTION: AS LONG AS NEEDED (NO KNEE PA I N ) , B R E AT H I N G D E E P LY

88
 THUNDERBOLT POSE - VAJRASANA
T h e o t h e r c o m m o n c h o i c e f o r a “ c o m f o r t a b l e s e a t ” i s T h u n d e r b o l t P o s e . Ty p i -
c a l ly a l i t t l e h a rd e r o n t h e k n e e s d u e t o t h e d e e p f l ex i o n , Va j r a s a n a d o e s t e n d
to make it easier to sit up straight and tall. It is also a good prep pose for Vi-
r a s a n a , d e s c r i b e d n ex t . U s e Va j r a s a n a t o w a r m u p t h e b o d y , a c h i e v e b r i e f r e s t ,
or to work on certain breathing techniques. Again, a block can be used here to
prop the sit bones. Spread the feet enough to place a block between them, and
lower both sit bones onto it.

-Knees and feet together, big toe mounds touching, tops of the feet on the
f l o o r.

-Stack hips over heels, shoulders over hips, and crown over shoulders, knitting
in the low ribs and engaging the core.

-Maintaining core control, find broadness across the collarbones as the shoul-
d e r b l a d e s s q u e e z e g e n t ly t o g e t h e r.

- H a n d s r e s t o n t h e t h i g h s o r a t h e a r t c e n t e r , c h i n i s p a r a l l e l t o t h e f l o o r.

SUGGESTION: AS LONG AS NEEDED (NO KNEE PA I N ) , B R E AT H I N G D E E P LY

89
 HERO POSE - VIRASANA
Hero Pose is a deeper version of Thunderbolt Pose, providing a deep
stretch to the knees and a more solid connection of sit bones to ground.
It can also be modifled with a block or rolled blanket under the sit bones.
Focus on stretching the knee joint, never forcing it.

-Knees together, feet slightly more than hip distance apart, tops of the feet on
t h e f l o o r.

-Sit bones lower carefully to the earth, between the heels, with feet tight along
the side of the hips.

-In order to do this, it may be necessary to manually adjust the calves out of
t h e way. Fo r s o m e p e o p l e , t h at m e a n s g e n t ly ro l l i n g t h e m o ut . Fo r ot h e rs , ro l l i n g
them in. Experiment and see what feels better on your knees.

-Stack hips over heels, shoulders over hips, and crown over shoulders, knitting
in the low ribs and engaging the core.

-Maintaining core control, find broadness across the collarbones as the shoulder
b l a d e s s q u e e z e g e n t ly t o g e t h e r.

- H a n d s r e s t o n t h e t h i g h s o r a t h e a r t c e n t e r , c h i n i s p a r a l l e l t o t h e f l o o r.

SUGGESTION: AS LONG AS NEEDED (NO KNEE PA I N ) , B R E AT H I N G D E E P LY

90
 THUNDERBOLT CLOCKS - VAJRASANA CLOCKS
All postures have the ability to be tinkered with so that they better suit
your specific practice. Thunderbolt Pose makes a fantastic side stretch
when you add in a simple twist, allowing you to lengthen the obliques, side
ribs, and up into the armpit. Feel free to adjust the angle of your clock for
a lessor or deeper stretch.

-Start sitting in Thunderbolt Pose (using a block under the sit bones is fine),
t o p s o f f e e t p r e s s i n g i n t o t h e f l o o r.

-Lift the arms up by the ears, pink fingers spiraled inwards, and shoulders de-
pressed away from ears, with shoulder blades pulling gently together and down
the back toward the sit bones.

-Inhale to grow tall and engage the core (pull belly button to spine) and exhale
twist to the right, using just the strength of the belly to spiral the body (since
hands are above the head).

-Hold for 1-2 breaths and then noting where (2) would be on a standard 12 hour
clock, aim the arms and torso towards (2).

-T h i s t w i s t w i l l g e n e r a l l y c a u s e t h e l e f t s i t b o n e t o l i f t o r l i g h t e n , s o p r e s s
down and forward with the palms, especially the left palm to root down
through the left sit bone.

-Once you have found heaviness and evenness in both sit bones, slowly spider
the left fingers out further in the direction of (2) to find a deep stretch along
the left side.

1 2

2:00 POSITION 3:00 POSITION

SUGGESTION: HOLD 3-5 B R E AT H S PER SIDE

91
 HERON POSE - KROUNCHASANA
Looking to get some flexion and extension work in the legs at the same time?
Heron Pose might be perfect for you. This combination Virasana/hamstring
stretch stretches the quad of the bent leg and the underbelly of the straight
one. It is also an excellent stretch to warm up the hips for deep flexion. Focus
more on sitting up straight than how high you lift your straight leg. A strap is
always welcome around the ball/arch of the foot.

-Start seated, left leg in Virasana, as previously described, right leg extended
straight and strong, fingers interlaced around the ball or arch of the foot, pull-
ing the leg up toward the face (or use a strap as shown).

-Pull navel to spin firmly and think length through the crow of the head.

-Focus on bringing the leg to the torso, not the torso to the leg, which will of-
ten cause a rounding of the spine.

-T r y n o t t o l o c k o u t o r h y p e r e x t e n d t h e s t r a i g h t l e g , a n d e x p e r i m e n t w i t h f l e x -
ing, flointing, or pointing the top foot.

SUGGESTION: 5-10 B R E AT H S PER SIDE

92
 STAFF POSE - DANDASANA
While you may find yourself in a pose similar to Dandasana in every day
life, rarely do we focus on form and length when sitting with our legs out
in front of us. Staff Pose helps gently stretch the hamstrings and low back,
while reminding us about length through our central column. If there is an
issue sitting up straight with the legs extended, place a blanket, block, or
bolster under the sit bones for lift.

-Start seated with both sit bones firmly on the ground, legs extended long, feet
flexed, big toe mounds touching.

-Place your hands on either side of or slightly in front of your hip points and
ground them down into the mat to help sit up tall, aiming to stack shoulders over
hips and crown over shoulders.

-Engage the core, knitting low ribs in, but still finding broadness across the col-
larbones.

-To k e e p t h e h a m s t r i n g s a c t i v e , d i g t h e h e e l s g e n t l y i n t o t h e g r o u n d a n d i s o m e t -
rically drag them back toward the hip points.

SUGGESTION: HOLD AS LONG AS NEEDED

93
 HEAD TO KNEE FORWARD BEND - JANU SIRSASANA
Janu Sirsasana is a forward bending posture, which means it will help
stretch and elongate the back (when done correctly), as well as stretch
the hamstrings. With the added slight twist and second leg in a different
p o s i t i o n , yo u a l s o g e t t h e b e n e f i t o f a l i g h t h i p o p e n e r. T h i s p o s e c a n b e
performed with a block under the sit bones and/or a bolster between the
chest and extended leg. Again, with most folding postures, think length
of the spine over depth. This is not about touching your nose to your
shin.

-Start seated in Dandasana, then bend the left leg, sending the knee wide and
pressing the left foot into the right thigh, right thigh back into the left foot.

-Ground down evenly through both sit bones and sit up tall, pulling navel to
the spine and depressing the shoulders away from the ears.

-Ta k e t h e l e f t h a n d t o t h e o u t e r e d g e o f t h e r i g h t t h i g h , r i g h t f i n g e r t i p s b e h i n d
the right sit bone, and take a gentle twist to the right.

-Keeping the twist (pulling navel to spine), fold with a flat back over the right
leg (not in the middle).

-Instead of aiming the nose to the knee, aim the sternum toward the toes, low-
ering slowly, and with control.

-Hands can rest on the right shin, or bind around the right foot. A strap can
also be used around the right foot for extra leverage.

S U G G E S T I O N : 5 - 1 5 B R E AT H S ON E AC H SIDE

94
 SEATED FORWARD FOLD - PASCHIMOTTANASANA
One of the most common flexion postures, Seated Forward Fold is fairly
a d va n c e d a n d r e q u i r e s d e e p h a m s t r i n g a n d l ow b a c k f l ex i b i l i t y. Lu c k i ly ,
this pose can be modified with the sit bones on a block or bolster, as well
as putting a bolster between the thighs and chest to encourage length,
not rounding.

-Start in staff pose (Dandasana) with your hands sprinkled lightly behind the sit
bones.

-T r a n s f e r r i n g t h e w e i g h t t o t h e h a n d s a b i t m o r e , g e n t l y w i g g l e y o u r s i t b o n e s
forward, helping to draw the flesh out from under the sit bones and bringing your
lumbar (lower) spine to its natural curve.

-Press the heels into the mat and think about dragging them back toward the sit
bones to turn on the hamstrings.

-Keeping legs engaged, knees and toes pointing upward, bring your hands in
front of you, arms long.

-Wa l k t h e h a n d s o u t o n e i t h e r s i d e o f t h e l e g s , h i n g i n g a t t h e h i p s a s y o u f o l d ,
maintaining maximum length from the crown of the head, out through the sit
b o n e s . T h i n k F L AT b a c k , s t e r n u m t o w a r d t o e s .

Stop @ a height where you can still maintain optimal spinal length.

SUGGESTION: 3-10 B R E AT H S

95
WIDE ANGLE SEATED FORWARD BEND - UPAVISTHA KONASANA

When we begin to change the position of the legs to a wider one, we add
t h e b e n e f i t s o f a h i p s t r e t c h t o a h a m s t r i n g l e n g t h e n e r. N o t s u r p r i s i n g ly ,
Wide Angle Seated Forward Bend is not about getting to the floor; instead,
you should focus on keeping the spine long and core engaged as you fold
forward with a flat back. The same props are recommended here for under
the sit bones or to support the chest.

-Start in staff pose (Dandasana) with your hands sprinkled lightly behind the sit
bones.

-T r a n s f e r r i n g t h e w e i g h t t o t h e h a n d s a b i t m o r e , o p e n t h e l e g s t o a p p r o x i m a t e l y
90 degrees, feet flexed, toes and knees pointed to the ceiling.

-Use your hands to gently wiggle your sit bones forward, increasing the leg an-
gle slightly (10-15 degrees) and helping to draw the flesh out from under the sit
bones, bringing your lumbar spine to its natural curve.

-Press the heels into the mat and think about dragging them back toward the sit
bones to turn on the hamstrings.

-Keeping legs engaged, knees and toes pointing upward, bring your hands in
front of you, arms long.

-Wa l k t h e h a n d s o u t , h i n g i n g a t t h e h i p s a s y o u f o l d , m a i n t a i n i n g m a x i m u m l e n g t h
from the crown of the head, out through the sit bones.

SUGGESTION: STOP @ A HEIGHT WHERE YO U CA N STILL M A I N TA I N SPINAL LENGTH

AND HOLD FOR 3-10 B R E AT H S

96
HALF SPLITS - ARDHA HANUMANASANA
If you’re looking for one of the best hamstring stretches, Half Splits might
b e t h e p e r f e c t a n sw e r. T h e s u p p o r t o f t h e b a c k l e g m a k e s i t e a s i e r t o k e e p
the hips square, while dragging the heel down and back turns on the un-
derbelly of your leg for safe stretching. It’s also a lot easier on the back
hip flexor than full splits! As always, focus on length through the spine,
not getting the nose to knees.

-Start in low lunge, left knee on the ground, right foot in front, hands on either
side of the right foot.

-Tu c k t h e b a c k t o e s , a n d r o c k o n t o t h e r i g h t h e e l , s t r a i g h t e n i n g t h e r i g h t l e g a n d
sending the hips back toward the left heel.

-Keep both hip points shining toward the front of the mat by scissoring your in-
ner thighs together and sprinkle your fingertips on either side of the right knee.

-Dig the right heel down into the mat and magnetize it toward the left knee to
turn on the right hamstring as you gently fold with a flat back, navel pulled to
spine.

-For extra help in lengthening, dig your hands or fingers (can be on blocks) into
the mat and drag them back toward your hip points to propel your chest forward,
aiming to kiss your sternum with your right toes.

SUGGESTION: 3-10 B R E AT H S PER SIDE

97
 FULL SPLITS - HANUMANASANA
Adding an intense hip flexor stretch on the back leg to an already diffi-
cult hamstring stretch on the front, Full Splits should be considered an
advanced pose. Focus on keeping the hips square, even if that means the
pelvis can’t drop to the earth. Prop your hands on blocks for spinal sup-
port and/or place a block /blanket/bolster under the hips to help main-
tain proper posture during the stretch.

From Half Splits, begin to wiggle the right heel out further in front of you, keep
the hips square as you go.

Left leg begins to straighten as the hips come forward, and hands can plant on
e i t h e r s i d e of t h e h i p s o r s l i g h t ly i n f ro n t to h e l p s u p p o r t t h e b o dy.

Left toes can stay tucked (helps confirm that hips are square), or top of the
f o o t p r e s s e s o n t h e f l o o r.

Core is engaged and try to stack shoulders over hips, with a gentle firming of
the glutes to tilt the pelvis down, making this more of a hip flexor stretch than
a low back bend.

SUGGESTION: 5-10 B R E AT H S PER SIDE

98
 HALF LORD OF THE FISHES - ARDHA MAYSYENDRASANA
This seated twist can be as gentle or deep as your practice needs. It
also adds in the outer hip stretch for the top leg. Any spinal twists help
strengthen the spine, create a supple nature to the back, and help you
find length in other postures. Focus on pulling the navel to the spine to
create space and ground down evening though both sit bones. A block or
blanket can be used under the hips if needed.

-Start seated, feet planted, knees bent to 90 degrees

-Bend your left knee more, bringing your heel to the outer edge of your right hip,
under your right leg.

-Keeping the right foot flexed, carefully place it on the outside of the left thigh,
and then rock evenly onto both sit bones.

-Inhale grow tall through the spine, hands on either side and slightly behind the
hips for support.

-As you exhale, pull the navel to the spine to create space, and twist the body
over to the right.

-Left arm can hug the right knee closer to the chest, or the left tricep can hook
outside of the right knee for a deep twist. Another option it to extend the left
arm, grabbing the left knee.

-Gaze follows the direction your chest is pointing; do not crank the neck around.

SUGGESTION: 5-15 S LOW B R E AT H S PER SIDE

99
 GATE POSE - PARIGHASANA
Gate pose offers all of the benefits of a side stretch like Standing Half
Moon, but removes a good deal of the balancing challenge. While tradi-
t i o n a l Yo g a h a s t h e s t u d e n t l e a n t o w a r d t h e s t r a i g h t e n e d l e g , w e e n c o u r -
age you to try both directions. Regardless of which way you’re leaning,
pretend the body is between two panes of glass. Try not to lean the tor-
so forward or back, only to the side, at least while beginning your prac-
tice.

-Start on your shins, then extend the right leg out directly to the side, right
foot perpendicular to the left.

-Keeping the hips balanced (not leaning them too much to the right), reach up
and over with the left arm, resting the right hand on the thigh or shin, not the
knee.

-Keep the core engaged and focus on length of the left side body, not crunch-
ing into the right side.

-Left toes can be tucked or untucked, and you can experiment with staying on
the right heel, or even turning the right foot so that it’s parallel to the left.

-As an alterative, trying stretching the other direction, away from the straight
leg for the counter posture.

SUGGESTION: 3-10 B R E AT H S PER SIDE

100
 RABBIT POSE - SASANGASANA
One of the few upper back and neck stretches, Rabbit pose allows you
some of the benefits of an inversion without ever leaving the ground. It
helps you understand how to fully round the spine, as well as experiment-
ing with deep compression. Attention should be paid to the neck at all
times, and those with neck or upper back injuries should avoid Rabbit Pose.

- S t a r t i n Va j r a s a n a , k n e e s a n d f e e t t o g e t h e r.

-Pull navel to the spine and curl forward slightly so you can reach back and
g r a b y o u r h e e l s w i t h w i t h y o u r h a n d s . I f s l i p p e r y , p l a c e a Yo g a t o w e l o v e r t h e
heels, or tuck the toes for a better grip.

- A i m t h e f o r e h e a d o n t h e f l o o r d i r e c t l y i n f r o n t o f a n d b e t w e e n t h e k n e e s . Yo u
want the head so close that the forehead gently presses the knees.

-Affirming the grip on the heels, carefully roll forward, straightening the arms
and coming to rest on the crown of the head, puffing up the back of the heart
and sucking navel to spine.

1 2 3

SUGGESTION:3-10 B R E AT H S PER SIDE

101
STANDING POSES (2 LEGS)

102
 FORWARD FOLD – UTTANASANA
When done correctly, Forward Folds help stretch the hamstrings, affirm
length of the spine even during flexion, and start to help you understand
t h e c o m p r e s s i o n o f t h i g h s to l ow b e l ly. T h i s i s a m o r e a d va n c e d a n d a c-
tive version of Ragdoll pose, and blocks can always be placed under the
h a n d s , o r h a n d s l e f t o n s h i n s to m o d i f y. N ev e r s a c r i f i c e s p i n a l l e n g t h j u s t
t o t o u c h t h e f l o o r.

- S t a r t i n m o u n t a i n p o s e ( Ta d a s a n a ) w i t h y o u r f e e t t o g e t h e r o r h i p d i s t a n c e a p a r t .

-Fold forward, hinging at the hips, not the waist, emphasis on keeping the front
body as long as possible, aiming to drag your heart (not head) down to your toes.

-If available, place your fingers or hands firmly on the ground in front of your
feet, shoulder distance apart. If not available, bend the knees slightly or place
the hands on blocks or your shins.

-W i d e n t h e i n n e r t h i g h s o u t a n d b a c k , s i t b o n e s s p r e a d i n g g e n t ly towa rd t h e s k y.

-For a little extra, press the hands down and push isometrically toward the top
of the mat to help deepen the bend, bringing belly closer to thighs.

SUGGESTION: HOLD FOR UP TO 10 B R E AT H S

103
 CRESCENT/HIGH LUNGE
Crescent Lunge or High Lunge helps strengthen and stretch the legs. It
also aids with hip stability, and allows you to lengthen the hip flexor care-
f u l ly. T h e r e a r e m a n y va r i a t i o n s o f C r e s c e n t Lu n g e , a n d s t u d e n t s c a n ex-
periment with different arm variations, adding in a backbend, or placing
t h e b a c k k n e e o n t h e g r o u n d f o r a d d e d s t a b i l i t y ( Ty p i c a l l y r e f e r r e d t o a s
Low Lunge).

- F ro m D ow n w a rd Fa c i n g D o g , b r i n g t h e r i g h t f o o t f o r w a rd b e t w e e n t h e h a n d s t o
find yourself in a supported lunge, hands still on either side (or on blocks).

-Keep the back heel lifted and tracking over the left ankle. It might to useful to
inch the left foot to the left 3-8 inches like you are standing on railroad tracks
( i n s t e a d of o n e s t ra i g h t l i n e) fo r a d d e d s t a b i l i t y.

-Magnetize both feet together to find some buoyancy in the hips, and keeping
the back leg straight and strong lift the arms up overheard, stacking shoulders
over hips.

-T r y t o m i n i m i z e a n y b a c k b e n d i n t h i s p o s t u r e w i t h a g e n t l e t u c k o f t h e t a i l , a n d
knitting the low ribs in, keeping an engaged core. Often, it is helpful to bend the
b a c k k n e e g e n e ro u s ly. T h i s w i l l a l low yo u to t u c k t h e t a i l b o n e d ow n , t h e n h o ld -
ing that motion, slowly begin to straighten again. There is no need, however, to
s t ra i g h t e n a l l t h e way.

-Right knee tracks over right ankle, working toward a 90-degree angle, and not
falling in toward the center
.
-Spiral the pinky fingers in to externally rotate the arms and drop the shoulders
down from the ears.

SUGGESTION:1-10 B R E AT H S PER SIDE

104
 WARRIOR I – VIRABHADRASANA
Another deceptively difficult posture thanks to foot/hip positioning, but
a l s o k ey to s t r e t c h i n g a n d s t r e n g t h e n i n g t h e l ow e r b o d y. W h i l e a n c i e n t
texts state that the hips should always be square toward the front of the
mat, we have since accepted that all bodies are different, and the goal is
to maintain proper foot positioning while trying to square as much as pos-
sible. It may be helpful to separate the feet hip distance here (or as they
often refer to it in class, “railroad tracks”) instead of heel to arch align-
ment. As always, the focus is on proper alignment and lengthening.

- F ro m D ow n w a rd Fa c i n g D o g , s t e p t h e r i g h t f o o t b e t w e e n t h e h a n d s .

-Spin the back foot to a 45 degree angle, and make sure the whole foot can plant
flat, especially the knife edge or outer edge. Here is where it might to useful to
inch the left foot to the left 3-8 inches to create more space for the hips to stay
facing the front of the mat.

-Magnetize both feet together to find some buoyancy in the hips, and keeping
the back leg straight and strong lift the arms up overheard, stacking shoulders
over hips.

-T r y t o m i n i m i z e a n y b a c k b e n d i n t h i s p o s t u r e w i t h a g e n t l e t u c k o f t h e t a i l , a n d
knitting the low ribs in, keeping an engaged core.

-Right knee tracks over right ankle, working toward a 90-degree angle, and not
f a l l i n g i n t owa rd t h e c e n t e r.

-Spiral the pinky fingers in to externally rotate the arms and drop the shoulders
down from the ears.

SUGGESTION: HOLD FOR 1-10 B R E AT H S , FOCUSING ON LENGTH THROUGH THE

C R OW N D U R I N G T H E I N H A L E A N D S I N K I N G I N A L I TT L E D EE P E R O N T H E E X H A L E .
105
WARRIOR II - VIRABHADRASANA II
Wa r r i o r I I i s a c o u s i n o f Wa r r i o r I t h a t m a n y p e o p l e f i n d e a s i e r o n t h e
hips. For this pose, keep the standard heel to arch alignment (no railroad
tracks), and focus on keeping the shoulders aligned over the hips, as they
h av e a t e n d e n c y t o l e a n f o r w a rd ov e r t h e b e n t k n e e . Wa r r i o r I I i s a t o t a l
body strengthener and a great transition pose.

- F ro m D ow n w a rd Fa c i n g D o g , c a r e f u l ly s t e p t h e r i g h t f o o t b e t w e e n t h e h a n d s .

-Spin the back foot to a 90-degree angle, and make sure the whole foot can plant
flat, especially the knife edge or outer edge. If you were to draw a line directly
back from the right heel, it would intersect the middle of the left arch.

-Magnetize both feet together to find some buoyancy in the hips, and keeping
the back leg straight and strong, cartwheel the arms open to the long edge
of the mat, extending them long and stacking shoulders over hips, crown over
shoulders.

-Hips open mainly to the left side, however, keep an external rotation on the
right leg so that the knee does not fall inward. Back (left) leg has a slight inter-
nal rotation or spiral.

-Right knee tracks over right ankle, working toward a 90-degree angle.

-Gaze gently over the middle finger of the right hand.

SUGGESTION: 1-10 B R E AT H S FOCUSING ON LENGTH THROUGH THE C R OW N

DURING THE INHALE, SINKING DEEPER ON THE EXHALE
106
EXTENDED SIDE ANGLE - UTTHITA PARSVOKONASANA
E x t e n d e d S i d e A n g l e t a k e s Wa r r i o r I I a n d a d d s i n a s i d e l e n g t h e n i n g p o s -
ture. This is still a leg strengthening and stretching posture, now with
an added gentle twist that can be explored with half or full binds (de-
scribed later). Think length through the side body and little to no weight
on the supporting hand/tricep.

- S t a r t i n Wa r r i o r I I , r i g h t l e g b e n t t ow a r d 9 0 d e g r e e s .

-Keeping the length through the crown, pretend someone has a rope around
your right wrist and is pulling your entire torso toward the top of the mat, while
the hips stay open to the side. Allow yourself to tilt forward, reaching the right
hand past the right knee.

-Maintain the lift and length of the side body and lower the right tricep to the
right thigh or the right hand to the inside edge of the right foot (can put the
h a n d o n b lo c k a s w e l l ) . L e f t h a n d r e a c h e s towa rd t h e s k y.

-Pull navel to the spine and press the right tricep/hand into the right thigh/
shin to deepen the twist, even opening the chest slightly to the sky, but not
arching the back.

-Left arm can stay lifted or reach up by the left ear, creating one long line
from left fingers down to left foot. Gaze gently upwards.

SUGGESTION: 1-10 B R E AT H S PER SIDE

107
REVERSE WARRIOR - VIPARITA VIRABHADRASANA
R e v e r s e Wa r r i o r i s a n o t h e r ex a m p l e o f h ow Wa r r i o r I I c a n b e c h a n g e d
into similar, but unique poses to craft your specific practice. This pose
combines leg strengthening and side body length with a light to moder-
ate backbend. As always, think length of the side body, not just crunch-
ing back, and just like Gate Pose, imagine the body between two planes
of glass, all in one line.

- S t a r t i n Wa r r i o r I I , r i g h t l e g f o r w a r d .

-Keeping the length through the crown, pretend someone has a rope around
your right wrist and is pulling your entire torso toward the top of the mat, while
the hips stay open to the side. Allow yourself to tilt forward, reaching the right
hand past the right knee.

-Keeping the length you just created in the left side body, cartwheel the arms
up and back , left hand comes to rest lightly on left thigh/shin and right arm
reaches to the upper back corner of the room.

-Pull the navel to the spine and lift the chest gently upward, gazing with the
eyes at the top hand.

-Make sure you are still lunging deeply into the right knee, as we tend to back
out when the arms go back.

SUGGESTION: 1-5 B R E AT H S PER SIDE

108
 EXTENDED TRIANGLE - UTTHITA TRIKONASANA
Triangle Pose is essentially Extended Side Angle, just with two straight or
almost straight legs, instead of one. This pose strengthens and lengthens
the legs, warms up the hips, and helps with side body and spine length.
Feel free to keep a slight or moderate bend in the front knee and/or place
t h e b o t t o m h a n d o n a b l o c k o r y o u r s h i n ( n o t y o u r k n e e ) . Yo u c a n a l s o
s h o r t e n t h e s t a n c e s l i g h t ly , b r i n g i n g t h e f e e t c l o s e r t o g e t h e r.

- S t a r t i n Wa r r i o r I I , r i g h t l e g f o r w a r d .

-Carefully straighten the right leg, making sure not to lock it out or hyperextend.

-Keeping the length through the crown, pretend someone has a rope around your
right wrist and is pulling your entire torso toward the top of the mat, while the
hips stay open to the side. Allow yourself to tilt forward, reaching the right hand
far past the right knee.

-Maintain the lift and length of the side body and lower the right hand to the
inside of the right foot or lightly place it on the right shin. Left hand reaches
towa rd t h e s k y.

-Pull navel to the spine and think length both along the left side body and from
right fingertips up to left. Gently magnetize the feet together to keep both ham-
strings fired up.

- L e f t a r m c a n s t ay l i f t e d o r r e a c h u p by t h e l e f t e a r. G a z e g e n t ly u p wa rd s .

SUGGESTION: 1-10 B R E AT H S PER SIDE.

109
 MODIFIED PYRAMID - PARSVOTTANASANA
While traditional Pyramid Pose has the feet closer together and firmly
planted, we have found that the pose is more accessible in a slightly lon-
ger stance with the back heel lifted. This pose stretches and strengthens
the legs, as well as elongates the spine when a fold is added in. Focus on
keeping the hips square (feet can be up to hip width) and a long spine, not
just touching your nose to your knee.

-Start in downward facing dog (Adho Mukha Svanasana).

-Exhale your right knee into your chest, pressing the ground away, rounding the
back slightly toward the sky to create space to plant the right foot between the
hands.

-Left heel stays lifted as you straighten the right leg, coming into a long-stance
pyramid variation.

-Magnetize the right heel toward the left toes to turn on the hamstrings and
square the hips as evenly as you can toward the front of the mat.

-Maintaining this activation, fold over the front leg, keeping the front body as
long as possible, hinging at the hips with a flat back. Hands can stay on blocks
for added support.

SUGGESTION:1-10 B R E AT H S PER SIDE

110
 WIDE LEGGED FORWARD FOLD - PRASARITA PADOTTANASANA

Wide Legged Forward Fold takes a standard Forward Fold and adds in a
hip stretch. It is a leg strengthener, spine elongator, and essential prep
p o s e fo r d e e p e r h i p p o s t u r e s s u c h a s F i r e f ly Po s e . Fo c u s o n fo l d i n g fo r-
ward with a flat spine, keeping the feet parallel, and sending the hip bones
wide and back.

-Start facing the long edge of your mat and step or hop the feet 3 - 4 1/2 feet
apart and parallel.

-Lift the inner ankles and root down firmly through the knife edges (outside edg-
es) of your feet.

-Magnetize both feet toward the midline to “turn on” the hamstrings.

-Place your hands on your hips and grow tall through the crown of the head, pull-
ing navel gently to spine.

-Keeping the length in the front body, hinge at the hips, widening the inner
thighs out and back.

-Once the body is parallel to the floor, plant the hands directly beneath the
shoulders and take a few breaths in the elongated, half-lift position.

-Keeping the flat back as much as possible, walk the hands slightly backwards
and continue the fold, bending the elbows straight back as you go. Hands can
spin around (fingers pointing in the direction of the sit bones and assist in walk-
ing further through the legs, deepening the stretch. Continue to focus on length
from the sit bones to the crown.

-If the head touches the floor easily, shorten the stance of the feet to increase
the stretch.

SUGGESTION: HOLD 1-10 B R E AT H S

111
 STANDING HALF MOON - ARDHA CHANDRASANA
Standing Half Moon, not to be confused with the balancing posture, Half
Moon, is a gentle to moderate side stretch. Grab a strap or scarf to inten-
s i f y t h e s t r e t c h a n d h e l p u n d e r s t a n d t h e o p p o s i n g f o r c e s o n t h e b o d y. A s
with other side stretches, imagine the body between two panes of glass,
trying not to lean the hips or shoulders forward or back.

-Stand with feet together, big toe mounds touching and outer ankles pressing in,
legs straight but not hyperextended and core engaged.

-If using strap, loop around the back right under the shoulder blades and into
each hand.

-Inhale to lift arms overhead, pinky fingers spiraled inward, strap stays under
shoulder blades (causing a slight lift), and sits on the outer edge of both arms.
It should be tight, adjust tautness if needed.

-Inhale tall through the crown, keeping body stacked in one line – ankles, hips,
shoulders, crown.

-Hold 1-2 breaths and then press hips to the left. Arms stay straight as the upper
body curves to the right and upward, finding a deep stretch along the left side
b o dy.

-If using a strap, lower the right arm to the right thigh. Readjust the strap taut-
ness and use a downward pull of the right hand, coupled with an upward and
right pull of the left hand to increase the side body stretch.

-Focus on keeping the body in one plane (think of yourself between two sheets of
glass). Often times the right hip/shoulder needs to move forward slightly, while
the left hip/shoulder need to move back.

SUGGESTION: HOLD FOR 3-10 B R E AT H S ON E AC H SIDE

112
 FIVE POINTED STAR POSE
Another seemingly simple pose, Five Pointed Star can be as difficult as
you make it, especially when trying to add in all of the activation cues.
This full body strengthener specifically targets the legs and shoulders.
Ad d a s a t r a n s i t i o n i n a n d o u t o f G o d d e s s Po s e f o r a f u n f l ow.

-Start facing the long edge of your mat and step or hop the feet 3 - 4 1/2 feet
apart and parallel or turned to the corners of the mat.

-Lift the inner ankles and root down firmly through the knife edges (outside edg-
es) of your feet.

-Magnetize both feet toward the midline to “turn on” the hamstrings.

-Place your hands on your hips and grow tall through the crown of the head, pull-
ing navel gently to spine.

-T h e n e x t e n d t h e a r m s l o n g a n d u p s o t h a t y o u r b o d y f o r m s a n X , a s i f s o m e o n e
was stretching you apart at the wrists, shoulder blades pulling gently together
on the spine and down the back to depress the shoulders away from the ears.

-Focus on keeping the core engaged, and stacking crown over shoulders over
hips. As with many side facing postures, imagine the body between two panes of
glass, all in one plane.

SUGGESTION: HOLD 1-10 B R E AT H S

113
STANDING BALANCING

114
 SINGLE LEG PLUG IN
Before you start practicing complicated standing balance postures in a
variety of positions, it can be helpful to just experience standing on one
leg. This can be as simple as learning to suck or plug one leg bone up into
the hip socket as the weight transfers to the other foot. Standing balance
postures strengthen the supporting leg, as well as help fine tune all of the
s m a l l c a l i b r a t i o n m u s c l e s o f t h e b o d y. Fo c u s o n t h e va c u u m i n g u p o f t h e
l i f t e d l e g a n d t r y n o t to h i k e t h e h i p o f t h e f l o a t i n g f o o t u p s i g n i f i c a n t ly.

- S t a r t i n Ta d a s a n a , f e e t t o g e t h e r , b i g t o e m o u n d s t o u c h i n g .

-T r a n s f e r t h e w e i g h t t o t h e r i g h t f o o t , p l a c e a v e r y s m a l l b e n d i n t h e r i g h t l e g
to turn on the stabilizing muscles, and vacuum the left leg bone up into the hip
socket.

-Flexing the left foot firmly, engaging the quad and knee, hover it 1-2 inches off
the ground next to the right.

-Keep an active core, pulling navel to the spine, and gently explore rocking
around the edges of the right foot to make sure you’re grounding down through
all four corners.

SUGGESTION: 3-10 B R E AT H S PER SIDE

115
 TREE POSE - VRKSASANA
The next step up in difficulty from a Single Leg Plug would have to be
T r e e P o s e . To s o m e d e g r e e , T r e e P o s e a c t u a l l y c a n f e e l e a s i e r s i n c e t h e
l i f t e d l e g p r e s s e s a g a i n s t t h e s u p p o r t i n g o n e f o r s t a b i l i t y. T h e i m p o r t a n t
thing to note here is that wherever the lifted foot rests, it should NOT be
on the knee. Also, do your best to widen the bent knee out to the side,
keep the hips even, and maintain a very slight bend in the standing leg,
so that the muscles are doing the work here, not the bones.

- S t a r t i n Ta d a s a n a , f e e t t o g e t h e r , b i g t o e m o u n d s t o u c h i n g .

-T r a n s f e r t h e w e i g h t t o t h e r i g h t f o o t , p l a c e a v e r y s m a l l b e n d i n t h e r i g h t l e g
to turn on the stabilizing muscles, and vacuum the left leg bone up into the hip
socket.

-Flexing the left foot firmly, engaging the quad and knee, reach down and grab
the shin (or keep hands on hip), bringing the left foot to the inner edge of the
right calve or inner thigh.

-Stand back up straight and strong, pressing the left foot into the right leg, leg
b a c k i n to t h e fo ot fo r s t a b i l i t y.

-Keep an active core, pulling navel to the spine, and gently explore rocking
around the edges of the right foot to make sure you’re grounding down through
all four corners.

-Arms can reach up by the ears, come to prayer position, or stay on the hips to
assist with balance.

FOOT @ CALF FOOT @ THIGH IMPROPER @ KNEE

SUGGESTION: 3-10 B R E AT H S ON E AC H SIDE

116
 FIGURE FOUR - EKA PADA UTKATASANA
Standing Figure Four or Single Leg Chair Pose is a balancing posture, hip
opener, and leg strengthening posture for the supporting leg. In addition,
this posture fires up the core and makes an excellent transition into fun
a r m b a l a n c e s s u c h a s F ly i n g P i g e o n a n d D r a g o n f ly. Fo c u s o n k e e p i n g t h e
supporting knee over the supporting ankle, pulling navel to spine, and
widening the lifted knee out to the side with a flexed foot to keep the
stretch at the hip, not the knee.

- S t a r t i n Ta d a s a n a , f e e t t o g e t h e r , b i g t o e m o u n d s t o u c h i n g .

-T r a n s f e r t h e w e i g h t t o t h e r i g h t f o o t , p l a c e a g e n e r o u s b e n d i n t h e r i g h t l e g t o
turn on the stabilizing muscles, and vacuum the left leg bone up into the hip
socket.

-Flexing the left foot firmly, engaging the quad and knee, reach down and grab
the shin (or keep hands on hip), as you bend the knee and bring the left ankle
slightly above the right knee. Left knee goes wide.

-Keep the spine long with core engaged, but sink the hips low like chair pose.
Hands can be overhead or in prayer position.

-Keep an active core, pulling navel to the spine, and gently explore rocking
around the edges of the right foot to make sure you’re grounding down through
all four corners.

-Stay here or explore a forward fold in this position, with hands coming to rest
on the floor or on blocks, keeping a generous bend in the right knee.

SUGGESTION: 3-10 B R E AT H S PER SIDE

117
EXTENDED HAND TO BIG TOE - UTTHITA HASTA PADANGUSTASANA

H a n d t o B i g To e a d d s a h a m s t r i n g s t r e t c h t o a d i f f i c u l t b a l a n c i n g p o s -
ture, also firing up the core as the body attempt to stay aligned and
stacked while stretched in different directions. Don’t be afraid to mod-
ify this posture and/or explore alternate variations. Placing a strap
around the ball of the foot may allow you to straighten the leg, but al-
ways choose to bend the lifted leg over hunching the back. Alternative
variations include keeping the leg lifted without hands, bringing the leg
out to the side (keep hips level), and folding over the front leg, trying to
bring nose to toes with a flat back.

- S t a r t i n Ta d a s a n a , f e e t t o g e t h e r , b i g t o e m o u n d s t o u c h i n g .

-T r a n s f e r t h e w e i g h t t o t h e l e f t f o o t , p l a c e a g e n e r o u s b e n d i n t h e l e f t l e g t o
turn on the stabilizing muscles, and pull the right knee in toward the chest,
right foot is flexed.

-Reach down with the right hand and wrap the first two fingers around the big
toe.

-Straighten the spine and keeping only a slight bend in the left knee to main-
tain active muscles, begin to extend the right leg out in front of you. Left hand
stays on hip.

-Concentrate on keeping even hips and stacking crown over shoulders over
hips, over ankle. Core is engaged, broadness across the collarbones.

1 2 3

STRAP OPTION SIDE OPTION

118
 WARRIOR III - VIRABHADRASANA III
Wa r r i o r I I I i s e v e r yo n e’ s f a v o r i t e p o s e , r i g h t ? ! M o s t o f u s v i e w t h i s v e r y d i f f i c u l t
posture as something to quickly struggle through and move on, but it’s actually an
a m a z i n g f u l l b o d y s t r e n g t h e n e r. Fo c u s o n l e n g t h f ro m t h e f i n g e r t i p s t o t h e t o e s ,
even hips (lifted leg tends to turn out) and a strong, engaged core. As always,
don’t lock out that bottom leg. Make the muscles do the work, not the bones.

- S t a r t i n m o u n t a i n p o s e ( Ta d a s a n a ) w i t h t h e f e e t t o g e t h e r , s i d e s o f b i g t o e m o u n d s
t o u c h i n g , p a l m s p r e s s e d t o g e t h e r a t h e a r t c e n t e r.

-T r a n s f e r w e i g h t t o t h e r i g h t l e g , b u t k e e p l e f t s t r a i g h t .

-Engage the core and hinge at the hips to fold forward with a flat back while the
left leg raises up behind, foot flexed, forming a (T) with the body and moving
l i k e a l ev e r.

-Square the hips by scissoring inner thighs together and making sure that the
left toes point toward the ground. This will also help level the hips by dropping
the left sit bone (which tends to lift). Reaffirm core engagement.

-To i n c r e a s e d i f f i c u l t y , p u t t h e a r m s b y t h e e a r s , p i n k y f i n g e r s s p i r a l e d i n w a r d s .
To s i m p l i f y , s p r i n k l e f i n g e r t i p s d o w n u n d e r t h e s h o u l d e r s o r o n b l o c k s o r k e e p
t h e a r m s c lo s e a lo n g t h e s i d e b o dy.

SUGGESTION: 2-5 B R E AT H S PER SIDE

119
 LORD OF THE DANCE - NATARAJASANA
Many poses combine more than one element of the practice. Lord of the
Dance or Dancer Pose is both a single leg balancing posture as well as
a backbend. It stretches the quad and hip flexor of the lifted leg, and
starts to open up the shoulder on that side as well. Try to keep the hips
square and level here, and the lifted leg tracking directly behind the hip.
Focus on lifting the leg UP and back, not tipping the torso forward.

- S t a r t i n m o u n t a i n p o s e ( Ta d a s a n a ) w i t h t h e f e e t t o g e t h e r , s i d e s o f b i g t o e
m o u n d s t o u c h i n g , p a l m s p r e s s e d t o g e t h e r a t h e a r t c e n t e r.

-T r a n s f e r w e i g h t t o t h e r i g h t l e g , b e n d i n g t h e l e f t f o o t u p a n d b a c k t o t h e l e f t
sit bone.

-Keeping the hips square to the front, reach back with the left hand and grab
the inside edge of the left foot or ankle (a strap is always welcome).

-Square the shoulders back to the front and kick the left foot up and back, at
t h e s a m e t i m e p u l l i n g o n i t w i t h t h e l e f t h a n d to c r e at e t e n s i o n a n d s t a b i l i t y.

-Reach the right arm by the right ear, and keeping the core firmly engaged, ap-
ply more pressure from the left foot, depending the bend.

-Yo u c a n t r y t i p p i n g t h e t o r s o g e n t l y f o r w a r d t o c o u n t e r b a l a n c e t h e l i f t i n g l e g ,
but avoid dipping down low just to get a deeper split.

-Right arm can reach out long in front of you, gaze just past the fingertips.

1 2

3 4
SUGGESTION: 3-10 B R E AT H S ON E AC H SIDE
120
 HALF MOON - ARDHA CHANDRASANA
Not to be confused with the other variation of Standing Half Moon that
involves both feet on the ground and a side body bend. Half Moon is es-
s e n t i a l ly a s u p p o r t e d Wa r r i o r I I I w i t h a n o p e n h i p . Fo c u s o n n o t h y p e r ex-
tending the supporting leg and keeping one long line from the sole of the
lifted foot to the crown of the head.

-Start in Triangle Pose, right leg forward.

-Place your left hand on your hip, gaze down slightly in front of your right foot.

-Bending generously into your right knee, sprinkle your fingertips down about 8
inches in front of and slightly outside of your right foot.

-Keeping an engaged core and hips open to the side of the mat, power down
through the right leg as you straighten it, lifting the left leg off the floor and
using your right fingertips like a kickstand (they can be on a block).

-T h i n k o n e l o n g l i n e f r o m t h e f l e x e d l e f t f o o t t o t h e c r o w n o f t h e h e a d , s t a c k i n g
the left hip directly on top of the right.

-Right leg maintains just the slightest bend, left arm raises to the sky and gaze
over the left fingertips. Make it more challenging by hovering the bottom fingers
off the ground.

SUGGESTION: 3-10 B R E AT H S PER SIDE

121
 STANDING SPLITS - URDHVA PRASARITA EKA PADASANA

If you’re looking for a way to work your splits in the air, Standing Splits
can help develop the flexibility without the weight of the body pressing
down and hindering alignment. Standing Splits strengthens the support-
ing leg, stretches that hamstring, and works on strengthening the lift-
e d h a m s t r i n g , a s w e l l a s s t r e t c h i n g t h e h i p f l exo r. O p t f o r h i p s s t ay i n g
square over leg height, even if that means your splits don’t look all that
“ s p l i t y. ”

- S t a r t i n m o u n t a i n p o s e ( Ta d a s a n a ) w i t h f e e t t o g e t h e r .

-Hinging at the hips, fold forward with a flat back, bringing the hands down to
the floor, slightly in front of the feet and shoulder distance apart. Belly is on
thighs.

-T r a n s f e r t h e w e i g h t t o t h e r i g h t f o o t a n d p l u g t h e l e f t l e g d e e p i n t o t h e l e f t
hip socket, hovering the left foot off the ground one inch (foot is flexed).

-Left leg straight and strong, lift it as high as you can while maintaining hips
square (all 5 left toes point toward the ground), foot flexed.

-To i n c r e a s e t h e s t r e t c h , w r a p o n e o r b o t h f o r e a r m s a r o u n d t h e r i g h t c a l f .

-Do not sacrifice proper hip squaring for height.

SUGGESTION: 3-10 B R E AT H S ON E AC H SIDE

122
 EAGLE POSE - GARUDASANA
So many of the standing balance postures are expansive, meaning you
s p r e a d y o u r b o d y o u t w i d e . F i n d i n g l e n g t h i s k e y i n Yo g a , b u t c o m p r e s s i v e
postures have their place too. Tightly wrapped twists like Eagle are sup-
posed to help you wring out the body, bringing fresh blood flow after the
unwind. In addition, Eagle Pose will strengthen and stabilize the support-
ing leg and shoulder girdle.

- S t a r t i n Ta d a s a n a , f e e t t o g e t h e r , b i g t o e m o u n d s t o u c h i n g .

-T r a n s f e r t h e w e i g h t t o t h e r i g h t l e g , a n d b e n d i n g i t g e n e r o u s l y , c r o s s t h e l e f t
leg as high over the right thigh, if possible, bringing the foot all the way around
the calve for a second latch.

-Re-square the hips and shoulders to the front and keeping the hips low, pull the
navel to the spine.

-Extend your arms straight out in front of you and parallel, then cross the left
a r m ov e r t h e r i g h t , a b ov e t h e e l b ow.

-Bend the elbows, bringing the hands closer to the face, and take the double
w r a p i f ava i l a b l e , p r e s s i n g t h e p a l m s t o g e t h e r.

-Gently tuck the tail (don’t let the ribs flare out), pressing the forearms away
from the face and dropping the shoulders down, away from the ears.

-Continue to think length through the crown, gazing straight ahead.

SUGGESTION: 3-10 B R E AT H S PER SIDE

123
TWISTED/REVOLVED/BOUND

124
 SEATED EASY TWIST
Adding a gentle twist to your practice can help wring on out the spine, which
helps you find length and space in more challenging postures, as well as pre-
pares for both forward and backward bends. Focus on keeping the sit bones even
and the crown long during the twist.

-Start in Easy Sit.

-Sprinkle your right fingertips slightly behind and outside of your right hip bone.

-Inhale grow tall through the crown, pulling navel to the spine.

-Exhale spin the body to the right, hooking the left hand on the outer edge of the
right knee.

-W i t h ev e r y i n h a l e , t h i n k a b o u t l e n g t h t h ro u g h t h e c row n , w i t h ev e r y ex h a l e ,
t h i n k a b o u t c r e a t i n g a l i t t l e m o r e s p a c e i n t h e b e l ly t o t w i s t d e e p e r.

-Keep the gaze in the direction that the chest in pointing, no need to crank the
head around.

SUGGESTION: AS LONG AS NEEDED

125
 THREAD THE NEEDLE - SUCIRHANDRASANA
W e s p e n d a g o o d d e a l o f t i m e i n Yo g a t r y i n g t o open the shoulders, pull-
i n g t h e m o n to t h e b a c k b o d y. B u t i t ’ s i m p o r t a n t to work the opposite mo-
tion as well, stretching the upper and mid back while getting a gentle
spinal twist. Focus on keeping the hips as level as possible and stacked
directly over the knees.

- S t a r t i n Ta b l e To p p o s i t i o n w i t h h i p s o v e r k n e e s , s h o u l d e r s o v e r w r i s t s , a n d
core engaged.

-T r a n s f e r t h e w e i g h t i n t o t h e l e f t h a n d a n d i n h a l e t h e r i g h t a r m u p t o t h e s k y .

-Exhale weave the right arm through and behind the left wrist, bringing the
outer edge of the right shoulder and right ear to the ground.

-Re-square the hips, pull navel to spine, and breathe into the place behind your
r i g h t s h o u l d e r.

-To d e e p e n t h e s t r e t c h , t e n t y o u r l e f t f i n g e r t i p s a n d p u s h t h e m d o w n a n d a w a y .

1 2

3 4

SUGGESTION: 5-15 B R E AT H S PER SIDE

126
OPEN TWIST LUNGE (LOW & HIGH)
Once you know the basic postures, it becomes second nature to add new
a s p e c t s , e n h a n c i n g o r c o m p l e t e l y c h a n g i n g t h e i r p u r p o s e . A n O p e n Tw i s t
Lunge still has all of the amazing leg strengthening and hip flexor work
from Crescent Pose, but you also get the benefits of spinal flexibility and
a shoulder stretch.

- F ro m D ow n w a rd Fa c i n g D o g , s t e p t h e r i g h t f o o t s i l e n t ly b e t w e e n t h e h a n d s .

-Back heel stays lifted over left big toe mound as you scissor the inner thighs
together to square the hips.

-Keep the left hand planted and pulling the navel to spine, reach the right arm
up to the sky, gazing up over the right fingertips.

-To m o d i f y t h i s p o s e , l e a v e t h e l e f t k n e e o n t h e g r o u n d a n d / o r p l a c e t h e l e f t
hand on a block for support.

-T h i n k l e n g t h f r o m t h e g r o u n d e d l e f t h a n d u p t o t h e l i f t e d r i g h t h a n d , b u t a l s o
from the crown of the head down and out through the sit bones.

L OW HIGH

SUGGESTION: 3-10 B R E AT H S PER SIDE

127
 REVOLVED LUNGE (LOW/HIGH)
If you would like a deeper twist in a similar posture, Revolved Lunge
will wring you out more than then open twist variation. Again, this
posture can be done with the back knee on or off the ground. If
it is one the ground, the back toes can be tucked or untucked.

- St a r t i n C r e s c e n t L u n g e , r i g h t l e g f o r wa rd , h a n d s a t h e a r t c e n t e r.

-Inhale grow tall through the crown, keeping hips square to the front of the mat.

-Exhale suck the navel to the spine and twist to the right, aiming to hook the left
tricep to the outer edge of the right thigh.

- P r e s s t h e t h i g h i n to t h e t r i c e p , t r i c e p i n to t h e t h i g h fo r s t a b i l i t y.

-Stay here or open the arms, placing the left hand down firmly on the outside of
t h e r i g h t fo ot ( c a n b e o n a b lo c k ) , r i g h t a r m r e a c h e s towa rd t h e s k y. G a z e i s ov e r
the right fingertips.

SUGGESTION: 3-10 B R E AT H S PER SIDE

128
 QUAD STRETCH
O p e n Tw i s t L u n g e w i t h t h e b a c k k n e e d o w n i s t h e p e r f e c t s e t u p f o r a
Quad or Quadricep Stretch. Most of us spend a great deal of the day with
the hips in flexion, and if you’re an avid runner, jogger, or lifter, tight
quads may already be something you deal with on a regular basis. Spe-
cifically targeting the thighs with this gentle stretch is a great way to
warm up for backbends, anything involving splits, and even forward bends.

- S t a r t w i t h a n O p e n Tw i s t L u n g e , r i g h t l e g f o r w a r d , l e f t k n e e d o w n a n d t o e s
untucked. Right arm reaches up to the sky, left hand is planted inside the right
foot.

-Bend the left heel in toward the sit bones and reaching back with the right
hand, grasp the outer edge of the left foot. If you cannot comfortably grab the
foot, use a strap for assistance.

-Pushing into the right foot and left hand, send the hips BACK to meet the left
heel.

-Keep that connection, then lunge forward, sending the right knee over the top
of the right ankle, allowing the quad to stretch.

-Push the left hand firmly into the ground so you’re not dumping in the left
shoulder, gently squeeze the shoulder blades on the back, arcing the heart up
towa rd t h e s k y.

1 2

3 4

SUGGESTION: 5-15 B R E AT H S PER SIDE

129
 BOUND SIDE ANGLE - BADDHA PARSOKONASANA
Bound Side Angle is a leg strengthener, as well as a side body and shoul-
der stretch. Never force the shoulders to take the bind. Instead, start with
the half bind option, and/or utilize a strap to help create additional space.

-Start in Extended Side Angle, right leg forward, right hand planted inside right
fo ot , l e f t a r m l i f t e d to t h e s k y.

-Maintaining side body length, wrap the left arm behind the back body, bending
at the elbow to bring the palm to the inner edge of the right thigh.

-Use the palm to pull firmly on the thigh, deepening the twist as the heart arcs
further to the ceiling.

-Stay there, OR wrap the right arm under the right leg, releasing the right thigh
with the left hand and grasping the fingertips, or if possible, clasping the right
wrist with the left hand.

-Once you have the clasp, slightly straighten the arms, arcing the heart back to-
ward the sky and gazing upward.

SUGGESTION: 5-10 B R E AT H S PER SIDE

130
 REVOLVED CHAIR - PARIVRTTA UTKATASANA
How do we make Chair Pose more fun? Add a twist, of course! This pose
will strengthen the legs and core, while elongating the spine with the
deep twist. Focus on keeping both knees in line and facing forward, core
e n g a g e d , a n d h i p s l ow.

- St a r t i n C h a i r Po s e w i t h t h e f e e t a n d k n e e s t o g e t h e r , h a n d s a t h e a r t c e n t e r.

-Inhale grow tall through the crown.

-Exhale pull navel to the spine and twist the body to the left, hooking the right
tricep on the outer edge of the left thigh.

-Gaze down at your knees to make sure they are still even and pointing in one
line. Return your gaze up.

-Press the palms firmly together to deepen the twist, and press the tricep into
the knee, knee into the tricep, imagining you are spiraling the lower body down
i n to t h e g ro u n d w h i l e t h e u p p e r b o dy s p i ra l s i n to t h e s k y.

-Stay here OR open the arms, planting the right hand firmly outside the left foot
a n d r e a c h i n g t h e l e f t f i n g e r t i p s to t h e s k y.

SUGGESTION: 3-10 B R E AT H S PER SIDE

131
 REVOLVED TRIANGLE - PARIVRTTA TRIKONASANA
Adding a twist to an already difficult posture makes Revolved Triangle a very advanced
pose. It is a great leg and hip stretch, and can be modified easily with a block (or blocks)
under the supporting hand. Unlike Triangle Pose, the hips are now square to the front of
the mat here and the foot positioning is typically a little different.

- S t a r t i n Ta d a s a n a i n t h e m i d d l e o f t h e m a t .

-Gently hop or step the feet about 3 ½ feet apart, right leg in front.

-Keep the right toes facing forward, but turn the back foot to a 45-degree angle,
squaring the hips to the front of the room.

-Hands on hips, engaged the core and fold to 90 degrees with a flat back, as if
you were trying to reach your sternum to the top of the mat.

-Maintaining the length, lower your left hand to the outside of the right foot (or
on a block). Reach the left arm up to the sky and twist the torso to the right.

-T h e m o r e t h e n a v e l p u l l s t o t h e s p i n e , t h e m o r e s p a c e w i l l b e c r e a t e d t o t w i s t .
Gaze up over your right fingertips.

SUGGESTION: 3-10 B R E AT H S PER SIDE

132
 REVOLVED HALF MOON - PARIVRTTA ARDHA CHANDRASANA

Similarly to Revolved Triangle, Revolved Half Moon takse a pose that has open hips (Half
Moon) and changes the positioning to accommodate the twist. This is also a balancing
posture, strengthening the stabilizer muscles of the supporting leg, while firing up the
hamstring and glutes on the lifted leg. Focus on form here, again using blocks under the
supporting hand for additional lift.

-Start in standing splits, left leg lifted, left foot flexed or pointed.

-Rise up slightly so the back is flat, sprinkling fingertips under the shoulders
( l i k e a s u p p o r t e d Wa r r i o r I I I ) . T h e b o d y s h o u l d b e i n o n e l o n g l i n e f r o m t h e c r ow n
all the way back through the left heel.

-Keep the left hand or fingers planted and reach the right arm to the sky, pulling
navel to spine to create space and ideally looking to stack the shoulders one on
t o p o f t h e o t h e r.

-Gaze up over the right fingertips.

SUGGESTION: 3-10 B R E AT H S PER SIDE

133
 REVOLVED DOWNWARD FACING DOG
If you’re looking for a gentle twist with an added balancing challenge,
try revolving your Down Dog. Just like Thread the Needle, do your best to
maintain even hips and equal weight distribution in the feet. This pose is
also a great wrist release if you have been doing a lot of plank or inversion
work.

- S t a r t i n D ow n w a rd Fa c i n g D o g .

-Wa l k t h e l e f t h a n d t o t h e m i d d l e o f y o u r s p a c e a n d p r e s s d ow n f i r m ly , s h i f t i n g
the weight into it.

-Reach the right hand back. Grab the outer edge of the left ankle (thumb faces
up).

-Pull firmly on the ankle for a wrist release and to deepen the twist, navel suck-
ing to spine.

SUGGESTION: 5-10 B R E AT H S PER SIDE

134
 SIDE CROW – PARSVA BAKASANA
Arm balances can be twists too! One of the most common ones is Side
Crow, which strengthens the arms, shoulders, and core, while giving the
body a good squeeze! Even if the feet don’t float off the ground, just set-
ting up for this posture and stopping where your body needs it is a great
workout! It can also be helpful to start with the feet on blocks for added
hip lift.

- S t a r t i n R e v o l v e d C h a i r P o s e o r R e v o l v e d To e S t a n d ( p i c t u r e d ) , l e f t t r i c e p h o o k e d
outside of right thigh.

-Open the arms, placing the left hand just outside the right foot.

-Reach the right hand over to the right, placing it shoulder distance from the
left.

-Shift the weight into the hands, moving the hips to the right slightly and coming
up onto the toes.

-Inhale bring the weight forward even further, leading with the sternum and
chin. Keep the elbows pointing straight back, stacked right over wrists.

-Exhale suck your navel to your spine and puff up the back of the heart to float
your feet off the ground, keeping them glued together, heels tucked in close to
the sit bones. Option to straighten the leg for extra challenge.

1 2 3 4

5 6 7*

* ST R A I G H T
LEG
O PT I O N

SUGGESTION: 3-5 B R E AT H S PER SIDE.

135
HIP OPENERS

136
 RECLINED PIGEON POSE
Sometimes the best way to stretch tight hips is to take the weight off
o f t h e m s o t h a t yo u c a n m ov e s a f e ly a n d c a r e f u l ly. R e c l i n e d P i g e o n
Pose is a great place to start. Make sure to keep BOTH feet flexed at
all times, as that will help the stretch stay in the hips, not the knee.
If you can’t reach around your thigh, use a strap for extra length.

-Start laying on your back, legs bent to 90 degrees with feet flexed and hover-
i n g , b i g t o e m o u n d s p r e s s i n g t o g e t h e r.

-Cross the right ankle over the left thigh, keeping the right foot flexed firmly
and sending the right knee wide.

-W e av e yo u r h a n d s b e h i n d yo u r l e f t t h i g h (o r a ro u n d yo u r l e f t s h i n fo r a d e e p -
er stretch) and gently hug your thigh toward the chest, keeping the right knee
wide.

-Yo u c a n t r y r o c k i n g s l i g h t l y b a c k a n d f o r t h f o r a s a c r a l m a s s a g e i f i t ’ s c o m -
fortable for your back.

1 2 3

4 5

SUGGESTION: 5-15 B R E AT H S PER SIDE

137
 YOGI SQUAT - MALASANA
Malasana is a very deep squat position that mimics the movements of
young children in an attempt to rejuvenate the knees and hips. This is a
very deep flexion pose, so move slowly, and don’t be afraid to use items
such as a block under your sit bones or a blanket under your heels.

-Start with feet slightly more than hip width apart, or even up to mat width.

-Tu r n t h e f e e t o u t s l i g h t l y , t o w a r d t h e t o p t w o c o r n e r s o f t h e m a t .

-Sink the sit bones low toward the earth, bending deeply at the knees and hips.

-Bring your triceps to the inner edge of the thighs, pressing them into the thighs
while the thighs press into the triceps, providing stability and helping to widen
t h e s i t b o n e s s l i g h t ly , h a n d s i n p r ay e r.

-T h i n k l e n g t h f r o m t h e c r o w n , d o w n t h r o u g h t h e s p i n e ( c o r e e n g a g e d ) a n d o u t
t h ro u g h t h e s i t b o n e s a s yo u t r y to l i f t yo u r s t e r n u m to t h e s k y.

SUGGESTION: 3-10 B R E AT H S

138
BUTTERFLY - BADDHA KONASANA
Another gentle hip stretch, Butterfly will help prepare the body for deeper
hip work, such as Wide Legged Forward Fold. Blocks can be used under
the sit bones to support a straight spine and/or under each knee if they
a r e u n c o m f o r t a b l y s u s p e n d e d i n t h e a i r . To m a k e t h i s p o s e m o r e c h a l l e n g -
ing, experiment with placing a block between the feet to widen the hips
f u r t h e r. Fo c u s o n k e e p i n g a s t r a i g h t s p i n e , e s p e c i a l ly w h e n f o l d i n g , a n d
never force the knees.

- St a r t s e at e d , b ot h s i t b o n e s g ro u n d i n g d ow n f i r m ly.

-Bend the knees and send them wide, bringing the soles of the feet together
close to the pubic bone.

-Press all four corners of the feet together, and the knife edge of the feet into
the mat.

-Place hands on ankles or slightly behind the hips for support and sit up straight
and strong, core engaged.

-T h i n k a b o u t t o n i n g t h e o u t e r h i p s t o s e n d t h e k n e e s d o w n t o w a r d t h e e a r t h . E x -
periment with tucking the calves in slightly, or pulling them out to create space
in the knee joint.

-Stay here or fold forward with a flat back, aiming the sternum toward the front
of the mat.

SUGGESTION: 5-15 B R E AT H S

139
 FIRE LOG POSE - AGNISTAMBHASANA
Firelog Pose is another, slightly deeper hip opener that allows you to move at your own
pace, without the weight of the body on the knees. As with Reclined Pigeon, keep both
feet firmly flexed at all times to protect the knees and ground down through both sit
bones. If one sit bone feels uneven, gently tuck a blanket or even a block under it.

-Start seated in Sukhasana (Easy Sit)

-Bring your right shin parallel to the front of the mat, sending the knee wide and
d ow n towa rd t h e e a r t h , f l ex i n g t h e fo ot f i r m ly.

-Flexing the left foot, grab hold of the left ankle and carefully move the left foot
so that it sits just past the right knee, left knee goes wide and carefully drops
down.

-Keeping both feet flexed, tone the outer hips to send the knees down slightly,
aiming to get both shins stacked and parallel to the front of the mat, like fire
logs.

-Hands can be behind the hips for spinal support, or rest gently on the thighs. Do
not push the knees down.

-Stay here or fold forward with a flat back.

S U G G E S T I O N : 5 - 1 5 B R E AT H S P E R S I D E
140
 COW FACE POSE - GOMUKHASANA
C o w Fa c e P o s e i s a n e x c e l l e n t w a r m u p f o r s o m e t h i n g l i k e E a g l e , a s w e l l a s
most bound postures. It provides a deep hip stretch thanks to the leg po-
sitioning and adds a shoulder element should you chose to take the bind.
Either piece can be practiced as its own, and always proceed with caution,
listening to your knees and shoulders as you move deeper into this posture.

- St a r t s e a t e d , k n e e s b e n t a n d f e e t p l a n t e d o n t h e f l o o r.

-Slide the left leg under the right, bringing the left foot to the right hip and
the left knee to the ground.

-Cross the right leg over the left so that the knees stack and the right heel
comes to the left hip.

-If the knees don’t stack, don’t force them down. Focus on toning the outer
hips and sitting up straight, grounding down through the sit bones evenly and
engaging the core.

-Stay here, hands behind the hips for support, or move into the arm variation…

-If taking the arm bind, stretch the right arm out to the side. Rotate it inwardly
so that first the palm faces behind you, and then the thumb points back. Keep
that position as you bring the arm behind you, bending at the elbow and tuck-
ing the right forearm parallel to the spine, as high as you can. The back of the
hand is on the body, fingers reach up.

-Lift your left arm out in front of you, palm face up. Keeping the external ro-
tation, lift the arm up by the ear and then bend at the elbow, reaching down
to grasp the right fingers. A strap can be used between hands to create more
length.

-Once the hands are in position, reaffirm that the spine is a straight, sitting
tall, and gently press the head back, stretching the shoulders. Stay here, or
fold forward with a flat back.

141
HALF PIGEON POSE - ARDHA KAPOTASANA
Pigeon Pose is extremely variable. It always provides a hip and hip flexor stretch with the
legs, but can be a spinal length posture if you add a forward bend, or a backbend. Focus
on keeping the hips square here by scissoring the inner thighs together and placing a
block under one hip if needed (usually the hip of the bent leg). Pay close attention to the
p o s i t i o n i n g o f t h e f ro n t f o o t a n d p e lv i s , b a s e d o n t h e c u e s b e l ow.

- S t a r t i n a Ta b l e t o p p o s i t i o n , a n d s l i d e t h e r i g h t k n e e f o r w a r d , d i r e c t l y i n l i n e
with the femur and the right hip socket.

-W i t h o u t l et t i n g t h e r i g h t k n e e f l a r e o u t , b r i n g t h e r i g h t a n k l e to t h e l e f t , e i t h e r
bringing the right shin parallel to the front of the mat and flexing the foot OR
bringing the right heel to the left hip point and pointing the right foot.

-Glance back and make sure the left leg is also in line with the left hip sock-
et, extended straight and strong, the top of the left foot, shin, and thigh on the
ground.

-Square the hips firmly to the front of the mat, scissoring the inner thighs to-
g e t h e r . To d o t h i s , y o u m a y h a v e t o r i s e u p f r o m t h e f l o o r t o f i n d s p a c e , t u c k i n g
the tail gently, utilizing blocks or blankets under the hips to maintain alignment.

-Inhale the torso upright, hands on either sides of the hips, pulling navel to spine
and making sure that the pelvis is neutral, not tilted forward, putting strain on
the low back.

-Stay here, or fold forward with a flat back, or take a gently backbend.

SUGGESTION: 5-15 B R E AT H S PER SIDE

142
GODDESS POSE - UTKATA KONASANA
Similar to Chair Pose with wide legs, Goddess will fire up the lower body while giving
it a good stretch! Depending on your arm positioning, Goddess can also strengthen the
shoulder girdle and as with many poses, activate the core. Focus on keeping the knees
tracking over the ankles and widening back (they have a tendency to collapse inward).

-Start facing the long edge of the mat, feet 3.5-4 feet apart, almost parallel to
the long edge of the mat.

-Keeping shoulders over hips as much as possible, bend the knees to stack over
the ankles, lowering the sit bones down so that the thighs come parallel to the
mat.

-W i d e n t h e s i t b o n e s o u t a n d b a c k j u s t s l i g h t ly , b u t e n g a g e t h e co r e a n d k n i t t h e
low ribs in to maintain the stability of the torso.

-Hands can be on the hips, in prayer, overhead, out to the side, or any variation
that you choose.

SUGGESTION: 3-15 B R E AT H S

143
 SIDE LUNGE - SKANDASANA
This hip opener and hamstring lengthener will fire up the legs and provide
a fun transition between poses. Focus on keeping the stretch active with a
firm core and by dragging the heel on the straight leg down and in toward
the hip. Play with how high/low the hips go and the position of the arms
to make this pose your own.

-Start facing the long edge of your mat, feet 3.5-4 feet apart and pointed out at
45 degree angles.

-Bend deeply into the right knee, coming up on the left heel as the hips sink
down toward the mat.

-Stack shoulders over hips and place hands in prayer, out to the side, overhead,
or on the ground for support.

-To t u r n o n t h e l e f t h a m s t r i n g , d i g t h e l e f t h e e l d o w n i n t o t h e m a t a n d d r a g i t
isometrically toward the hips.

-Continue to think length through the spine as you magnetize both feet together
slightly to find buoyancy in the hips.

SUGGESTION: 3-10 B R E AT H S PER SIDE

144
LIZARD LUNGE - UTTHAN PRISTHASANA
Lizard Pose or Lizard Lunge is a variation of a supported Crescent Pose
that targets the hips and hamstrings. Some variations call for hips to re-
main square to the front of the mat while others are more flexible with a
slight opening. Experiment with both depending on your specific practice
and your body’s daily needs.

-Start in a supported Crescent Pose or supported Low Lunge, right leg forward,
hands on either side of the front foot.

-Move your right hand inside your right foot (so both hands are over to the left),
a n d w i g g l e t h e r i g h t f o o t a b o u t 3 - 4 i n c h e s t o t h e r i g h t . Yo u c a n a l s o e x p e r i m e n t
w i t h t u r n i n g i t o ut s l i g h t ly.

-Leading with the sternum and keeping an engaged core, bend deeply into the
right knee, thinking length through the crown of the head.

-If comfortable, come down onto the forearms for a deeper stretch, maintaining
a n a c t i v e b e l ly a n d at l e a s t a s l i g h t s c i s s o r i n g o f t h e i n n e r t h i g h s f o r h i p s t a b i l i t y.

SUGGESTION: 5-15 B R E AT H S PER SIDE

145
HEART OPENERS

146
SPHINX POSE - SALAMBA BHUJANGASANA
When working on backbends or heart openers, it’s important to start with
gentle poses and work your way in. Sphinx is a light backbend that helps
warm up the shoulders and prepare the body for proper alignment in things
l i k e C o b r a o r U p w a r d Fa c i n g D o g . Fo c u s o n e l b o w p l a c e m e n t h e r e , a s w e l l
as leg activation and a gentle tuck of the tailbone to protect the low back.

-Start on the belly, propped up on parallel forearms, elbows stacked directly

under the shoulders.

-Ground down through the tops of the feet, lift the knee caps, and engage the
quads.

-Gently tuck the tailbone under to keep the bend out of the low back, and en-
gage the core.

-Squeeze your shoulders gently together on the spine, and drag them down the
back toward the hips to create space in the neck.

-T h e b a c k o f t h e h e a d p r e s s e s g e n t l y b a c k w a r d s , a s i f t r y i n g t o g i v e y o u r s e l f a
double chin.

-To a d d a l i t t l e e x t r a , p r e s s t h e f o r e a r m s d o w n f i r m l y a n d d r a g t h e m i s o m e t r i c a l -
ly back toward the hips to propel the chest forward.

SUGGESTION: 3-5 B R E AT H S

147
HALF FROG POSE - ARDHA BHEKASANA
If you’re looking for another quad stretch with the addition of a small back-
bend, look no further than Half Frog. This pose is essentially a variation of
Sphinx and the supporting forearm can be changed to more of Cobra hand
p o s i t i o n i n g t o d e e p e n t h e b e n d a n d i n t e n s i f y . To l e s s o n , a s t r a p c a n b e
used around the foot. Pay attention to keeping the shoulders square and
never forcing the knee.

-Start in Sphinx Pose.

-Kink the right arm over to the left by 45 degrees. Press the forearm down, and
slightly away from you for support.

-Bend the left heel toward the left sit bone. Reach back with the left hand and
grab the inner edge of the left foot.

-Pull the heel in close to our just outside of the sit bone (not far out to the side),
and re-square the shoulders to the front of the mat.

-For a deeper shoulder stretch, roll the hand to the top of the foot, fingertips
p o i n t d ow n t o t h e f l o o r.

SUGGESTION: 5-10 B R E AT H S PER SIDE

DIFFERENT GRIPS
148
 COBRA – BHUJANGASANA
When moving from Chaturanga to the backbend posture in Surya A, you have two choic-
es. The less deep of the two backbends is Cobra Pose. This posture should be thought of
more as a bloom of the chest, the point being to stretch the abs, warm up the shoulders,
and learn to engage the mid and upper back while protecting the low back. Do not simply
blast through this posture, trying to get as high as possible. Focus on breath and the puff
of the chest, not height.

-Start on the belly, feet together or hip distance apart, palms planted on either side of
the chest, elbows in close to the side ribs.

-Ground down through the tops of both feet, lift the knee caps, engaging the legs.

-Give a gentle tuck of the tailbone to protect the low back and engage the core, pulling
navel to spine.

-On an inhale, press down with the hands to lift the head and chest off the ground, stay-
ing low and not straightening the arms.

-T h i n k a b o u t p r e s s i n g y o u r h a n d s d o w n a n d p u l l i n g t h e m t o w a r d t h e b a c k o f t h e m a t t o
propel the heart and sternum toward the top of the mat.

-Shoulder blades squeeze gently together on the back and drag down toward the hip
points to keep the neck long. Keep the gaze following the sternum, do not crank the head
back.

-To i n c r e a s e d i f f i c u l t y , b a c k t h e h a n d s u p t o t h e l o w r i b s f o r a d e e p e r b e n d . To r e d u c e ,
place the hands on either side of the shoulder, more like a pushup.

-Other variations include no hands (relying on back strength) and sprinkling the finger-
tips 6 inches outside of the chest, pointing the elbows up, and going for more of a funky
cobra.

REGULAR

SUGGESTION: HOLD FOR 1-5 B R E AT H S AND THEN DRIP YO U R HEART BAC K D OW N TO THE GROUND.

NO HANDS FUNKY

149
UPWARD FACING DOG – URDHVA MUKHA SVANASANA
The other traditional backbend option after Chaturanga is Upward Facing Dog, and
it is usually considered the deeper and more advanced bend. Also a great front
body stretch, Upward Facing Dog powers up the legs, strengthens the arms, and
cultivates the muscles along the spine to assist with safer bends. As always, the
focus should be on moving with control and attention to alignment, not trying to
get the deepest spinal extension your body can handle. To obtain proper alignment
in this deeper bend, it is often necessary to move the hands back further than Co-
bra, having them near the low ribs so the wrists end up under the shoulders.

-From Chaturanga, keep the shoulders lifted as you press the hands down and
drag them isometrically toward the back of the mat to flip to the top of the toes.

-Legs stay charged, strong, and lifted as you bring the arms toward straight,
ra i s i n g t h e h e a d , c h e s t a n d b e l ly.

-At this point, the only things on the ground are the hands and the tops of the
feet. Gaze follows the direction the sternum is pointing; do not dump the head
back.

-Bring attention to the knee caps. Are they active and lifted? Is the tailbone
tucked just slightly to push the bend to more mid/upper back?

-Instead of locking out the arms or hyperextending, keep a soft bend in the el-
bows, as you point them toward the back of the mat, biceps close to the side ribs.

-Gently squeeze the shoulder blades together on the back body and drag them
down toward the hips, as the hands continue to drag back slightly, propelling the
chest forward.

SUGGESTION: HOLD FOR 1-5 B R E AT H S AND THEN DRIP YO U R HEART BAC K D OW N TO THE GROUND.
150
 LOCUST POSE - SALABHASANA
Locust Pose takes away the power of the hands, forcing you to muscu-
larize and utilize the muscles along the spine for lift. It’s an excellent
strengthening posture for the entire back, shoulders, and full hamstrings.
Feel Free to play with other arm positions, such as biceps by the ears
( m o r e d i f f i c u l t ) o r o u t t o t h e s i d e , f o r m i n g a T.

-Start laying on the belly, arms down by your side, palms face down, legs togeth-
er or hip distance apart.

-Inhale to engage the legs, back, core, and shoulders, lifting everything up off
t h e g ro u n d ex c e p t fo r t h e h i p b o n e s a n d low b e l ly.

-Keep the belly firm, glutes lightly engaged, and point the gaze in the direction
that the sternum is shining.

SUGGESTION: 1-3 B R E AT H S

151
 LOW LUNGE BACKBEND - ANJANEYASANA
Anjaneyasana is essentially a variation of Crescent Pose that sends the
hips forward, allowing a deep bend in the front knee, while adding a back-
bend and significant hip flexor stretch on the back leg. Focus on keeping
the bend out of the low back, as well as maintaining square hips to the
front of the mat.

- F ro m D ow n w a rd Fa c i n g D o g , b r i n g t h e r i g h t f o o t f o r w a rd b e t w e e n t h e h a n d s t o
find yourself in a supported lunge, hands still on either side (or on blocks).

-Lower the back knee and untuck the toes.

-Magnetize the right foot and left knee together to find some buoyancy in the
hips, and lift the arms up overheard, stacking shoulders over hips.

-Give a gentle tuck of the tailbone here to send the stretch to the hip flexor, not
low back, and then, maintaining an active core, allow yourself to lunge forward.

-Focus on lifting the chest, and lifting up and back, maximum length along the
s i d e b o dy.

-Right knee tracks over or slightly in front of the right ankle, not falling in to-
wa rd t h e c e n t e r.

-Spiral the pinky fingers in to externally rotate the arms and drop the shoulders
down from the ears.

SUGGESTION: HOLD FOR 1-5 B R E AT H S , FOCUSING ON LENGTH THROUGH THE C R OW N

DURING THE INHALE AND SINKING IN A L I TT L E DEEPER ON THE EXHALE.

152
 BOW POSE - DHANURASANA
With Bow Pose, we take Half Frog one step further for an added quad,
shoulder, and back stretch. Focus on keeping the legs in one line, as the
knees and sometimes ankles have a tendency to splay wide, and on always
maintaining an active core, which can often be difficult to remember in
belly down backbends.

-Start lying on the belly, hands down along the side, feet hip width.

-Bend both knees, bringing heels close to the sit bones.

-Reach back and grab either the outside edge of the ankles (thumbs face down)
o r i n s i d e e d g e s ( t h u m b s f a c e u p ) . Yo u c a n a l w a y s u s e a s t r a p a r o u n d t h e a n k l e s
to create more space.

-Squeeze the shoulders onto the back, firm the belly, and kicking the legs into
the hands, hands pulling on the legs, lift the whole body off the ground except
fo r t h e low b e l ly.

-Drag the shoulder blades down slightly toward the hip points to create space in
the neck and point your gaze in the direction the chest is shining.

SUGGESTION: HOLD FOR 2-5 DEEP, FULL B R E AT H S

153
 CAMEL POSE - USTRASANA
Camel Pose is one of the best hip flexor and quad stretches, but also has
the danger of turning into a lower back dump. Focus on lifting the chest
up more than hinging at the hips, and continuously hug the shins toward
the midline. There are countless variations of this pose, so don’t be afraid
to safely make it fit your practice. Whether that means a blanket under the
knees for cushion, hands on the low back for support (fingertips in either
d i r e c t i o n ) , o r a n o t h e r va r i a t i o n , l i s t e n to yo u r b o d y a n d m ov e c a r e f u l ly.

-Start on parallel shins, hip width apart, toes tucked or untucked.

-Magnetize the shins toward each other, feeling the slight lift of the pelvis as
you do so. Keep reminding yourself of this movement as you backbend.

-Firm the core and begin to puff the sternum up toward the sky, bringing your
hands to your low back (facing up or down) as you do so for support, and to fo-
cus the bend higher up. Gaze follows the direction of the chest. Do not dump the
head back.

-Continue this puffing up of the chest, allowing the hips to come only slightly in
front of the knees, and if desired, move the hands down to the outer heels.

-Once hands make contact, straighten the arms and squeeze the shoulder blades
gently onto the back and down toward the hip points. Puff the chest up again. At
this time, if it’s comfortable, you may allow your head to drop gently back. Keep
breathing.

SUGGESTION: 1-5 B R E AT H S

154
 TIGER POSE - VYAGHRASANA
Tiger pose combines table top with Bow Pose for a backbend, hamstring
strengthener, and shoulder stretch. There are many different variations,
whether lifting the same arm/leg, crossing the body, where you grip the
foot, and if the grip is flipped or not. Explore whichever variation is right
for your practice, and as always, make sure to keep the core engaged. (A
strap can be used around the ankle for added space).

- S t a r t i n Ta b l e To p P o s e .

-Lift the left leg into the air, and reaching back with the right hand, grab the in-
side edge of the left foot.

-Re-square the shoulders to the front of the mat and try to keep the hips level.

-Core is engaged and left knee is behind the left hip (it tends to wing out to the
side).

-Kick the leg away from the hand and pull on the leg with the hand to create
co u n t e r b a l a n c e a a n d s t a b i l i t y.

-Shine the sternum forward, gaze following the direction of the chest.

SUGGESTION: 3-5 B R E AT H S PER SIDE

155
 BRIDGE POSE - SETU BANDHA SARVANGASANA
Bridge Pose is the perfect precursor for Wheel Pose (described next).
While most backbends are considered energizing poses, Bridge is often
used toward the end of a practice to start the transition into calming or
r e s t o r a t i v e p o s e s . To m a k e i t m o r e r e s t o r a t i v e , p l a c e a b l o c k u n d e r t h e
sacrum for supported bridge.

-Start lying on the back, knees bent and feet planted parallel and hip distance
apart.

-Reach the fingertips down to tickle the heels to measure approximate distance
feet should be from sit bones (having feet further from sit bones will lessen the
bend).

-Inhale to press firmly through the feet and lift the hips up, raising the chest off
the ground as well. Head, shoulders, and neck stay on the ground.

-Slowly walk the shoulders under the body, drawing the shoulder blades medi-
ally (together) and down the back. If it is comfortable, clasp the hands together
a n d p r e s s t h e b a c k o f t h e f o r e a r m s i n t o t h e g ro u n d t o “ p u f f ” t h e c h e s t u p f u r t h e r.

-Keep the knees hip distance apart (tendency to splay out) and stretch from the
knees to the back of the room to find length through the quads.

S U G G E S T I O N : H O L D F O R 5 - 1 5 B R E AT H S .

156
WHEEL POSE - URDHVA DHANURASANA
Urdhva Dhanurasana means upward facing bow, and that is essentially
what we are doing here in Wheel; taking Bow Pose and flipping it! Wheel
Pose should be considered a more advanced asana that stretches and
strengthens the back, quads, shoulders, and core. Focus on cultivating a
smooth arc in the back, not simply dumping into your more flexible areas.

-Start in Bridge Pose (previous page) (1)

-If the hands are bound under the hips, release them and move them next to
the ears, shoulder distance apart, fingertips pointing back toward the heels. (2)

-Power down through the legs and keeping the hips lifted, press into the hands
and lift to the crown of the head. (3)

-Magnetize the elbows to the midline (they typically splay wide), roll slightly
towa rd t h e fo r e h e a d a n d p u f f t h e c h e s t fo r wa rd i m m e n s e ly. ( 4 )

-Maintaining all of that, power down through the legs and hands to lift up into
wheel. (5)

-Remember to breathe as you keep the knees hip width (squeeze a block be-
tween the thighs), leaving the head between the biceps.

-Core is engaged here, and glutes are lightly engaged to help lift the hips,
which is counterbalanced by the continuous press of the chest forward to open
the shoulders.

-To e x i t , t u c k t h e c h i n a n d l o w e r o n e v e r t e b r a e a t a t i m e .

SUGGESTION: 5-15 B R E AT H S 1

1 2 3

4 5

157
WILD THING - CAMATKARASANA
Wild Thing is a fluid and sometimes more accessible version of Wheel
P o s e t h a t i s a c c e s s e d f r o m S i d e P l a n k o r D o w n w a r d Fa c i n g D o g . I t w i l l
strengthen and stretch the spine, fire up the legs, and give the support-
ing shoulder a significant stretch, all while increasing side body length.
Power down through the supporting hand so that the weight isn’t dumping
into the shoulder, and if possible, keep the shoulder slightly behind the
wrist, not on top of it (hence why it is better to enter from Down Dog than
standard Plank Pose).

-Start in the Side Plank variation described in the core section with the left
arm and knee lifted high. Right foot is planted firmly, right wrist is slightly in
f ro n t o f r i g h t s h o u l d e r.

-Keeping the hips as high as you can, begin to open the chest more toward the
s k y.

-As slowly as possible, bring the left foot down, bending the knee so the foot
falls silently almost beneath the hips.

-Allow the left arm to come up by the ear, stretching side body long, core is
active.

SUGGESTION: 1-5 B R E AT H S PER SIDE

158
INVERSIONS & ARM BALANCES

159
 THREE LEGGED DOG
This might not be the first pose that pops into your head when you think
inversions. But Three Legged Dog is a great place to start your journey
upside down. It allows a great deal of weight in the hands, some balancing
work, and is eventually the perfect set up for hopping to handstand. Focus
on keeping the hips square, not lifting the leg as high as possible.

- S t a r t i n D ow n w a rd Fa c i n g D o g .

-Shift the weight into the right foot and lift the left leg into the air, straight
and strong.

-Keep the hips square, pointing all five toes to the ground as the left foot flex-
es, quad engaged.

-Stay here, or for a hip stretch, bend the left knee, bringing left heel toward
the left sit bone and allow the hip to open (as with Side Plank prep).

SUGGESTION: 1-5 B R E AT H S PER SIDE

160
 DOLPHIN -ARDHA PINCHA MAYURASANA
Another seemingly strange inversion, Dolphin is an excellent shoulder
s t r e t c h a n d s t r e n g t h e n e r. B o n u s p o i n t s t h a t i t s e t s yo u u p f o r t h e f u l l i n -
version, Pincha or Forearm Stand. Focus on a strong wrap of the triceps
and not locking out the knees. Experiment with lengthening and shortening
your Dolphin for different needs (aka walking your feet closer and further).

-Start in Down Dog.

-Magnetizing forearms to the midline, slowly lower both elbows to the mat, mak-
ing sure they fall right behind the wrists so that they are no more than shoulder
distance apart.

-W ra p t h e t r i c e p s b a c k to m a i n t a i n s p a c e b et w e e n t h e s h o u l d e r b l a d e s a n d a l l ow
the head to hang between the biceps.

-Keep the knees slightly bent (or more so), drop the heels slowly toward the mat.

-Stay here or try the other hand variation, keeping elbows there they are, but
bringing palms together and pressing the knife edge of the hands into the mat.

SUGGESTION: 3-15 B R E AT H S

161
 CROW POSE – BAKASANA
Crow Pose is essential to learning most arm balances and inversions. It
helps us get used to the weight in the hands, understand the fine move-
ments the fingers have to make to maintain balance, and helps us safe-
ly and more easily practice the “cat” motion of the spine. Crow Pose
strengthens the arms and shoulders while firing up the core. When first
learning Crow, starting with the feet on blocks can aid with the needed
hip lift.

- S t a r t i n Yo g i S q u a t ( M a l a s a n a ) w i t h f e e t h i p o r m a t w i d t h ( h e e l s c a n b e l i f t e d ) .

-Plant the hands down in front of you, shoulder distance apart and slightly
turned out.

-T r a n s f e r r i n g s o m e w e i g h t i n t o t h e h a n d s , b r i n g t h e k n e e s t o t h e o u t s i d e o f
each tricep (upper arm), as close to the armpit as possible.

-Use the knees to physically wrap the triceps in to the midline. This helps to
a c h i ev e t h e ex t e r n a l rot at i o n of t h e a r m s a n d s t a b i l i z e t h e b o dy.

-Lean more weight into the hands as you bring the chest and gaze forward. El-
bows should stack over wrists.

-Puff the back of the heart up toward the sky like cat pose, pulling navel firmly
to spine and allowing the shoulder blades to separate.

- I f ava i l a b l e , l i f t o n e f o o t o f f t h e g ro u n d a n d t h e n t h e o t h e r. B i g t o e m o u n d s
press together for stability and heels come close to sit bones.

SUGGESTION: 2 X 5 B R E AT H S

1 2 3

4 5 6

162
 PENDANT POSE - LOLASANA
Another key to learning to invert and balance the weight in the hands is practic-
ing the dreaded Pendant Pose. Just like Crow, Lolasana allows you to experience
having the entire weight of the body in the hands, as well as the needed “puff”
of the back of the heart to create space to suck the legs into the chest. Try with
hands on blocks to give yourself a little extra lift!

- S t a r t i n Va j r a s a n a , s i t t i n g o n t h e s h i n s .

- P l a c e h a n d s o n e i t h e r s i d e of t h e m i d to u p p e r t h i g h a r e a , c lo s e to t h e b o dy.

- L e a n i n g s o m e w e i g h t i n t o t h e h a n d s , c ro s s o n e a n k l e ov e r t h e o t h e r.

-Shift the shoulders forward, puff the back of the heart up toward the sky, and
suck navel to spine.

-Ground down through the hands to see if you can lift the shins, then the toes. If
the toes lift, hug the heels close to the sit bones

SUGGESTION: 1-5 B R E AT H S , P RACT I C I N G WITH BOTH HEELS ON TOP.

163
 ELEPHANT’S TRUNK - EKA HASTA BHUJASANA
Elephant’s Trunk is one of the more accessible arm balances, especially
for those with looser hips. If the extended leg is not quite ready to lift,
leave the heel on the floor and still receive all of the strengthening ele-
ments of this posture. Like most arm balances, blocks can be placed under
the hands for added lift.

-Start in Dandasana, legs extended.

-Keeping a straight spine, bend the left knee deep into the chest.

-Move the left hand inside the left leg, plant it firmly and using the right hand
on the left ankle, lift the left hamstring as high up on the left tricep as possible.

-Use the flexion of the knee to clamp down on the left tricep, and gently press
t h e l e f t t r i c e p b a c k i n to t h e h a m s t r i n g fo r s t a b i l i t y. L e f t fo ot i s f l ex e d o r f i r m ly
pointed.

-Rooting down with both hands on either side of the right upper thigh, pull na-
vel to spine, puff the back of the heart up, and lift the sit bones, right leg, and
finally, the right heel.

SUGGESTION: 1-5 B R E AT H S PER SIDE

164
 EIGHT ANGLE - ASTAVAKRASANA
If Elephant’s Truck feels secure, consider moving forward into the next
step, Eight Angle. This posture strengthens the core, arms, and shoulders,
a n d i s o n e o f t h e p r e l i m i n a r y a r m b a l a n c e s i n m o s t s c h o o l s o f Yo g a . F o c u s
on wrapping the elbows to the midline and keeping the shoulders lifted.

-Start in Elephants Trunk prep, right leg bent, sit bones either on or off the
ground. (1)

-Lift the left leg to cross the left ankle behind the right. (2)

-Squeeze the legs toward straight, clamping around the right arm.(3)

-Root down through the hands, pull navel to spine, and puff up the back of the
h e a r t to l i f t t h e s i t b o n e s of f t h e g ro u n d i f t h ey a r e n’ t a l r e a dy.

-Send the shoulders forward, bending the elbows straight back as the legs curve
more to the right.

-Stop when the elbows are stacked on top of the wrists and they form a 90-de-
gree angle, collarbones stay wide. Do not let the shoulders sag lower (4).

1 2

3 4

SUGGESTION: 1-5 B R E AT H S PER SIDE

165
 PLOUGH POSE - HALASANA
There are some inversion postures that don’t require standing on your
hands. Plough Pose is a variation or precursor of Shoulder Stand (de-
scribed next), and helps bring significant blood flow to the brain while
stretching the neck. Be cautious not to turn the head in this posture, and
if you have a neck or upper back injury, it is probably best to avoid Plough
Pose and Shoulder Stand unless you’ve discussed it with your doctor or
p r i va t e i n s t r u c t o r.

-Start lying on your back, hands down by your side, palms face down.

-Press the palms down firmly to pull the knees into the chest, then continue roll-
ing the torso up off the ground so that the back rounds and the knees come to
rest on either side of the face.

-Stay here (Ear Pressure Pose), or straighten the legs, toes are tucked, stacking
hips over shoulders and firmly the core intensely to stack the spine.

-Carefully bring the hands to the mid back, fingers facing upward to give your-
self an extra lift and assist with stacking the spine.

SUGGESTION: 5-15 B R E AT H S

166
 SUPPORTED SHOULDER STAND - SALAMBA SARVANGASANA

Ta k i n g P l o u g h P o s e o n e s t e p f u r t h e r , S h o u l d e r S t a n d b r i n g s t h e l e g s i n t o
the air for added blood flow fun. Focus on getting as much stack of the
spine as you can, even if that means blankets need to be placed under-
neath the shoulders to form a shelf. Again, if you have neck or upper back
injuries, it may be best to avoid this posture.

-Start in Plough Pose, hands on the mid or upper back for support.

-Keeping a firmly activated core, carefully lift one leg off the ground straight
and strong, pointing or flointing that foot toward the ceiling.

-As if someone were pulling on the lifted foot, use the added lightness to care-
f u l ly ( n o h o p p i n g ) l i f t t h e o t h e r l e g u p t o m e e t i t s p a r t n e r.

-Ideal stacking is hips over shoulders, ankles over hips.

SUGGESTION: 5 OR MORE B R E AT H S

167
 SUPPORTED HEADSTAND – SALAMBA SIRSASANA
Headstands are often used as cooling postures toward the end of class.
They help return blood to the brain, as well as bring a flush of new blood
to the body when you “re-vert.” The are full body strengtheners and if
done correctly, help strengthen the stabilizer muscles of the neck. If you
have a neck or back injury, ask your doctor before attempting headstand.
Most importantly, never jump or kick into headstand. All movements
should be controlled. Headstand in any variation should be considered an
advanced posture.

- S t a r t i n Va j r a s a n a , f e e t a n d k n e e s t o g e t h e r.

-Grab opposite elbows to measure distance and place the forearms down,
touching the knees.

-Leaving the elbows where they are, release the hands and interlace the fin-
gers to form a triangle, your supported platform.

-Place the crown (very top) of the head in the middle of your triangle.

- S t r a i g h t e n t h e l e g s , s e n d i n g t h e h i p s o v e r t h e s h o u l d e r s . Wa l k t h e t o e s i n a
few inches if needed to stack.

-W ra p t h e e l b ows s t ro n g ly to t h e m i d l i n e . P u s h d ow n t h ro u g h t h e c row n o f t h e
head, push down through the forearms, and lift the shoulders UP, so they draw
away from the ears.

-Firmly engaging the core, tuck one leg deeply into the chest.

-If comfortably, slowly pull (not kick) the other leg into the chest, staying in
the tight little ball.

-Breathe here for 3-5 breaths, then slowly, carefully extend the legs to
straight, staying in a slight hollow position, light tuck of the tailbone, core
firmly engaged.

-Lower down the same way you came in, stopping in Child’s Pose for a few
breaths on the way out.

SUGGESTION: 5 OR MORE B R E AT H S . WORK YO U R WAY UP S L O W LY .

POSE BREAK D OW N ON NEXT PA G E .

168
SUPPORTED HEADSTAND – SALAMBA SIRSASANA (CONT)

1 2 3

4 5 6

7 8 9

169
COOL DOWN/RESTORATIVE

170
 NEVER SKIP COOL DOWN
Just as warming up is an essential part of practice, so is a cool down or re-
storative section. How long and what you do in this section is completely
dependent on what made up the bulk of your practice itself.
Most restorative poses are cooling and calming (not heat or energy build-
i n g ) , a n d s h o u l d b e h e l d f o r l o n g e r p e r i o d s o f t i m e . Yo u c a n s t a r t t o l e t g o
of the strict breathing techniques you were holding during the structured
f l ow a n d s t a r t to a l l ow yo u r b o d y to b r e a t h a n d m ov e n a t u r a l ly.

While there usually is still some engagement or muscularization to main-

tain safe alignment, it is typically not required to hold these postures as
tightly, and to relax parts of the body not directly affected by the stretch.
All of the cool down postures can also be used at the beginning of your
practice, as a light pre-warm up and gentle stretch. Try to always sched-
ule enough time for at least a 3 minutes Savasana (Corpse Pose) to give
your body time at the end of home practice to digest and download all of
t h e i n f o r m a t i o n yo u f e d i t d u r i n g f l ow.

171
RECLINED HAND TO BIG TOE - SUPTAPADANGUSTASANA
R e c l i n e d H a n d t o B i g To e p r o v i d e s a h a m s t r i n g s t r e t c h , w h i c h c a n b e a s
deep or light as you choose. Utilize a strap around the ball of the foot for
additional length and practice and/or try bringing the leg out to the side
for an inner thigh stretch.

-Start lying on the back, inside edges of big toe mounds touching and legs acti-
vated.

-Bend the right leg to bring the knee toward the chest

-Place the left hand on the left thigh and using the first and second fingers of
the right hand, wrap them around the right big toe (or use the strap as shown).

-Pull navel to spine to keep the core active and slowly begin to straighten the
right leg, keeping the left leg on the floor with the toes pointing up toward the
ceiling.

-If it is too difficult to easily hold the right big toe and straighten the leg, make
a small loop in the strap and tighten it around the ball of the right foot, keeping
the strap in the right hand.

-To a n y d e g r e e t h a t y o u c a n , b e g i n t o p u l l t h e s t r a i g h t e n e d r i g h t l e g i n t o w a r d
the face, keeping both sit bones planted firmly on the ground, and the left thigh
p r e s s i n g t o w a r d t h e e a r t h . To s i m p l i f y , b e n d t h e l e f t k n e e , p l a n t i n g t h e l e f t f o o t
slightly behind the hips, as shown.

T RY WITH BENT OR STRAIGHT SUPPORTING LEG

172
 PRONE SHOULDER STRETCH
After a good amount of closed shoulder work in things like Plank Pose and
even Down Dog, stretching the front of the shoulder and pectoral muscles
can be helpful. Keep the elbow or arm in line with the shoulder and always
m ov e s l ow ly.

- St a r t ly i n g o n t h e b e l ly.

- P l a c e l e f t a r m o u t t o t h e s i d e , f o r m i n g a T , p a l m d ow n o n t h e f l o o r.

-T e n t r i g h t f i n g e r t i p s a p p r o x i m a t e l y 6 i n c h e s o u t f r o m t h e r i g h t s h o u l d e r .

-Pressing into the right fingers, roll onto the left side of the body, bending the
right leg slightly and allowing the right foot to rest gently behind the left knee
(or on a block if it does not comfortably reach the floor).

-Yo u s h o u l d f e e l a d e e p s t r e t c h i n t h e l e f t s h o u l d e r . I f y o u w a n t l e s s s e n s a t i o n ,
move the left arm in closer to the torso. For more sensation, back out slightly,
then bend the right arm at the elbow for a cactus shape, making sure the elbow
c o m e s o u t d i r e c t ly f ro m t h e s h o u l d e r.

SUGGESTION: HOLD FOR 10-15 B R E AT H S AND R E P E AT ON LEFT SIDE

C ACT U S A R M S = M O R E I N T E N S E

173
 BACK OF THE HEART STRETCH
Backbends are also known as heart openers, and we often think about
opening the front of the heart. But the back of the heart needs some at-
tention as well, and stretching before or after your flow can help make
s p a c e f o r f u r t h e r s p i n a l f l u i d i t y.

-Come to rest on your belly, propped up slightly on the forearms, like a light
Sphinx Pose.

-T h r e a d t h e r i g h t a r m u n d e r n e a t h t h e l e f t a n d o u t t o w a r d t h e l e f t s i d e o f t h e m a t
(palm up).

-T h r e a d t h e l e f t a r m o n t o p o f t h e r i g h t a n d o u t t o w a r d t h e r i g h t s i d e o f t h e m a t
(palm up).

-Allow the chin to rest gently on the left tricep or place a blanket/block under
the forehead for additional comfort.

S U G G E S T I O N : B R E AT H E INTO THE S PA C E ON THE BAC K OF

THE HEART (BETWEEN THE SHOULDER BLADES) FOR 1-2 MINUTES.
R E P E AT W I T H THE OTHER ARM ON TOP

174
 WIND RELIEVING POSTURE - PAVANAMUKTASANA
After opening the body in various directions, it can be beneficial to give it
one final squeeze before extending long in Savasana. Compression brings
fresh blood flow to the body once released, and this pose can be done one
l e g a t a t i m e o r t o g e t h e r.

-Start lying on the back.

-Pull the left knee into the left

armpit, wrapping your hands
around the left shin, pulling the
t h i g h c lo s e to t h e low b e l ly.

SUGGESTION: 3-10 B R E AT H S

SINGLE LEG

-T r y b o t h l e g s , p u l l i n g t h e m i n t o
the center of the chest, wrap-
ping the forearms around the
shins and grabbing opposite el-
bows.

SUGGESTION: 3-10 B R E AT H S

DOUBLE LEG

175
HAPPY BABY - ANANDA BALASANA
Happy Baby can be used to start or finish your practice. It’s a great sacral
massage if you rock back and forth slights, and allows one more deep
compression and hamstring stretch before extending long. Play with grab-
bing the inside or outside of the feet, and/or straightening one leg at a
time for an extra stretch.

-Start laying on your back.

-Pull the knees into the armpits and grab the outside edges of the flexed feet.

-Let the weight of the arms pull the thighs onto the low belly as the tailbone
drops slowly toward the earth.

- If co m fo r t a b l e o n t h e s a c r u m , sway b a c k a n d fo r t h g e n t ly.

SUGGESTION: 5-15 B R E AT H S

176
 BANANASANA
Despite the funny name, Bananasana is a great side stretch. It’s an excel-
lent addition before Savasana or at the beginning of practice after starting
on your back.

-Start laying on the back, arms overhead.

-Wa l k t h e l e f t l e g o v e r t o t h e l e f t s i x t o e i g h t i n c h e s , t h e n c r o s s t h e r i g h t a n k l e
on top or underneath the left.

-Use the left hand to grab the right wrist, gently tugging the it over to the left
to fo r m a c r e s c e n t s h a p e w i t h t h e b o dy.

- B r e at h e i n to t h e e n t i r e r i g h t s i d e b o dy.

SUGGESTION: 5-15 B R E AT H S PER SIDE

177
 DEAD BUG
Another funny name for another useful pose. Dead Bug helps the energy
drain back down into your torso. This pose is about digestion and reset-
ting. Make it your own with wiggles, rocking, or perfect stillness.

-Start laying on your back, arms and legs reach up to the sky but stay loose with
the limbs, allowing the ankles and wrists to flop.

-Keep just enough activation in the limbs to keep them lifted, but release every-
thing else.

-Feel free to add in wiggles, shakes, rocking on the tailbone. Now is a great time
for some wrist rolls as well.

SUGGESTION: 5-15 B R E AT H S

178
 SPINAL RESET
After a practice involving lots of heart opening or backbends, it can be
helpful to reset the spine before doing intense counter poses like forward
bends. The Spinal Reset helps reset the low back, and don’t be surprised
if you notice a pop or two.

-Start laying on your back, knees bent, feet lifted and flexed, big toe mounds
touching.

-Place the hands on the mid or upper thighs, engage the low belly and gently
push the legs away from you with approximately 20% power, as you push the legs
back into the hands with equal force.

SUGGESTION: 1-3 B R E AT H S

179
 CONSTRUCTIVE REST
Another great pose post backbend work. Constructive Rest preserves the
natural lumbar curve of the spine, and thus is a great neutralizing pose
after backbends, but before counter poses.

-Start lying on the back, knees bent, feet planted parallel and mat width.

-Al low t h e k n e e s to co l l a p s e i n towa rd t h e c e n t e r , to u c h i n g e a c h ot h e r l i g h t ly.

-Gently tuck the shoulder blades beneath the body for a slightly chest lift.

-Arms can rest by your side, on the belly, or overhead.

SUGGESTION: 5-15 B R E AT H S . ALSO G R E AT TO USE BETWEEN INTENSE

BAC K B E N D S LIKE WHEEL POSE

180
 GENTLE SPINAL TWIST
S p i n a l Tw i s t s f e e l g r e a t a t t h e b e g i n n i n g , i n t h e m i d d l e , o r n e a r t h e e n d
o f a f l ow. T h e r e a r e m a n y va r i a t i o n s o f t w i s t s t h a t i n t e n s i f y o r l e s s o n t h e
twist, so feel free to explore wrapping the legs like Eagle (more intense)
or just bending the knees and allowing them to flop to one side (less in-
tense).

-Start lying on your back, legs extended long.

-Pull the right knee in toward the chest, and use the left hand to grasp the outer
edge of the right knee, pulling it across the body and down to the left.

-Gently press the right elbow and the back of the head into the ground to slightly
lift the chest, pulling navel to spine to create space to twist slightly more to the
right.

-Relax back down in the deeper twist, and if comfortable, gaze over the right
s h o u l d e r.

SUGGESTION: 10-15 B R E AT H S PER SIDE

181
 CORPSE POSE - SAVASANA
T h e t r a d i t i o n a l e n d i n g p o s t u r e o f a n y a s a n a f l ow. S ava s a n a i s f o r d i g e s t -
ing, settling, and quietly downloading all of the information you just fed
yo u r b o d y. A l l ow yo u r s e l f t h i s t i m e to u n w i n d a n d r ewa rd yo u r s e l f f o r yo u r
h a r d w o r k . S a v a s a n a i s a n e s s e n t i a l p o r t i o n o f y o u r Yo g a f l o w , s o m a k e
sure you save at least 3 minutes for stillness, even if it feels awkward at
the beginning. Experiment with back or belly Savasana, or binding the legs
around the thighs (with a strap or blanket), which can be extremely helpful
after backbend or hip work to minimize external rotation. More than any-
thing, take your time getting into this pose, gathering any props you need,
letting go of any breathing techniques, and gently closing the eyes.

-Start lying on the back, legs extended, arms at your sides, palms face up.

-Allow the legs to flop open, and gently tuck the shoulders underneath you for
a slight chest lift.

-Release all the muscles of the body, paying close attention to the glutes,
shoulders, and muscles of the face, which tend to hold tension.

-Allow the eyes to close and think about melting into your mat.

SUGGESTION: LIE STILL FOR 3-10 MINUTES.

COME OUT OF THIS POSTURE S L O W LY .

182
SEQUENCING

183
 GENERAL INFORMATION
Right off the bat, it’s important to note that Sequencing is a very large topic. In fact, we could
w r i t e m u l t i p l e b o o k s a b o u t h o w t o p r o p e r l y f o r m u l a t e Yo g a c l a s s e s a n d b a r e l y h a v e g r a z e d t h e
surface.

B e c a u s e i t i s s u c h a w i d e t o p i c , i t i s a l s o a n a r e a i n w h i c h m a n y n e w Yo g i s s t r u g g l e o r f e e l a
b i t l o s t . O f c o u r s e , t h e r e a r e c e r t a i n s c h o o l s o f Yo g a ( s u c h a s B i k r a m & A s h t a n g a ) t h a t h a v e
already done the sequencing for you, which is probably why many new practitioners flock to
them, grateful for the same flow that they can learn and practice at home.

B u t i f y o u ’ r e r e a d i n g t h i s b o o k , t h e n w e h a v e a f e e l i n g t h a t y o u ’ r e a t l e a s t i n t e r e s t e d i n e x p l o r-
ing the creation and crafting of your own practice. It can be a little daunting at first, but also
v e r y s a t i s f y i n g a n d l i b e r a t i n g , a l l o w i n g y o u t o c u s t o m i z e y o u r f l o w s b a s e d o n y o u r g o a l s , c u r-
r e n t f i t n e s s s t a t e , t i m e , a n d o f c o u r s e , w h a t y o u r b o d y a c t u a l l y N E E D S t h a t s p e c i f i c d a y.
T h e s e n e x t f e w p a g e s t o u c h o n s o m e o f t h e m a j o r s e q u e n c i n g m e t h o d s t a u g h t a t p o p u l a r Yo g a
Teacher Trainings. It is in no way a complete list, but we hope it will provide a solid backbone
that you can extrapolate from as you become more comfortable.

M o r e t h a n a n y t h i n g , h a v e p a t i e n c e w i t h y o u r s e l f. A s y o u b e g i n t o s e q u e n c e y o u r o w n f l o w s ,
start simply, maybe using the provided sequences in the Flow Library as a starting place, or just
building off of a Sun Salutation. Remember that no matter what your goal is, you need to treat
your body well, so always think through WHY you are putting certain poses in certain places.

M o v e s l o w l y. M o v e w i s e l y. Ta k e i n t o a c c o u n t t i m e f o r w a r m u p , c o o l d o w n , a n d o f c o u r s e , S a v -
asana. Don’t throw in a wild and wayward pose that has nothing to do with the day’s practice
and would require prep work you haven’t touched on. Balance out both sides of the body, and
don’t be afraid to explore!

T h e f o l l o w i n g s e q u e n c e s t y l e s a r e u s e d a c r o s s a f e w d i f f e r e n t s c h o o l s o f Yo g a , b u t a r e m o s t
w e l l k n o w n f o r t h e i r u s e i n V i n y a s a o r V i n y a s a F l o w. I f y o u ’ r e n o t w o r r i e d a b o u t t h e f l u i d i t y o f
your practice, you can always use similar practice to put poses in a logical order, but worry less
about the transitions between them.

Note: No matter what kind of sequencing you’re doing, make sure you follow this basic outline…

1 ) W A R M U P 2 ) F L O W W O R K 3 ) C O O L D O W N 4 ) S AVA S A N A ( C O R P S E P O S E )
184
HOW TO SEQUENCE

185
 CATEGORY FLOWS
O n e o f t h e m o s t b a s i c f o r m s o f s e q u e n c i n g i s t h e C a t e g o r y F l o w. W h e n o r g a n i z i n g a p r a c t i c e
u s i n g t h e C a t e g o r y F l o w m e t h o d , y o u f i r s t n e e d t o d e c i d e o n y o u r c a t e g o r y. ( S h o c k i n g , w e
know). What is it you’re working on that day?

B AC K B E N D S ?
HIP OPENING?
HAMSTRING LENGTHENING?
S TA N D I N G B A L A N C I N G ?
TWISTS & BINDS?
CORE?

A category can be as broad as “heat building postures” (think Plank, arm balances, core work,
etc), and as narrow as “things that stretch my outer hips” (think Half Lord of the Fishes, Fire
Log, Standing Half Moon, etc), along with everything in between.

Once you have your category, which could be random or based on what your body feels like it
needs, start listing some poses that fit into it. Luckily, if you’re stuck here, check out our Flow
L i b r a r y , w h i c h o r g a n i z e s p o s e s i n t o t h e i r m o s t p r e v a l e n t g r o u p ( s o m e o v e r l a p ) . Fo r e x a m p l e , i f
we wanted to do a hip opening flow, we might list…

FIRE LOG
RECLINED PIGEON
HALF LORD OF THE FISHES
B U T T E R F LY ( R E C L I N E D A N D S E A T E D )
W I D E L E G G E D F O R WA R D F O L D
GODDESS POSE
MALASANA

Once you have 7-8 key poses listed that you feel fit in your category, it’s time to put them in
order of difficulty or depth. Again, we want to make sure we are moving wisely, so we never
want to start with the deepest posture. We want to warm up at the beginning of our practice,
and then use some of the more basic postures as additional warm up to prepare the body for
the deeper ones.

Some of this will come with practice and personal preference. Some people find Malasana to
be a great hip warm up; others experience it as a deep deep stretch, and prefer to start with
s o m e t h i n g l i k e R e c l i n e d B u t t e r f l y. I f t h e r e a r e t w o o r t h r e e p o s e s w i t h w h i c h y o u ’ r e s t r u g g l i n g
to order “properly,” just pick one for today’s practice. Next time you do a similar flow, switch
that order and see if it feels any different. Perhaps doing Fire Log warms you up for Wide
L e g g e d F o r w a r d Fo l d , b u t p e r h a p s t h e o p p o s i t e i s m o r e t r u e f o r y o u r s p e c i f i c b o d y a n d n e e d s .
186
 CATEGORY FLOWS (CONT)
So utilizing the poses we described above, we might initially choose as order such as….

R E C L I N E D B U T T E R F LY
RECLINED PIGEON
MALASANA
GODDESS POSE
W I D E L E G G E D F O R WA R D F O L D
FIRE LOG
HALF LORD OF THE FISHES

Reclined postures are typically more accessible, since there isn’t the weight of the body added
into the stretch. They make great warm ups or cool downs. Half Lord of the Fishes can be as
gentle or intense as needed, and the added twist makes it a great cool down posture (hence
i t ’ s p o s i t i o n a t t h e e n d o f t h e l i s t ) . I n o u r e x p e r i e n c e , t h i n g s l i k e W i d e L e g g e d Fo r w a r d Fo l d
and Fire Log are the most intense, and therefore belong toward the end of the practice, after
substantial warm up, but before the cool down.

This list might vary based on your body and specific needs. The only way you will really learn
a l l o f t h e i n t r i c a c i e s s u r r o u n d i n g p o s t u r e o r d e r i s t o s p e n d t i m e o n y o u r m a t a n d c a r e f u l l y e x-
periment with different category sequencing orders.

O n c e y o u h a v e e s t a b l i s h e d a n o r d e r , y o u n e e d t o m a k e t h e f l o w. To s t a r t , i t ’ s e a s i e s t t o t a k e a
back bone flow, such as a Sun Salutation and work from there. The key poses can be sprinkled
b e f o r e /a f t e r/ b e t w e e n /d u r i n g / i n p l a c e o f t h e t r a d i t i o n a l o r b a s e f l o w. H e r e a r e s o m e t h o u g h t s
we might have as we continue our hip opening example, structuring around a Sun A/Sun B
backbone.

B e f o r e t h e S u n A / B , s t a r t l y i n g o n t h e b a c k i n R e c l i n e d B u t t e r f l y, f o l l o w e d b y R e c l i n e d P i g e o n .
• P e r h a p s a f t e r a f e w s t a n d a r d w a r m u p s ( Ta b l e To p , w r i s t w o r k , C a t / C o w , e t c ) , w e w o u l d f i n d
our way to a stand.
• Rolling Vinyasas, but keep the feet hip distance or slightly more so. Instead of just rolling
on the back, first sink to Malasana, hold for a few breaths, then roll before rocking back to
Malasana.
• S t a n d a r d S u n A’ s t o b u i l d h e a t .
• A few Sun B’s, replacing the Wa r r i o r I with Wa r r i o r II (due to open hips).
• A s y o u d o m o r e S u n B ’ s , a d d a d d i t i o n a l p o s e s a f t e r Wa r r i o r I I , s u c h a s H a l f M o o n ,
Goddess Pose, even Wide Legged Forward Fold.
• Find your way to the floor (maybe sinking through another Malasana), and perhaps after a
bit of core work, do some additional Butterfly and Fire Log.
• Finish up with some Half Pigeon and Half Lord of the Fishes before lying down on the back
f o r a f e w s p i n a l t w i s t s a n d a H a p p y B a b y. F i n a l l y , S a v a s a n a w i t h a l e g w r a p t o b a l a n c e o u t
all of the external rotation you just worked on.
187
 PEAK POSE FLOWING
To s o m e d e g r e e , P e a k P o s e S e q u e n c i n g c a n b e s i m i l a r t o C a t e g o r y S e q u e n c i n g . I t i n v o l v e s
picking a pose that you would like to work up to during your practice, and then breaking
down each component of the pose so that your body is as ready as possible when you arrive.

Let’s use Wheel Pose for our example here. This is a deep backbend and heart opener that
r e q u i r e s a g o o d d e a l o f wo r k t o e n t e r i t s a f e ly. S u r e , i t ’ s g o i n g t o r e q u i r e s o m e l e s s o r b a c k-
bends as warm ups, so in that way it’s similar to Category work. But there’s also an effort to
examine what makes up a wheel pose. Let’s start from the ground up!

D EE P F L E X I O N O F T H E WR I ST S
STRONG, SOLID LEGS
STRONG ARMS
OPEN SHOULDERS
D EE P BAC K B E N D
O P E N H I P F L E XO R S / Q UA D S
A B I L I T Y TO E N GAG E C O R E W H I L E IN A DEEP BAC K B E N D

Here we have a very complex pose, but breaking it down can not only help it become more
accessible, but also help you work up to it without actually doing the posture itself. After
all, if you’re putting in all of the work for the component pieces, even if you can’t get up
t h e r e y e t , c h a n c e s a r e yo u ’ l l b e g e t t i n g c l o s e r e a c h t i m e yo u d o t h e f l ow.

Once you find the component pieces, it’s time to formulate how to warm each up, and then
of course, WHEN to focus on each component so that you’re doing the flow in a logical
manner, and the whole body will be ready by the time you get to your peak pose. We might
brainstorm something like….

DEEP FLEXION OF THE WR I ST S

Ta b l e To p W r i s t S t r e t c h e s , P a l m P e e l s , W r i s t R o l l s
Making sure we achieve flexion before Wheel (things like Down Dog, Plank)
Giving ourselves wrist relief breaks during the flow, and at the end during cool down.

STRONG, SOLID LEGS

Bent leg postures such as Chair Pose to fire up the quads.
S t a n d i n g p o s t u r e s s u c h a s Wa r r i o r I , C r e s c e n t L u n g e , m a k i n g s u r e n o t t o l o c k o u t
the legs and engage muscular control.

STRONG ARMS
Postures that fire up the arms such as Plank, Chaturanga, Arm Balances

188
 PEAK POSE FLOWING (CONT)
OPEN SHOULDERS
Stretches (in increasing depth) that target the shoulders.
Shoulder Circles with strap, Prone Shoulder Stretch, Down Dog, Dolphin Pose, Puppy
Pose, etc.

D EE P B AC K B E N D
Heart opening postures (in increasing depth), especially those similar in structure to
Wheel Pose.
• Cat/Cow, Anjaneyasana, Camel Pose, Bridge Pose

O P E N H I P F L E XO R S / Q UA D S
Q u a d St r et c h , C a m e l Po s e , Low/ H i g h Lu n g e , H a lf P i g e o n

ABILITY TO E N GAG E CORE WHILE IN A DEEP BAC K B E N D

O b v i o u s l y s o m e s t a n d a r d c o r e w o r k s u c h a s P l a n k P o s e , B o a t P o s e , Ta i l b o n e L i f t s .
But also some practice engaging the core in backbends, such as Bow Pose, No
Handed Cobra, Locust

As you can see, brainstorming and organizing like this will give you a long list of
poses you might want to incorporate to help make your way toward Wheel. Once you
have them down on paper or in your head, it’s time to put them in a logical order,
which can be a bit daunting.

Yo u t y p i c a l l y w a n t y o u r p e a k p o s e n e a r t h e e n d o f t h e f l o w , b u t b e f o r e t h e c o o l d o w n
s e c t i o n . Yo u n e e d t o b e p r o p e r l y w a r m e d u p , b u t s t i l l h a v e e n o u g h e n e r g y t o a t t e m p t
this “next level” posture. This might take some experimenting on your part, so it’s
a l w a y s r e c o m m e n d e d t o t a k e n o t e s s h o r t l y a f t e r y o u f i n i s h o r e v e n d u r i n g t h e f l o w.
Were you too tired by the time peak pose rolled around? Or did you not feel warm
enough? Adjust for next round!

As far as what order to put the different components in, this can be variable, but
should also contain some logic. Things like wrist work should be done toward the
beginning. After all, many of your other poses (Plank/Down Dog) involve deep flexion
of the wrists, so you might as well get them ready to go first thing.

Backbends should be sprinkled in throughout the practice to keep the spine supple,
with increasing difficultly as you go along. Core is a bit more personal. Those with a
tighter spine may want to do core toward the beginning, so that there is a little space
between front body strengthening and your deep backbend. Others with a naturally
bendy back may want core closer to their Wheel Pose to assist with stabilizing the
spine, helping them move the bend out of their natural “dumping place” and instead
form an even arc.

Check out the Peak Pose Wheel Flow in the Flow Library for an example of how we
suggest working up to Wheel! Give it a try, and adjust it to your needs. It is also im-
portant to note that some classes (especially longer ones), can have two peak poses.
Yo u m i g h t w o r k u p t o C r o w P o s e w i t h a v a r i e t y o f a r m a n d c o r e s t r e n g t h e n e r s , t h e n
a d d i n s o m e t w i s t s a n d w o r k t o w a r d S i d e C r o w. T h e p o s s i b i l i t i e s a r e e n d l e s s .
189
COUNTERBALANCE YOUR LAST PRACTICE
If you’re flowing multiple times each week (which we recommend), you might be
interested in trying a Counterbalance approach to your sequencing. It’s less of a
daily sequence category, and more about sequencing for your practice in gener-
al, over the span of weeks/months/etc.

Counterbalance work essentially means taking the work you did in the last prac-
tice and working the opposite aspect. That might mean that if you did backbends
last practice or all of last week, you opt for forward bends on your mat. Perhaps
you worked on wide, expansive postures (think Goddess), so now you try some
tight knit, compressive postures such as Eagle Pose.

Those are some obvious examples utilizing opposites, but it doesn’t have to be
that extreme. Think of Counterbalancing as simply working to expand things that
you contracted last practice, and contract the things you expanded.

Following up on our Wheel Pose Peak Flow example from the previous page, a
great Counterbalance Flow might include a good deal of forward bending. It’s up
to you how you want to formulate that forward bending flow, and both the Cate-
gory and Peak Pose option are very useful here.

One thing that is important to note about Counterbalancing is the need to move
slowly, with caution. When we counterbalance at the end of an individual flow
(say Peak Pose Wheel), we make our way in carefully, trying to incorporate neu-
tral postures before diving into deep forward bends. This allow the body to ad-
just and protect itself, reducing the risk of pulling a muscle that was just active
a n d t h a t yo u a r e n ow wa n t i n g to s t r e t c h d e e p ly. S o s t a r t yo u r c o u n t e r b a l a n c e
lightly or even try to choose some neutral postures before jumping into the di-
rect countering ones.

190
 ALL AROUND PRACTICE
Not interested in figuring out all of these complicated flow styles and
sequencing categories? That’s fine! Some people love the creative side,
and others would rather skip it. Utilizing and rotating a few different All
Around Practices can be an easy solution for those who want to work all
aspects each time they are on the mat.

So what is an All Around Flow or an All Around Practice? It’s simply one
t h a t c o v e r s a l l o f t h e b a s i c s o f Yo g a – B a c k b e n d s , F o r w a r d B e n d s , H i p
O p e n e r s , Tw i s t s , S i n g l e L e g B a l a n c e s , e t c . I t m i g h t f o c u s o n 1 - 2 m o r e t h a n
the others, but it will try to give you a complete workout and stretch.

This can be difficult, especially to do in a short amount of time like a

60-minute studio class. In addition, while it is beneficial to work on many
aspects of fitness in one class, it is also generally harder to progress in
any specific aspect. For example, if only 8 minutes of your practice is de-
voted to heart openers, you will probably have a healthy spine, but it will
be hard to deepen many of these postures without devoting entire classes
to them.

We have provided you with a traditional All Around Flow that touches on
m o s t o f t h e t y p i c a l Yo g a c a t e g o r i e s . W h i l e t h e r e i s s t i l l d e f i n i t e l y r o o m f o r
creativity when developing this style of sequencing, traditional outlines
might look something like this….

• WARM UP – PERHAPS WITH SOME LIGHT TWISTS

AND HIP WO R K

• S O M E F O R M O F S U N A / B T H AT I N C L U D E S S TA N D -
I N G P O ST U R E S A N D L I G H T B AC K B E N D S

• CORE WORK

• C O N T I N U E D F LOW WITH MORE S TA N D I N G P O S -

TURES AND PERHAPS SOME SINGLE LEG BALANCES

• A D D I T I O N A L B AC K B E N D S

• CORE AS A NEUTRALIZING POSE

• COOL D OW N INCLUDING TWISTS AND RECLINED

POSTURES (MORE TWISTS & HIPS)

• S AVA S A N A
191
 CHECK-IN FLOW
When we get into the more spiritual side of things, there are many dif-
f e r e n t w a y s t o s e q u e n c e . Yo u c a n s e q u e n c e f o r t h e C h a k r a s , s e q u e n c e
around an Intention, even design a sequence that pays tribute to a certain
deity in whatever tradition you ascribe to.

We aren’t going to touch on the extremely wide array of spiritual se-

quencing techniques, but we will briefly discuss a Check-In Flow, which is
neither a traditional sequencing format (like Category & Peak Pose) nor a
spiritual method (like Chakra flows).

Check-In Flows refer to crafting a practice surrounding what your body

n e e d s t h a t s p e c i f i c d ay. D u e to t h e s e n s i t i v e t i m e f ra m e a ro u n d C h e c k- I n
Flows, they cannot really be crafted long before you get on your mat. But
once you are sitting in your space and have tuned into what your body
needs, we do suggest some planning to make the most out of your prac-
tice time.

The easiest way to create a great Check-In Flow is to tune inwards. This is
g e n e ra l ly m o s t a c c e s s i b l e i n q u i et m e d i t at i o n o r j u s t s i t t i n g . Al l ow yo u r-
self to settle into the realm of practice and then look inwards.

St a r t w i t h t h e e a s i e s t l ay e r , t h e p hys i c a l b o d y. S c a n yo u r s e l f f ro m h e a d
to toe. Is anything tight? Loose? Feeling Weak? Tired? Energized? Do you
feel your shoulders slumping or an ache in your low back? The physical
aspects or needs of our practice are usually the most evident. After a few
moments of silent contemplation, take note (on paper or in your head), and
m ov e a l ay e r d e e p e r.

Next we like to tap into our mental layer; the brain, our thoughts, and ev-
erything that comes with it. Is your mind racing? Are you feeling calm and
relaxed or weary and anxious? The Ego also lives in the mental layer (to
some degree), so check in there as well. Are you confident today? Sure of
yourself? Or perhaps there is a lot of self-doubt swimming around since
you felt your last practice was “unsuccessful.”

Finally, we dig even deeper into our emotional or psychological being.

This is your heart of hearts. Home of all those messy emotions and your
gut instincts. How is this layer feeling today? Does anything stick out or
come floating to the surface? Are you happy to be on your mat? Sad about
it? Sad about something else that is distracting you from your practice?

Once you have taken the time to sort through the layers, examine the
notes you have in front of you or in your head. Maybe you’re a bit tired,
your hips feel tight, you’re distracted, and you’re also feeling a bit sad for
an unknown reason.

H OW WO U L D YO U STRUCTURE A P RACT I C E AROUND THOSE THREE ASPECTS?

192
 CHECK-IN FLOW (CONT)
T h e f i r s t t h i n g t o d o wo u l d b e t o ex a m i n e e a c h a s p e c t m o r e d e e p ly. A r e yo u
just a little tired? If so, an energizing and fast paced flow might give you
the boost of adrenaline you need to get a little more pep in your step.

But perhaps you discover that you are deeply tired, exhausted almost. That’s
a good place to start. How about a restorative or slower paced flow? Not
only will that lend to your exhaustion, but longer holds in postures might
allow you to breathe through the distraction and racing thoughts so that
you can focus on the task at hand.

Tight hips? No problem. Since it’s a restorative flow, add in some reclined
hip openers at the beginning/end, and maybe some longer hold hip drills
(Seated Wide Legged Forward
Bend) during the flow itself.

The emotional aspect is the

hardest to work with, and comes
a bit with practice. According
t o Yo g i c b e l i e f , m a n y e m o t i o n s
are stored and can be trapped in
the hips. So maybe it’s just your
tight hips that are leaving you a
l i t t l e u n d e r t h e w e a t h e r t o d ay.

In addition, if you’re trying to

cultivate an opposite emotion
(such as being happy or con-
tent), look to poses that intensi-
fy this feeling. This is definite-
ly a bit personal, but in general,
heart openers or backbends bring little rushes of energy, and often leave
people feeling content. So perhaps adding in some Heart Bench and light
b a c k b e n d s i n t o yo u r r e s t o r a t i v e s t y l e f l ow.

The flow itself can be sequenced in whatever method you choose, and usu-
ally depends on what bubbles up for you. Don’t be alarmed if you sit reg-
ularly and can only notice the physical aspects such as tightness, energy
level, etc. Learning to tune into your deeper layers can be difficult, and
some days, don’t be surprised to hear only silence.

No matter what bubbles up during these Check-In sessions, do your best

to compile your needs into an organized flow, complete with warm up, cool
down, and Savasana.

193
 AUTHENTIC MOVEMENTS FLOW
The final type of sequencing we want to cover is actually not sequencing…(con-
f u s i n g , w e k n ow. )

Authentic Movements Flows are defined by their lack of planning, order, or log-
ical content. They often become almost a form of wiggles, jiggles, or even in-
t e r p r e t i v e d a n c e - l i k e m ov e m e n t s t h a t h a p p e n d u r i n g m o m e n t s o f c r e a t i v i t y.

But before you get too excited about this lack of planning, let’s touch on the
basics.

A U T H E N T I C M OV E M E N T S …

• Should always keep safety in mind. Once you know some of the basic
principles of poses (such as we never dump into the low back), you
can begin getting more creative within the posture, while
s t i l l m a i n t a i n i n g t h at b a s e l ev e l o f a l i g n m e n t a n d s a f et y.

• Sh o u l d b e d o n e at t h e e n d of p ra c t i c e , o n c e yo u a r e f u l ly wa r m e d u p ,
and before the cool down section. If doing them at the beginning, as
a warm up, no difficult or deep postures should be incorporated.

• While it is not necessary to balance out both sides of the body when
doing Authentic Movements, do try to give both the left and right
side equal attention, even if the flow is not the same.

• Should not make up the entire practice. Stick to 3-15 minutes

It is hard for us to define Authentic Movements, as they are so personal for

e a c h p r a c t i t i o n e r. T h i s c o u l d m e a n ro l l i n g a ro u n d o n t h e f l o o r. I t m i g h t b e p u t-
ting on your favorite song and dancing wildly for 5 minutes. It might mean you
carve out 10 minutes at the end of practice where you work on your creativi-
ty, just letting the body flow how it wants and seeing if any new transitions are
born from this time.

Often, when we allow ourselves to break free of the rules and not worry about
repeating the same flow on each side, we suddenly stumble upon some inter-
esting new techniques or ideas or transitions in/out of postures.

If you’re just starting an Authentic Movements practice, we suggest you add in

10 minutes of inspirational movement (whatever that means to you) at the end
of your structured practice and right before you start to wind down toward Sav-
asana.

Yo u m a y a w k w a r d l y s t u m b l e a r o u n d t h e m a t a b i t ( a l w a y s b e i n g a t t e n t i v e t o
safety of course), but out of the 300-400 movements you do during that time,
perhaps you discover 1-2 that felt natural or interesting. Those are the little
gold nuggets that you then explore in future sequencing practices.

194
 POSTURE LENGTHS
Now that you know some of the basic sequencing strategies, you may still be won-
dering…

H OW LONG DO I HOLD E AC H POSE?

That’s a great question, and will depend on many things, including the pose itself,
the flow you have designed, and the goals of that specific practice. That being
said, there are some basics we can touch on that hold true across the board.

Postures that are more restorative in nature, such as Child’s Pose, Happy Baby,
and even Down Dog, are typically held for longer periods of time than intense,
h e a t b u i l d i n g p o s t u r e s , l i k e Wa r r i o r I I I o r C h a t u r a n g a .

T h i s i s n o t a n ex c u s e t o o n l y h o l d Wa r r i o r I I I f o r a s i n g l e b r e a t h t h o u g h . I n f a c t ,
if you can only do a posture for 1 breath, and it’s not by choice (such as in a fast
paced Vinyasa Flow), you probably aren’t quite ready for that posture yet.

But in general, we spend more time in restorative postures than heat building
ones, especially as we warm up and cool down at the beginning and end of prac-
t i c e , r e s p e c t i v e ly.

The rest of your decisions about posture length will come from the structure of
the flow itself. Are you working up toward Wheel Pose? Look back at our Peak
Pose Sequencing Breakdown. All the postures that we brainstormed were helpful
to build up to Wheel, those should be held for slightly longer than some of their
counterparts.

The same goes for Category Flow Sequencing. If you’re doing a backbend Catego-
r y F l ow , h o l d t h e b a c k b e n d s s l i g h t ly l o n g e r.

More time and more breaths in postures can build heat in it’s own way and help
you tune inward to focus on small alignment aspects of a posture. Less time and
less breaths in postures will build heat simply through movement itself.

NOTES:

• Yo u s h o u l d n e v e r m o v e f a s t e r t h a n 1 b r e a t h p e r p o s t u r e . A n d o n l y m o v e
this fast if you can maintain basic alignment and safety cues during
these fast movements. There is no point in flying through a flow if you are
not actually engaging in each posture because you can’t move that fast.

• The exception to this is Chaturanga Dandasana (Half Plank). Especially for

Beginner’s, we suggest not spending more than 1 breath in this posture, as
the shoulder girdle or core tend to collapse, compromising the pose and
negating the benefits.

• If you’re confused about the breaths per posture because you’re holding
your breath in general, please stop. Breathe through the entire practice,
a n d i f yo u f i n d yo u r s e l f u n a b l e t o b r e a t h e , s l ow d ow n , o r b a c k d ow n s l i g h t ly.
195
 BALANCING OUT BOTH SIDES
Another thing to keep in mind when practicing and designing new sequences is
balancing out both sides. This might seem obvious, but for the sake of safety,
we will repeat it here. Plus, many of us are guilty of trying things on our “good”
side and neglecting our weaker side…which only makes it weaker still in the
long run.

If you’ve crafted a long, intricate sequence based off of a Sun B structure, you
need to do it on one leg, and then make sure you take the time to do the same
sequence on the other leg. This is true for all types of sequencings, except for
Authentic Movements.

Some postures are not single sided. Those include things like Plank, Boat,
Down Dog, Cobra, Wheel, etc. Others, like Crescent Lunge, Triangle, Tiger Pose,
Half Moon are. So take a moment to figure out which postures need work on
each leg, and which take care of both at once!

Because it can be difficult to remember long intricate sequences when first

s t a r t i n g yo u r h o m e p ra c t i c e , b e g i n s l ow ly a n d s i m p ly. S av e t h e w i l d c r e a t i v i t y
for your Authentic Movements work toward the end of the flow, lest you forget
w h a t yo u j u s t d i d o n o n e l e g b e f o r e yo u d o t h e o t h e r.

Finally, it is up to you how you balance the sides. Some people like things a bit
m o r e c h o p p y. I f t h ey d o a C r e s c e n t Po s e o n t h e r i g h t l e g , t h ey w i l l i m m e d i a t e ly
do one on the left. Others prefer to start flowing on one side, and then do the
o t h e r. T h i s i s p e r s o n a l a n d d e p e n d s o n t h e s e q u e n c e i t s e l f a n d h ow f l u i d yo u
want the transitions to be.

196
 CREATIVITY WEBBING
New students often struggle with the idea of crafting creative flows. They under-
stand how to build off of a backbone like a Sun A or B, but they want something
more unique, more personal.

We have found that a helpful practice to start thinking abstractly (in addition to
Authentic Movements) is Creativity Webbing.

C r e a t i v i t y W e b b i n g i s j u s t w h a t i t s o u n d s l i k e . Yo u f i r s t c h o o s e a p o s e . H o w a b o u t
Crescent Lunge?

Then you start brainstorming some different ways you can enter and exit said
pose. They should be all be feasible in your practice (for example, you can’t get
into Crescent Lunge very easily from Wheel Pose), but feel free to get as creative
as you want.

E N T RY
S TA N D I N G
DOWN DOG
SPLITS
TA D A S A N A
H A N D S TA N D

CRESCENT LUNGE

LIZARD POSE
WA R R I O R I I
H A N D S TA N D

WA R R I O R I I I
EXIT

After that, it’s easiest to pick one that makes the most sense in your current prac-
tice and based on your daily goals. If we are working on tight hips, we might pick
to enter from Down Dog and then take Crescent Pose to Lizard.

197
 CREATIVITY WEBBING (CONT)
Once you have the start of the sequence, you extrapolate outwards. How can you
get into Down Dog? How can you get out of Lizard? Brainstorm a few ideas and
then pick the ones that make the most sense. In this case, due to our tight hips,
we have chosen to enter from Child’s Pose and exit Lizard into a Wide Legged For-
ward Fold facing the long end of the mat.

PLANK TA B L E T O P
CHILD’S POSE

D OW N D O G TA D A S A N A

S TA N D I N G S P L I T S

CRESCENT LUNGE

LIZARD POSE

WIDE LEGGED
F O R WA R D F O L D

As you continue mapping, make sure the path fits with your goals for the day, and
i s i n a l o g i c a l o rd e r. Fo r ex a m p l e , yo u wo u l d n ’ t w a n t t o s t a r t t h e w e b w i t h r e a l ly
c o m p l e x p o s e s a n d e n d i n e a s i e r o n e s . Yo u w a n t e a c h p o s t u r e t o h e l p y o u b u i l d
on the next.

If you feel stuck when doing this, brainstorming with a friend can always help. They
may think of new entries and exits that you hadn’t yet considered, so exchanging
notes can be helpful!

Again, if this feels difficult or frustrating at first, don’t worry! The more you get to
know the poses, and the more you experiment in your Authentic Movement prac-
tices, the easier it will be to brainstorm and form a Creativity Web. Be patient with
yourself and enjoy the journey!
198
 SEQUENCING LONG-TERM
It is important to note that there is a difference between sequencing a class and
sequencing a long-term practice.

If you’re reading this book, it’s likely that you’re interested in pursuing a regu-
lar home practice. Which means that as you get comfortable crafting classes and
flows for yourself, you’ll need to start thinking about the path ahead of you.

As we discussed in the previous pages, some classes (like Check-In flows), really
need to be spontaneous decision programming based on your body’s needs that
s p e c i f i c d ay. B u t i n g e n e r a l , m o s t o f u s h av e s o m e k i n d o f g o a l i n m i n d w h e n s t a r t-
i n g Yo g a , a n d a t t h e b e g i n n i n g p e r h a p s i t ’ s c e n t e r e d a r o u n d a n a r e a i n w h i c h w e
feel is limited.

P e r h a p s y o u s t a r t e d Yo g a b e c a u s e y o u f e e l l i k e y o u r h a m s t r i n g s a r e v e r y t i g h t , a n d
you heard it will make you more flexible. While practicing most All-Around flows
will give you some hamstring lengthening, sequencing a weekly or even monthly
calendar to include classes that focus on hamstring lengthening (and strengthen-
ing) might allow you to see more progress at a more efficient pace.

The same goes for anything you want to focus on or improve. Tight hips? Add in
m o r e h i p o p e n i n g f l ows . R i g i d s p i n e? H ow a b o u t s p r i n k l i n g i n 2 -3 h e a r t o p e n i n g
classes each week? As the classes you design become easier and more routine
for your body, you can start increasing the difficulty, if that is something you’re
interested in.

This type of long-term sequencing revolves around finding something to focus on.
Whether it’s hips, arm balances, inversions, backbends, or even just the basics,
there is an effort to include more of those classes in the weekly schedule, while
still allowing some Counterposing flows and of course, restorative.

Another type of long-term sequencing involves setting aside certain weeks for
certain movements. Maybe the first week of the month is backbends. Week 2 is hip
openers, followed by forward bends, followed by core work. This approach works
well for those interested in improving multiple areas, but who also enjoy catego-
rizing their time.

If this all seems much too complicated, don’t worry about it! There’s enough things
t o c o n s i d e r w h e n s t a r t i n g a r e g u l a r Yo g a p r a c t i c e . J u s t t r y t o g e t o n y o u r m a t a f e w
times each week and get some movement in. We’ve provided multiple calendars in
our Flow Library to make this as easy as possible!

199
Flow Li b ra ry

200
 HOW TO USE THIS SECTION
These flows are provided as a guided example of how sequencing works
i n Yo g a . Yo u c a n m o d i f y a n d c h a n g e t h e m h o w e v e r i s n e e d e d f o r y o u r o w n
p r a c t i c e , a n d /o r u s e t h e m a s a b u i l d i n g b l o c k t o c r e a t e yo u r ow n f l ow.

There are example practice calendars at the end of this section for those
looking for a more structured starting point. These too can be adjusted to
your needed schedule, goals, and current fitness level. In addition, following
each flow is a Suggestion Page with ideas for additions, modifications, and
related postures.

It is important to note that breath length is NOT given in the following flows.
That is purposeful and forces you to develop the flow as needed. Whether
you’re moving quickly or slowly, try to keep the principles of sequencing in
mind, marking some poses you deem as “important” and holding them for a
few extra breaths.

The pose names are rotated in the flows, sometimes presented in English,
other times in Sanskrit in an effort to expose you to both.

201
CATEGORY FLOWS

202
BASIC • SUN A/B BASED FLOW

203
BASIC • SUN A/B BASED FLOW
1 2 3

Child’s Pose Table Top w/

Sunbird Crutches
(Breathing) Wrist Stretch

4 5 6

Tip Toe to Roll Up to

Down Dog
Rag Doll Tadasana

7 8 9

Urdhva Ardha
Uttanasana
Hastasana Uttanasana

10 11 12

Ardha
Roll Uttanasana
Uttanasana

204
BASIC • SUN A/B BASED FLOW
13 14

Repeat
4X
Tadasana
Urdhva Hastasana
(hands at heart)

16 17 18

Urdhva Hastasana Uttanasana Ardha Uttanasana

19 20 21

Step back to Plank Chaturanga Cobra

22 23 24

Hop to
Down to Dog Uttanasana
Ardha Uttanasana

205
BASIC • SUN A/B BASED FLOW
25 26

Repeat
4X
Tadasana
Urdhva Hastasana
(hands at heart)

28 29 30

Urdhva Hastasana Utkatasana Uttanasana

31 32 33

Ardha Uttanasana Step Back to Plank Chaturanga

34 35 36

Warrior I
Upward Facing Dog Down Dog
(Right Leg)

206
BASIC • SUN A/B BASED FLOW
37 38 39

Plank Warrior I
Down Dog
(Vinyasa) (Left Leg)

40 41 42

Plank Hop to
Down Dog
(Vinyasa) Ardha Uttanasana

43 44 45

Uttanasana Utkatasana Urdhva Hastasana

46 48

Repeat
2X
Tadasana
Urdhva Hastasana
(hands at heart)

207
BASIC • SUN A/B BASED FLOW
49 50 51

Step Back to Plank

Utkatasana Uttanasana
(Vinyasa)

52 53 54

Warrior I
Down Dog Right Leg Lifts
(Right Leg)

55 56 57

Warrior II Reverse Warrior Extended Side Angle

58 59

Repeat
Le f t S i de
Plank
Down Dog
(Vinyasa)

208
BASIC • SUN A/B BASED FLOW
61 62 63

Walk hands to the back of the mat

Sink to seat Boat Pose
Utkatasana

64 65 66

Janu Sirsasana Seated Forward

Butterfly
(both sides) Fold

67 68 69

Reclined Pigeon
Happy Baby Savasana
(both sides)

209
 SUGGESTIONS
Possible Changes
• A d j u s t t h e n u m b e r o f S u n A’ s , B ’ s , a n d / o r R o l l i n g V i n y a s a s t o a d j u s t
the length of the practice.
• Va r y t h e d i f f e r e n t s e g m e n t s b y a d j u s t i n g t h e n u m b e r o f b r e a t h s s p e n t
in each posture. For example, perform the first Sun A holding each
posture for 5 breaths, the next for 3 breaths, and then the final two for
only a single breath per pose to get the heart beat up.
• Add a Moon Salutation in addition to or in place of one of the other
segments.

Related Postures
• Wa r r i o r I I I
• Standing Splits
• Pyramid Pose
• Half Moon

210
BACKBEND

211
 BAC KB EN D FLO W
1 2 3

Rock to
Heart on a block Wrist Stretch
Table Top

4 5 6

Vajrasana
Cat/Crow Vajrasana
Clocks

7 8 9

Table Top Puppy Pose Down Dog

10 11 12

Tip Toe to Upward Salute w/

Forward Fold
Rag Doll Cactus Arms

212
 BACKBEND FLOW
13 14 15

Step back to
Half lift Knees/Chest/Chin
Plank

16 17 18

Cobra no hands Right leg lifts,

Down Dog
x2 open hip

19 20

Repeat
Le f t S i de
Step back to
Anjaneyasana
Down Dog

22 23 24

Prone shoulder
Roll to Plank Knees/Chest/Chin
stretch (both sides)

213
 BACKBEND FLOW
25 26 27

Right leg lifts,

Press to Plank Down Dog
open hip

28 29 30

Side Plank Anjaneyasana Quad Stretch

31 33

Repeat
Le f t S i d e
Step back down to Roll to
Down Dog Plank

34 35 36

Cobra no hands Half Frog

Knees/Chest/Chin
x2 (Each Side)

214
 BACKBEND FLOW
37 38 39

Bow Pose
Rest on Belly Child’s Pose
x2

40 41 42

Tiger Pose Supported

Table Top
(Both Sides) Camel

43 44 45

Child’s Pose Rest on Belly Roll to Back

46 47 48

Bridge Pose Constructive Windshield

x2 Rest Wipers

215
 BACKBEND FLOW
49 50 51

Reclined Butterfly Reclined Pigeon Gentle Spinal Twist

52 53

Savasana w/
Happy Baby
leg wrap

SUGGESTIONS
Possible Changes
• Add in another flow segment before going to belly down
backbends like Locust pose. Perhaps taking your Side Plank into
Wild Thing, then back up to a Crescent Lunge for additional hip
flexor opening.
• End with a belly down Savasana.

Related Postures
• Wild Thing
• U p w a r d Fa c i n g D o g
• R e v e r s e Wa r r i o r
• Dancer
216
STANDING BALANCE

217
 STAN D I NG B A LA N C E FLO W
1 2 3

Single Leg Plug in

Tadasana Uttanasana
3x each side

4 5 6

Step left leg back to

Rag Doll Ardha Uttanasana
Low Lunge

7 8

Repeat
Le f t Le g B a c k
Step back to
Low Lunge
Ardha Uttanasana

10 11 12

Hands on hips, Tree Pose

Uttanasana
rise to Tadasana (each side)

218
 STANDING BALANCE FLOW
13 14 15

Utkatasana Uttanasana Ardha Uttanasana

16 17 18

Step to
Chaturanga Bhujangasana
Utthita Chaturanga Dandasana

19 20 21

Sunbird Crunches
Balasana Table Top
3x each side

22 23 24

Right leg steps to

Adho Mukha Svanasana Crescent Lunge
Supported High Lunge

219
 STANDING BALANCE FLOW
25 26 27

Right leg
Supported Virabhadrasana III Pyramid Pose
Supported Lunge

28 30

Repeat
Le f t Le g
Right leg steps to
Adho Mukha Svanasana
Supported High Lunge

31 32 33

Crescent Lunge Supported Virabhadrasana III Airplane Pose

34 35 36

Standing Splits Airplane Pose Supported Virabhadrasana III

220
 STANDING BALANCE FLOW
37 38 39

Supported High Lunge Pyramid Pose Adho Mukha Svanasana

41 42

Repeat
Le f t Le g
Roll to
Knees/Chest/Chin
Utthita Chaturanga Dandasana

43 44 45

Locust Pose Prone Shoulder Stretch Press back to

x2 (both sides) Utthita Chaturanga Dandasana

46 47 48

Tip Toe to
Utkatasana Uttanasana
Uttanasana

221
 STANDING BALANCE FLOW
49 50 51

Dancer Pose
Tadasana Utkatasana
(each side)

52 53 54

Navasana
Lower to a seat Lower to Back
x3

55 56 57

Supta Padangustasana Spinal Twist

Pavanamuktasana
(both sides) (each side)

58

Savansana
222
 SUGGESTIONS
Possible Changes
• A f t e r t h e S u p p o r t e d Wa r r i o r I I I , a d d i n a H a l f M o o n t o p r a c t i c e o p e n i n g
and closing the hip, which is key to hip stabilization in standing
balance postures.
• If handstand is in your practice or something you are working on, after
Standing Splits, add in a few handstand hops.

Related Postures
• Half Moon
• Figure Four
• Eagle Pose

223
 HIP OPENER

Hips take a bit to open. Hold these poses on

the longer end to sink a little deeper.
224
 HIP OPENER FLOW
1 2 3

Pavanamuktasana
Reclined Butterfly Reclined Pigeon
(single leg squeezes)

4 5 6

Rock to
Wrist Stretches Cat/Crow
Table Top

7 8 09

Sunbird Crunches Right leg lifts, open hip

Down Dog
3x each side (take hip cirlces)

10 11 12

Step to
Lizard Pose Quad Stretch
Low Lunge

225
 HIP OPENER FLOW
13 15

Repeat
Le f t Le g
Tip toe or hop to
Step Back to Downward Dog
Malasana

16 17 18

Boat Pose
Lie on Back Pavanamuktasana
x3

19 20 21

Rock to
Urdhva Hastasana Forward Fold
Chair Pose

22 23 24

Step to Chaturanga
Half Lift
Plank Pose to Belly

226
 HIP OPENER FLOW
25 26 27

Half Frog
Child Pose Table Top
(both sides)

28 29 30

Tiger Pose Right leg lifts,

Down Dog
(both sides) hip opens

31 32 33

Step to Spin to
Star Pose
Supported Lunge Wide Legged Forward Fold

34 35 36

Skandasana Skandasana
Goddess
to the back of the mat to the front of the mat

227
 HIP OPENER FLOW
37 38

Repeat
Le f t Leg
Supported Lunge Down Dog

40 41 42

Hop to Cow Face

Lower to seat
Malasana (each side)

43 44 45

Firelog Pose Janu Sirsanana

Seated Wide Legged Forward Fold
(each side) (each side)

46 47 48

Spinal Twist
Lie Back Supta Padangustasana
(both sides)

228
 HIP OPENER FLOW
49

Happy Baby

50

Pavanamuktasana
(both legs)

51

Savasana w/ Strap
229
 SUGGESTI ONS
Possible Changes
• F r o m C o w Fa c e p o s e , s w i n g t h e t o p l e g t o w a r d t h e b a c k o f t h e m a t
and add in a Pigeon Pose.
• W h e n e v e r y o u ’ r e i n Ta d a s a n a , t h i n k a b o u t a d d i n g i n a F i g u r e F o u r
posture for a hip opener, and even taking that into a Forward Bend
position or the arm balance – Flying Pigeon.
• Change the Savasana wrap to belly down Savasana

Related Postures
• Figure Four
• Pigeon
• Half Moon

230
FORWARD BENDI NG/SIDE BODY

Too often when

we forward bend,
we lose the length
along the side
body. A great way
to battle that is
to focus on both
in your flow.
231
FO R W A R D B EN D ING/ S IDE BODY FLO W
1 2 3

Start Lying on the back Bananasana Supta Padangustasana

4 5 6

Sunbird Crunches
Roll to Table Top Wrist Stretch
3x each side

7 8 9

Thread the Needle

Child’s Pose Down Dog
(each side)

10 11 12

Tip toe to Roll to Standing Half Moon

Rag Doll Tadasana (each side)

232
FO R WA RD BENDING/ SIDE BODY FLO W
13 14 15

Step to
Forward Fold Half Lift
Plank Pose

16 17 18

Locust Pose
Chaturanga Lower to Belly
x2

19 20 21

Gate Pose
Child’s Pose Table Top
(each side)

22 23 24

Right leg steps to

Down Dog Pyramid
Supported Low Lunge

233
FO R WA RD BENDING/ SIDE BODY FLO W
25 26 27

Supported Low Lunge Supported Warrior III Supported High Lunge

28 30

Repeat
Le f t Le g
Right leg steps to
Down Dog
Supported High Lunge

31 32 33

Supported Warrior III Half Moon Standing Splits

34 35

Repeat
Le f t Leg
Step back to
Down Dog
Supported High Lunge

234
FO R WA RD BENDING/ SIDE BODY FLO W
37 38 39

Hop through to seat Janu Sirsasana Seated Forward Fold

40 41 42

Seated Wide Legged Half Lord of the Fishes

Butterfly
Forward Bend (both sides)

43 44 45

Lie Back Spinal Twist Reclined Pigeon

46 47 48

Happy Baby Pavanmuktasana Savasana

235
 SUGGESTIONS
Possible Changes
• Start standing to promote good posture, and change the Supta
Padangustasana to a standing Padangustasana with strap.
• Before or after the Standing Splits, add in an Airplane Pose or full
Wa r r i o r I I I w i t h t h e h a n d s e x t e n d e d .
• If handstand is in your practice or something you’re working on, take a
few handstand hops after the Standing Splits.

Related Postures
• Wa r r i o r I I
• Va j r a s a n a C l o c k s
• Heron Pose
• Extended Side Angle
• Airplane

236
 RESTORATI VE

For Restorative Yoga, we

encourage you to hold
poses for longer, keeping
enough activation and
engagement to stay
safe, but also focusing
on softening into Each
Pose Longer.
237
 RESTORATIVE FLOW
1 2 3

Breathe on your back Heart on a Block w/ Butterfly Legs Gentle Spinal Twist

4 5 6

Rock to
Reclined Pigeon Wrist Stretch
Table Top

7 8 9

Cat/Cow Light Vajrasana Clocks

Child’s Pose
(slow) (both sides)

10 11 12

Thread the Needle

Table Top Table Top
(both sides)

238
 RESTORATI VE FLOW
13 14 15

Right leg steps to

Down Dog Open Twist Low Lunge
Supported Low Lunge

16 17

Repeat
Le f t Leg
Gentle Low Lunge Down Dog

19 20 21

Standing Gate Pose

Tip Toe to Rag Doll Upward Salute
(each side)

22 23 24

Forward Fold Half Lift Step back to Plank Pose

239
 RESTORATI VE FLOW
25 26 27

Knees/Chest/Chin Sphinx Pose Child’s Pose

28 29 30

Right leg steps to

Table Top Down Dog
Supported Low Lunge

31 32 33

Lizard Pose Quad Stretch Down Dog

35 36

Repeat
Le f t Le g
Right leg figure four Right leg
Down Dog Sleeping Pigeon

240
 RESTORATI VE FLOW
37 38

Repeat
Le f t Leg
Back to right leg Three Legged Dog
Down Dog
with open hip

40 41 42

Top Toe to
Lower to Seat Half Lord of the Fishes
Rag Doll

43 44 45

Lay back Supta Padangustasana w/ strap Supported Bridge

46 47 48

Optional Shoulderstand or
Gentle Spinal Twist Roll to Belly
Plough Pose

241
 RESTORATIVE FLOW
49 50

Prone Shoulder Stretch Belly Down to Savasana

SUGGESTIONS

Possible Changes
• Start in Child’s Pose.
• Before winding down, practice some gentle seated forward
bends, like Janu Sirsansana and Seated Forward Fold.
•

Related Postures
• Janu Sirsasana • Reclined Pigeon
• Headstand • Happy Baby
• Wide Legged • Half Frog
Forward Fold
242
CORE

243
 C O R E FLO W
1 2 3

Breath of Fire
Vajrasana Table Top
3 x 30 seconds

4 5 6

Sunbird Crunches
Wrist Stretches Palm Peels
4x each side

7 8 9

Tip toe to
Down Dog Open each hip
Rag Doll

10 11 12

Standing Half Moon

Roll to Tadasana Upward Salute
(each side)

244
 CORE FLOW
13 14 15

Forward Fold Half Lift Step back to Plank Pose

16 17 18

No hands
Chaturanga Lower to Belly
Cobra

19 20 21

Push back to Right leg steps to

Down Dog
Plank Pose Supported High Lunge

22 23 24

Crescent Lunge Supported Warrior III Crescent Lunge

245
 CORE FLOW
25 26

Repeat
Le f t Leg
Pyramid Pose Down Dog

28 29 30

Tip toe to
Chair Pose Lower to seat
Half Lift

31 32 33

Half Boat
Boat Pose Rest on Back
Repeat 5x for 3 breaths each

34 35 36

Rock to Chair Pose Forward Fold Half Lift

246
 CORE FLOW
37 38 39

Jump back to
No hands Cobra Plank
Chaturanga

40 41 42

Right leg steps to

Down Dog Crescent Lunge
Supported High Lunge

43 44 45

Warrior III Standing Splits Airplane

46 47

Repeat
Le f t Leg
Crescent Lunge Down Dog

247
 CORE FLOW
49 50 51

Tip toe to
Chair Pose Lower to seat
Half Lift

52 53 54

Rest on back Tailbone Lifts Dead Bug

55 56 57

Supta Padangustasana Gentle Spinal Twist Happy Baby

58

Savansana
248
 SUGGESTIONS
Possible Changes
• Add in Crow Pose before winding down, or add in some twisted
postures and work your way toward Side Crow or Side Crow Prep.
• Add some Rolling Vinyasas toward the beginning to get the blood
flowing.
• Add Handstand Hops after Standing Splits.
• Put an extended core section of your choice whenever you lower to a
seat.
• Place some light backbends (Supported Bridge & Supported Camel)
before winding down to stretch out the hip flexors.

Related Postures
• Any Arm Balance
• Side Plank
• Single Leg Plug In
• Headstand/Handstand
• Camel (counter pose)

249
ARM BALANCE

250
 ARM BALANCE FLOW
1 2 3

Breath of Fire
Vajrasana Table Top
3x for 30 seconds

4 5 6

Hovering
Wrist Stretch Palm Peels
Table Top

7 8 9

Down Tip toe to

Open each hip
Dog Rag Doll

10 11 12

Half Lift Chair Pose Tadasana

251
 ARM BALANCE FLOW
13 14 15

Upward Salute Forward Fold Half Lift

16 17 18

Step to Optional Scapular

Chaturanga
Plank Pose Push Ups

19 20 21

No hands Cobra Child’s Pose Table Top

22 23 24

Sunbird Crunches
Down Dog Right leg lifts
5x (each side)

252
 ARM BALANCE FLOW
25 26 27

Turbo Dog
Open Hip Re-Square
Right 2x

28 29 30

Turbo Dog
Fallen Triangle Plant Hands
Left 2x

31 32 33

Pull knee to chest Supported High Lunge Crescent Lunge

34 35

Repeat
Le f t Leg
Pyramid Pose Down Dog

253
 ARM BALANCE FLOW
37 38 39

Hop to
Boat Pose Half Boat
Malasana

40 41 42

Lie on back Tailbone lifts Pavana Muktasana

43 44 45

Rock to Chair Pose Forward Fold Half Lift

46 47 48

Step to Plank Pose Chaturanga

No hands Cobra
(hold) (hold)

254
 ARM BALANCE FLOW
49 50 51

Child’s Pose Table Top Hovering Table

52 53 54

Turbo Dog
Down Dog Right Leg Lifts
2x Right

55 56 57

Turbo Dog
Reverse Wild Thing Plant Hands
3x Left

58 59 60

Pull knee to chest Crescent Lunge Pyramid Pose

255
 ARM BALANCE FLOW
61 63

Repeat
Le f t Le g
Hop to
Down Dog
Malasana

64 65 66

Rock to
Lie on Back Reclined Crow
Malasana

67 68 69

Crow Pose
Wrist Stretch Lie on Back
2x

70 71 72

Bridge Pose
Happy Baby Reclined Butterfly
2x

256
 ARM BALANCE FLOW
73

Spinal Twist

74

Pavana Muktasana

75

Savasana
257
 SUGGESTI ONS
Possible Changes
• Add in some twisted postures and work your way toward Side Crow or
Side Crow Prep.
• Add some Rolling Vinyasas toward the beginning to get the blood
flowing.
• Change a later Down Dog to a Dolphin Pose and practice hopping to
Pincha Mayurasana (Forearm Stand)
• Put an extended core section of your choice whenever you lower to a
seat.

Related Postures
• Tw i s t e d C h a i r
• Side Crow
• Lolasana
• Dolphin/Forearm Stand
• Headstand/Handstand

258
PEAK POSE FLOWS

259
PEAK POSE FLOW • WHEEL

260
 PEAK POSE FLOW • WHEEL
1 2 3

Heart on a Block Gentle Spinal Twist Pavana Muktasana

4 5 6

Rock to Table Top Wrist Stretch Vajrasana

7 8 9

Vadrasana Clocks
Table Top Cat/Cow
(1:30/3)

10 11 12

Puppy Pose Table Top Adho Mukha Svanasana

261
 PEAK POSE FLOW • WHEEL
13 14 15

Tip toe to Roll to

Urdhva Hastasana
Rag Doll Tadasana

16 17 18

Standing Half Moon

Uttanasana Ardha Uttanasana
(each side)

19 20 21

Step to
Knees/Chest/Chin No hands Cobra
Plank Pose

22 23 24

Prone Shoulder Stretch

Child’s Pose Table Top
(both sides)

262
 PEAK POSE FLOW • WHEEL
25 26 27

Adho Mukha Svanasana Right Leg Lifts Open Hip

28 29

Repeat
Le f t Leg
Anjaneyasana Adho Mukha Svanasana

31 32 33

Right leg lifts Open Hip Side Plank

34 35 36

Anjaneyasana Quad Stretch Adho Mukha Svanasana

263
 PEAK POSE FLOW • WHEEL
38 39

Repeat
Le f t Le g
Roll to Plank Pose Chaturanga

40 41 42

Half Frog
Child’s Pose Table Top
(each side)

43 44 45

Adho Mukha Svanasana Right Leg Lifts Open Hip

46 47 48

Step to
Side Plank Crescent Lunge
Supported High Lunge

264
 PEAK POSE FLOW • WHEEL
49 51

Repeat
Le f t Le g
Adho Muhka Svanasana Right Leg Lifts

52 53 54

Optional
Open Hip Side Plank
Wild Thing

55 56 57

Side Plank Supported High Lunge Warrior II

58 59

Repeat
Le f t Leg
Reverse Warrior Adho Muhka Svanasana

265
 PEAK POSE FLOW • WHEEL
61 62 63

Roll to
Chaturanga Up Facing Dog
Plank Pose

64 65 66

Child’s Pose Slither to Belly Locust Pose

67 68 69

Bridge
Bow Pose Optional Wheel
x2

70 71 72

Constructive Rest Dead Bug Spinal Rest

266
 PEAK POSE FLOW • WHEEL
73 74

Gentle Spinal Twist Reclined Pigeon

75 76

Happy Baby Pavana Mukhtasana Single Leg

77 78

Pavana Muktasana Savasana w/ wrap

267
 SUGGESTIONS
Possible Changes
• If you have tight shoulders, add in an entire shoulder work section
near the beginning, complete with Prone Shoulder Stretch, Dolphin,
a n d D o u b l e B l o c k L ay.
• Practice going from Bridge Pose to Shoulder Stand.
• Add core work after the wheel session to help re-integrate the belly to
protect the low back through the counter poses.

Related Postures
• Prone Shoulder Stretch
• Dolphin Pose
• Double Block Lay
• Camel
• Wild Thing

268
PEAK POSE • DANCER

269
 P EA K POSE FLO W • D A N C ER
1 2 3

Pavana Muhktasana Single Leg Supta Padangustasana w/ strap

Heart on a block
(both sides) (both sides)

4 5 6

Rock to Table Top Cat/Cow Balasana

7 8 9

Down Dog Tip toe to Rag Doll Half Lift

10 11 12

Forward Fold Upward Salute Tadasana

270
 PEAK POSE FLOW • DANCER
13 14 15

Step Left Leg Back to Crescent

Lower Knee to Anjaneyasana Crescent Lunge
Lunge

16 18

Repeat
Le f t Le g
Step back to Tadasana Upward Salute

19 20 21

Step to
Forward Fold Half Lift
Plank Pose

22 23 24

Half Frog
Knees/Chest/Chin Sphinx
(each side)

271
 PEAK POSE FLOW • DANCER
25 26 27

Balasana Table Top Down Dog

28 29 30

Right leg steps to Anjaneyasana Quad Stretch Half Split

31 33

Repeat
Le f t Le g
Down Dog Roll to Plank Pose

34 35 36

Chaturanga Upward Facing Dog Down Dog

272
 PEAK POSE FLOW • DANCER
37 38 39

Right leg steps to Supported High

Crescent Lunge Supported Warrior III
Lunge

40 41 42

Standing Splits Supported Warrior III Crescent Lunge

43 45

Repeat
Le f t Le g
Down Dog Roll to Plank Pose

46 47 48

Chaturanga Lower to belly Locust

273
 PEAK POSE FLOW • DANCER
49 50 51

Prone Shoulder Stretch Bow Pose Balasana

52 53 54

Tiger Pose
Table Top Down Dog
(each side)

55 56 57

Hop to Forward Fold Chair Pose Tadasana

58 59 60

Dancer Pose
Chair Lower to Seat
(each side)

274
 PEAK POSE FLOW • DANCER
61 62 63

Boat Pose Lower to Back Supported Bridge

64 65 66

Reclined Butterfly Reclined Pigeon Spinal Twist

67 68

Pavana Mukhtasana Savasana

275
 SUGGESTI ONS
Possible Changes
• If you’re looking for more backbends, add in a Bridge and Wheel
section after lowering to a seat.
• Stretch the flow by adding in another round with Side Plank and even
Wild Thing

Related Postures
• Bridge Pose
• Wheel Pose
• Camel Pose
• No Hands Cobra
• Wild Thing

276
PEAK POSE • HEADSTAND

277
P EAK PO SE FLO W • H EA D S TA N D
1 2 3

Breath of Fire
Sukhasana Neck Stretch
3x 30 sec

4 5 6

Sunbird Crunches
Table Top Cat/Cow
5x each side

7 8 9

Down Dog Hop to Forward Fold Half Lift

10 11 12

Forward Fold Step back to Plank Pose Chaturanga

278
PEAK POSE FLOW • HEADSTAND
13 14 15

Lower to Belly Locust Pose w/ arms back Child’s Pose

16 17 18

Table Top Hovering Table Top Down Dog

19 20 21

Right Leg Lifts Low Lunge Half Splits

22 24

Repeat
Le f t Le g
Down Dog Right Leg Lifts

279
PEAK POSE FLOW • HEADSTAND
25 26 27

Supported High Lunge Crescent Lunge Supported Warrior III

28 29

R e p e at
Le f t Leg
Crescent Lunge Down Dog

31 32 33

Right leg lifts Supported High Lunge Crescent Lunge

34 35 36

Airplane Standing Splits Airplane

280
PEAK POSE FLOW • HEADSTAND
37 38

Repeat
Le f t Leg
Crescent Lunge Down Dog

40 41 42

Dolphin Hop to Malasana Optional Crow Pose

43 44 45

Boat Pose
Malasana Rest on back
x3

46 47 48

Pavana Muktasana Rock to Chair Pose Forward Fold

281
PEAK POSE FLOW • HEADSTAND
49 50 51

Half Lift Step to Plank Pose Chaturanga

52 53 54

Upward Facing Dog Down Dog Knees down Vajrasana

55 56 57

Vajrasana Clocks
Supported Headstand Work Child’s Pose
1:30/3:00

58 59 60

Half Lord of the Fishes Lie on back Spinal Twist

282
PEAK POSE FLOW • HEADSTAND
61

Reclined Pigeon

62

Happy Baby

63

Savasana
283
 SUGGESTI ONS
Possible Changes
• Wo r k a d d i t i o n a l s h o u l d e r o p e n i n g i n D o l p h i n a n d p l a y w i t h b o t h
Headstand & Forearm Stand.
• Utilize props like a chair or a friend to help you safely get into
Headstand without jumping.
• Continue the inversion theme by adding a Shoulder Stand or Plough
Pose in your cool down.
• Add in Handstand work earlier in the flow to help turn on the core.

Related Postures
• Shoulder Stand
• Handstand
• Ta i l b o n e L i f t s
• Forearm Stand

284
P EA K P O S E • P ARI VRI TTA ANJANEYASANA •
T WI S T ED CRESCENT P OSE

285
 P EA K POS E FLOW • TWISTED CRESC EN T
1 2 3

Easy Sit Seated Easy Twist Neck Stretch

4 5 6

Thread the Needle

Table Top Cat/Cow
(both sides)

7 8 9

Hovering Table Top Down Dog Tip to to Rag Doll

10 11 12

Standing Half Moon

Tadasana Upward Salute
(both sides)

286
 P EAK POS E • TWISTED CRESCEN T
13 14 15

Upward Salute Chair Pose Forward Fold

16 17 18

Half Lift Step to Plank Pose Chaturanga

19 20 21

Right leg steps to

Locust Pose Down Dog
Supported Low Lunge

22 23 24

Low Lunge Open Twist Quad Stretch Half Split

287
 P EAK POS E • TWISTED CRESCEN T
25 27

Repeat
Le f t Le g
Right leg steps to
Down Dog
Supported High Lunge

28 29 30

Open Twist Supported Crescent Supported High Lunge Down Dog

32 33

Repeat
Le f t Le g
Right leg steps to
Open Twist Supported Crescent
Supported High Lunge

34 35 36

Open Twist Crescent Pose Reverse Revolved Crescent Open Twist Supported Crescent

288
 P EAK POS E • TWISTED CRESCEN T
37 38 39

Optional Revolved Half Moon Open Twist Supported Crescent Supported High Lunge

40 42

Repeat
Le f t Le g
Down Dog Twisted Down Dog both sides

43 44 45

Hop to Forward Fold Half Lift Forward Fold

46 47 48

Upward Salute Chair Pose (feet together) Twisted Chair to the right

289
 P EAK POS E • TWISTED CRESCEN T
49 50 51

Chair Pose (feet together) Forward Fold Half Lift

52 53 54

Step left leg back Crescent Lunge Revolved Crescent Supported High Lunge

55 56 57

Forward Fold Upward Salute Chair Pose feet together

59 60

Repeat
Le f t Le g
Chair Pose Lower to Seat

290
 P EAK POS E • TWISTED CRESCEN T
61 62 63

Half Lord of the Fishes Lay on back Bridge Pose x 2

64 65 66

Reclined Butterfly Spinal Twist Happy Baby

67

Savasana

291
 SUGGESTI ONS
Possible Changes
• A d d a S i d e C r o w a f t e r t h e Tw i s t e d C h a i r
• Wo r k a d d i t i o n a l s h o u l d e r s t r e t c h e s ( l i k e i n C o w Fa c e P o s e ) a n d i n s t e a d
o f o r i n a d d i t i o n t o w o r k i n g t o w a r d Tw i s t e d L u n g e , w o r k t o w a r d a
Bound Side Angle.
• Tw i s t i n g c a n s o m e t i m e s a i d w i t h h e a r t o p e n e r s o r b a c k b e n d s . A d d i n
some light backbending post twists, but before winding down.

Related Postures
• Side Crow
• Bound Side Angle
• Revolved Down Dog
• Eagle Pose

292
ALL AROUND FLOW

293
 ALL AR O U N D FLO W
1 2 3

Child’s Pose Table Top Wrist Stretch

4 5 6

Cat/Cow Thread the Needle Table Top

7 8 9

Adho Mukha Svanasana Tip toe to Rag Doll Urdhva Hastasana

10 11 12

Vrksasana each side Utkatasana Uttanasana

294
ALL AROUND FLOW (CONTI NUED)
13 14 15

Left leg steps back to

Ardha Uttanasana Open Twist Low Lunge
Supported Low Lunge

16 17 18

Quad Stretch Step back to Uttanasana Ardha Uttanasana

20 21

Repeat
R i g h t Le g
steps back Urdhva Hastasana Utkatasana

22 23 24

Step back to
Uttanasana Ardha Uttanasana
Utthita Chaturanga Dandasana

295
ALL AROUND FLOW (CONTI NUED)
25 26 27

Knees/Chest/Chin Bhujangasana Child’s Pose

28 29 30

Adho Mukha Svanasana Right leg lifts Virabhadrasana I

31 32

Repeat
Le f t Leg
Virabhdrasana II Adho Mukha Svanasana

34 35 36

Right leg lifts Virabhadrasana I Virabhadrasana II

296
ALL AROUND FLOW (CONTI NUED)
37 38 39

Reverse Warrior Virabhdrasana II Trikonasana

40 41

Repeat
Le f t Leg
Virabhadrasana II Adho Mukha Svanasana

43 44 45

Right leg lifts Virabhadrasana I Virabhadrasana II

46 47 48

Reverse Warrior Viravhadrasana II Trikonasana

297
ALL AROUND FLOW (CONTI NUED)
49 50 51

Virabhadrasana II Star Pose Goddess Pose

52 53 54

Supported High Lunge

Prasarita Padottanasana Adho Mukha Svanasana
to the front of the mat

56 57

Repeat
Le f t Le g
Hop to Malasana Navasana

58 59 60

Bridge Pose
Lower to back Optional Wheel Pose
x2

298
ALL AROUND FLOW (CONTI NUED)
61 62 63

Constructive Rest Dead Bug Spinal Reset

64 65 66

Reclined Pigeon Spinal Twist Ananda Balasana

67 68

Wind Relieving Posture Savasana

299
 SUGGESTIONS
Possible Changes
• Ad d i n a n a d d i t i o n a l f l ow s e q u e n c e , b r i n g i n g i n St a n d i n g S p l i t s a n d /o r
Half Moon.
• Add some Rolling Vinyasas toward the beginning to get the blood
flowing.
• M a k e t h e f l o w l o n g e r b y a d d i n g S u n A’ s o r B ’ s o r e v e n M o o n
Salutations at the beginning.
• Wind down with some Supta Pandangustasana.

Related Postures
• Standing Splits
• Wide Legged Forward Fold
• Half Moon
• Headstand/Handstand

300
FLOW
FlowCALENDARS
Li b r a r y

301
 HELP! I’M JUST STARTING.
Make an Attempt...
• ...to find a regular beginner class or even better, a beginner series at
a local studio.
• As an alternative, find a beginner series online from something like
Cody App to help supplement your home practice.
• L i s t e n t o yo u r b o d y. I f i t n e e d s m o r e r e s t d ay s , t a k e t h e m . I f i t n e e d s
m o r e Yo g a , a d d i n c l a s s e s o r h o m e p r a c t i c e a s n e e d .

Sun Mon Tue Wed Thur Fri Sat

All
Basic Sun Public
REST Around REST REST REST
A/B Flow Class
Practice

Hip
Basic Sun Restorative
REST Opener REST REST REST
A/B Flow Flow
Flow

Forward
Bends + CORE Backbend Public
REST REST REST
Side Body FLOW Flow Class
Flow

All Peak
Restorative
REST Around REST Pose / REST REST
Flow
Practice Dancer

302
 HELP ! I GO TO PU B LI C C LA SS O R
“OTHER FITNES S” 2 X A W EEK ALR EA D Y .
Home Practice is Great...
• ...And likely also a necessary supplement to public class. Rework
this calendar however you need to based on the classes you already
a t t e n d . T h o s e c l a s s e s d o n ’ t h a v e t o b e Yo g a . T h e y c o u l d b e o t h e r
forms of fitness.
• Be smart about how you structure this. If you’re running on Mondays/
Fridays, then you know that your quads, core, and shoulders will be
t i g h t o n Tu e s d a y s / S a t u r d a y s , a n d t h o s e m i g h t b e g r e a t d a y s f o r h e a r t
opening flows to “counter balance.”

Sun Mon Tue Wed Thur Fri Sat

Basic Sun Public Backbend Public
REST REST REST
A/B Flow Class Flow Class

All
Public Restorative Public Opening
Around REST REST
Class Flow Class Hip Flow
Practice

Side Body
& Forward Public Backbend Public Core
REST REST
Bending Class Flow Class Flow
Flow

Peak
Peak
Restorative Public Pose / Public
REST REST Pose /
Flow Class Wheel Class
Headstand
Flow

303
 HELP! I’M O N E O F T H O SE PEO PLE
WHO NEE DS T O PR AC T I C E EVER Y D AY!
It’s Okay! We Get it...
• S o m e p e o p l e l i k e t o g e t o n t h e m a t e v e r y d a y a n d f l ow. T h a t ’ s
fine. Just recognize when your body needs a break, and when that
“practice” might need to be changed to something like laying in
Child’s Pose or Heart Bench and doing breath work.
• Change this around as needed based on when you have more time
a n d /o r e n e r g y.

Sun Mon Tue Wed Thur Fri Sat

Side Body
Standing
Basic Sun Backbend Core Hip Opening & Forward Restorative
Balance
A/B Flow Flow Flow Flow Bending Flow
Flow
Flow

Arm Peak Pose/

Peak Pose/ All Around Hip Opening Basic Sun Restorative
Balance Twisted
Dancer Flow Flow Flow A/B Flow Flow
Flow Lunge

Side Body
Peak Pose/ Standing
Peak Pose/ & Forward Backbend Restorative All Around
Headstand Balance
Wheel Flow Bending Flow Flow Flow
Flow Flow
Flow

Peak
Peak Pose/
Hip Opening Peak Pose/ Pose / Restorative REST! You
Twisted Core Flow
Flow Wheel Flow Wheel Flow Deserve IT!
Lunge
Flow

304
 HELP ! I W A N T T O B U I LD U P
SLOWLY V I A A N 8 W EEK PLA N
The Goal of this Book...
• . . . i s t o h e l p y o u d e v e l o p a r e g u l a r Yo g a p r a c t i c e . T h a t w o n ’ t h a p p e n
in 1 week, 4 weeks, or even 8. Still, having a longer plan to help you
ramp up slowly can help you cement patterns into brain/body and
inspire you to keep getting on the mat.
• Start this slower or faster, depending on your schedule and current
fitness level.

Sun Mon Tue Wed Thur Fri Sat

Basic Sun Public
REST REST REST Restorative REST
A/B Flow Class

All Around Public Backbend Core

REST REST REST
Flow Class Flow Flow

Peak Pose / Public Restorative Hip

REST REST REST
Twisted Lunge Class Flow Opener

All Around Public Peak Pose

REST REST REST REST
Flow Class Wheel

Basic Sun Public Restorative Arm

REST REST REST
A/B Flow Class Flow Balance

All Around Public Standing Peak Pose

REST REST REST
Flow Class Balance Dancer

Peak Pose Public Hip Peak Pose

REST REST REST
Headstand Class Opener Twisted Lunge

Side Body
Restorative Public
REST Backbends & Forward REST All Around
Flow Class
Bends

305
 HELP! MY B AC K D O ES N ’ T B EN D !
I NEED MO R E H EAR T O PEN ER S
M a n y P e o p l e C o m e t o Yo g a . . .
• ...looking for more spinal extension. Backbends are progressive,
and adding them into your practice more often can help you see
improvement.
• Especially when adding in many backbend classes, listen to the body
and rest as needed. Learn to distinguish between being a little sore
from making progress, and having low back pain from pushing yourself
too hard or not paying close attention to alignment.

Sun Mon Tue Wed Thur Fri Sat

Peak Pose Hip
Backbend REST REST Restorative REST
Wheel Openers

Peak Pose
Peak Pose
REST REST Twisted REST Backbend REST
Dancer
Lunge

All Around Standing

REST Peak Pose REST Restorative REST
Flow Balance

Side Body
Core
REST REST Backbend REST & Forward REST
Flow
Bending

306
 HELP! MY B AC K B EN D S T O O MU C H &
I WANT TO S TR EN G T H EN MY C O R E!
My back bends too much...
• Some people are naturally tighter and want more bend. Others are
naturally bendy and want some stability! While backbends can still
be practiced in a way that adds strength AND flexibility, focusing on
powerful core and arm balance flows can fortify your mid section!
• Sub any of these with a Public Class or two!

Sun Mon Tue Wed Thur Fri Sat

Basic Sun Core Arm
REST REST REST REST
A/B Flow Flow Balance

All
Peak Pose
Around REST Backbend REST REST REST
Headstand
Flow

Side Body
Standing Core
& Forward REST REST REST REST
Balance Flow
Bending

All
Hip Arm
REST REST Around REST Restorative
Opener Balance
Flow

307
 YEA H… .I’M ONLY GO IN G T O D O T H IS 2 X A W EEK…
W e g e t i t . Yo u ’ r e B u s y . . .
• or maybe you have other kinds of fitness you focus on. That’s great!
Do try to stay active at least the majority of the week (4 days) to build
healthy habits, even if that just means on the other days you are doing
something like taking a long walk with your favorite furry friend!

Sun Mon Tue Wed Thur Fri Sat

All
Other Other
REST Around REST Restorative REST
Fitness Fitness
Flow

Other Basic Sun Other Core

REST REST REST
Fitness A/B Flow Fitness Flow

Other Other Hip

REST Backbend REST REST
Fitness Fitness Opener

Single
Other Other Peak Pose
REST Leg REST REST
Fitness Fitness Wheel
Balance

308
 YEAH … AC T U A LLY….
I ’M ONLY GOING T O D O T H I S 1X EA C H W EEK
Thanks for being honest...
• . . .w i t h yo u r s e l f ! Ev e r yo n e h a s t o s t a r t s o m e w h e r e , b u t d o t r y t o a d d
i n o t h e r f o r m s o f f i t n e s s 2 -3 a d d i t i o n a l d ays e a c h w e e k . T h a t c o u l d
be circuit training, running, walking, dancing wildly in your house,
anything! Just get moving. =)

Sun Mon Tue Wed Thur Fri Sat

Other All Around Other Other
REST REST REST
Fitness Flow Fitness Fitness

Other Basic Other Other

REST REST REST
Fitness Sun A/B Fitness Fitness

Other Other Other

REST Backbend REST REST
Fitness Fitness Fitness

Other Other Other

REST Restorative REST REST
Fitness Fitness Fitness

309
CLOSING

310
 HOW TO PROGRESS
W h i l e t h e g o a l o f Yo g a s h o u l d n e v e r b e t o a d v a n c e o r m a k e “ p r o g r e s s ” p e r s a y ,
we do think it’s reasonable to want to improve our physical condition and be the
healthiest that we can be. After all, we only have one beautiful body, so let’s take
care of it! Here are some final tips for moving forward on your mat.

S TA R T S L O W & L I S T E N TO Y O U R B O DY – This is a lot of information to take in.

Don’t burn yourself out. Instead, set reasonable goals. If you miss one, don’t give
up. Just jump back in. Each week or month, check in with yourself. Is it time to in-
crease your practice? Back off a bit? Get to know yourself and what you need.

SET ASIDE TIME TO P R ACT I C E – Progress comes from time on the mat. Schedule
it. No matter how busy you are. Even if it’s only 5 minutes of breathing. Make time
to take care of yourself so that you may be better prepared to take care of those
around you.

F I N D A N A C C O U N TA B I L I B U D D Y – F i n d i n g s o m e o n e t o p r a c t i c e w i t h , e v e n o n o c -
casion, can be fun and help you stay accountable. Thanks to the world of social
m e d i a , yo u d o n’ t ev e n n e e d t o b e n e a r yo u r p r a c t i c e b u d d y. C h e c k i n w i t h t h e m
regularly or even craft a light-hearted challenge for your little group.

G O TO P U B L I C C L A S S E S / W O R K S H O P S – Public classes allow you to see other

bodies in motion. In addition, they might touch on poses that are new for you, al-
low i n g yo u to ex p a n d yo u r p os e l i b ra r y a n d /o r l e a r n n ew c u e s t h at m i g ht b e e s-
sential for your learning style. And whether you’re struggling with a certain aspect
o r Yo g a o r y o u w a n t t o p r o g r e s s i n i t , s e e k o u t a w o r k s h o p o n t h a t s u b j e c t . C a l l
y o u r l o c a l s t u d i o , t a k e t h e t i m e t o e x p l a i n y o u r c u r r e n t Yo g a r o u t i n e , a n d s e e i f
they have recommendations for you.

T H E P OW E R O F P R I VA T E S E S S I O N S – I f y o u c a n m a k e t h e i n v e s t m e n t , s e e k o u t a
f ew p r i v a t e s e s s i o n s . T h e r e i s n o t h i n g l i k e o n e o n o n e t i m e w i t h a t e a c h e r. I t w i l l
be so helpful for your alignment within postures, and their hands-on adjustments
help you FEEL certain verbal cues in the body as well. Again, call your local studio
for recommendations or seek out online 1:1 trainings, which can be more afford-
able.

E X P LO R E O N L I N E O PT I O N S – These days, there are many online class/workshop/

series options. Once you know what style or aspect you’re interested in, seek out
additional learning opportunities. Our recommendations include: Cody App, Daily
Yo g a , o r e v e n e x p l o r i n g Yo uTu b e . I f y o u h a v e a f a v o r i t e t e a c h e r , r e a c h o u t t o t h e m
and see if they offer online classes or training.

311
 HOW TO PROGRESS
T E A C H E R T R A I N I N G – N o t e v e r y o n e w h o g o e s t o Yo g a T e a c h e r T r a i n i n g w a n t s t o
b e a t e a c h e r. M a n y j u s t w a n t t o f u r t h e r t h e i r ow n p r a c t i c e . T h e r e a r e a l s o m a n y
m i n i t r a i n i n g s , c o n s i s t i n g o f s p e c i f i c m o d u l e s , s o p i c k i n g s o m e t h i n g y o u ’d l i k e t o
wo r k o n c a n b e f u n a n d e a s y. C a l l yo u r l o c a l s t u d i o t o f i n d o u t a b o u t t h e i r t r a i n -
ings, ask your favorite teacher what they are offering, or even explore online train-
i n g s a n d m o d u l e s w i t h p r o g r a m s s u c h a s Yo g a D o w n l o a d . c o m .

FOCUS ON Y O U R J O U R N E Y – C o n t i n u e r e m i n d i n g y o u r s e l f t h a t Yo g a i s n o t a b o u t
an end posture. This is about the journey, the work you put in each time you’re on
the mat (and off of it).

N E V E R S T O P L E A R N I N G – W e a r e a l l s t u d e n t s . A l w a y s . E v e n Yo g a t e a c h e r s a r e
students. We must always hold this truth close to us no matter how advanced we
get. Be open to learning. Stay humble in your quest. Seek out growth.

312
 INSPIRATION STATION
We understand that sometimes it can be hard to stay motivated. There are good
days and bad. Sometimes it feels like we are going backwards. But it is always
worth stepping on the mat, even if just for a few minutes of tranquility and breath-
ing.

I f y o u ’ r e f e e l i n g s t u c k o r u n i n s p i r e d , c h e c k o u t t h e s e s t o r i e s f r o m Yo g a s t u d e n t s
& Yo g a t e a c h e r s s u r r o u n d i n g w h y o r h o w t h e y s t a r t e d a r e g u l a r Yo g a p r a c t i c e a n d
what it has become for them. Everyone’s journey is unique, but sharing our path
with others is always welcome.

313
 STEPH GÓNGORA
Yo g a a n d I h a d q u i t e a f e w c h a n c e e n c o u n t e r s b e f o r e i t o f f i c i a l l y c a m e i n t o m y l i f e o n a
regular basis about four years ago. We brushed sleeves throughout much of my youth,
w h e r e I wa s a n av i d g y m n a s t a n d a d a n c e r. A m i d s t t u m b l i n g , c o n d i t i o n i n g o n b a r s , a n d
pushing my toe pointe toward the earth, there were only a few coaches and teachers who
t a u g h t f l e x i b i l i t y , a n d e v e n f e w e r s t i l l w h o c a l l e d o u r m o v e m e n t s Yo g a .

B u t I r e m e m b e r i t h a l t i n g ly. Aw k wa rd ly h o l d i n g p o s t u r e s w i t h l o n g f u n n y n a m e s t h a t a l-
most mirrored certain poses we were already working on. Being told to “breathe like the
ocean”… whatever that meant. We giggled through meditation and fidgeted during Sav-
a s a n a , r e a d y t o g e t b a c k t o b o u n c i n g a ro u n d o n t h e t r a m p o l i n e f l o o r.

There have been times when I look back at this portion of my life and wish I would have
t a k e n t h e t i m e i n a s a n a m o r e s e r i o u s ly. B u t I s i m p ly wa s n’ t r e a d y. Ev e n d u r i n g c o l l e g e ,
w h e n I a t t e n d e d s o m e t r a d i t i o n a l H a t h a Yo g a c l a s s e s t o h e l p w i t h m y f l e x i b i l i t y f o r P o l e
Fitness, I found the slow movements boring, could not see how the stories they wove
about self-love and acceptance and the interconnections in the universe had anything to
do with holding this uncomfortable half squat position while we breathed forcefully (this
t i m e l i k e D a r t h Va d a r ) t h ro u g h o u r n o s t r i l s .

A n d s o I l e t i t g o . Yo g a l e f t m y l i f e c o m p l e t e l y a n d a f t e r c o l l e g e , s o d i d P o l e F i t n e s s . I
floundered for a good half decade, trying desperately to motivate myself to get active
each day, but the cardio and circuits and languid stretching I did at a variety of local
gyms did nothing to revive the hole in my soul that dancing and gymnastics had left.

In the end, I picked up Pole Fitness again, this time as a desperate attempt to resusci-
tate that passion I had once known when moving fluidly across a polished wood floor or
when tumbling high above the mat. I added in some new funky free-style practices like
A e r i a l Yo g a a n d A e r i a l H o o p i n a n e f f o r t t o c u l t i v a t e t h a t f i r e , b u t s t i l l m y t i m e i n t h e a i r
felt forced.

It was the beginning of the Instagram™ boom. As I sat trying to stretch my splits by any
means necessary (not recommended), I would scroll through the old Discover page for
new pole trick ideas and tutorials. Once, after falling deep down a hashtag rabbit hole, I
s t u m b l e d u p o n a “ Yo g a C h a l l e n g e . ”

B u t i t w a s n ’ t j u s t a n y Yo g a C h a l l e n g e . T h i s w a s @ F i t Q u e e n I r e n e ’ s o r i g i n a l # H a n d s t a n d -
Love challenge. Each day, there was a different handstand variation, including seemingly
impossible ninja-style moves like a lotus seat…upside down…in handstand. What?!?!

I was blown away, and continued digging through the #yoga hashtag feed, growing more
and more astounded at the wide array of postures that I had never seen or conceived of
b e f o r e , a n d t h a t I c e r t a i n l y h a d n ’ t p u t i n m y n e a t l i t t l e m i n d b o x c a l l e d “ Yo g a . ”

314
 STEPH GÓNGORA (CONT)
I h a v e n o s h a m e w h e n I s a y I c a m e i n t o Yo g a f o r t h e p h y s i c a l a s p e c t s a l o n e . I s a w t h i n g s
that looked like fun. They looked like gymnastics. They looked like dance. They looked like
my youth all jumbled together into one intricate practice that I knew I HAD TO MASTER.

Probably not the best attitude to enter into a centuries old study of self-acceptance, inner
divinity, and community building. But hey, it got me on my (newly purchased) mat every
d ay. T h e f i r e wa s b a c k , a n d t h i s t i m e i t wa s b a c k w i t h a h u n g e r I h a d n o t k n ow n b e f o r e .
There was a drive that started deep in my belly each morning and would slowly rise up to
my throat by evening when I would set aside time to practice.

I know now that I had been searching, desperately looking for a way to express myself
f u l ly. A n d n o t f o r a n yo n e e l s e , s i m p ly f o r m y ow n w e l l- b e i n g a n d t o c o m b a t t h e r e p r e s s i o n
that had been building for a good decade at the bottom on my gut.

Yo g a b e c a m e t h a t o u t l e t . I e x p l o r e d t h e w o r l d t h a t s o c i a l m e d i a h a d t o o f f e r , b u t q u i c k l y
moved on to all of the online classes and videos I could find where the movements in-
spired me. I took the bits and pieces that called out, that allowed me to FEEL something
in my movements, and I began to craft my own home practices.

315
 STEPH GÓNGORA (CONT)
I knew nothing about sequencing, had only the common sense and previous training in
gymnastics/dance that allowed me to place certain safety rules in my practice. But it was
wo r k i n g . I t wa s c h a n g i n g m e , a n d I d o n’ t m e a n j u s t p hys i c a l ly.

I found I had already forgotten about “mastering” this art form, and was content just to
enjoy it. I enjoyed progress, but no longer thrived on it. My mat became a refuge, a space
that was mine alone, and I rarely recorded my practice and only occasionally put up a
picture online with a hashtag or two.

W h i l e i t a l l s o u n d s s w e l l , I w a s s t i l l e n t r e n c h e d i n t h e p h y s i c a l a s p e c t s o f Yo g a , a n d w a s n ’ t
even giving them their due. I didn’t really Savasana because it felt boring, and I rarely did
anything restorative because how could I burn through my new found energy by sitting in
Half Pigeon for ten minutes? I went to the occasional class and even a workshop or two,
but my sequencing was sporadic. I had no over-arching goal or learning scheme in mind.

Quite honestly, things stayed this way until I attended my first full teacher training, deep
in the jungles of Nicaragua with Meghan Currie. I had long since admired the fluidity and
grace of Meghan’s movements, and thought that perhaps her spiritual and poetic side
would rub off on my stubbornly analytical and rational nature.

I may not have cultivated my spirituality during that month of countless classes in the
j u n g l e h e a t , b u t I c e r t a i n l y b i r t h e d a r e s p e c t f o r t h e p r a c t i c e o f Yo g a i n g e n e r a l . I l e a r n e d
the basics of sequencing, honed alignment, listened to Meghan wax poetically during
flow and restorative classes, and for the first time, looked forward to the full exhaustion
and release of Corpse Pose.

I went home a changed person, there’s not doubting that. But I still had no desire to
t e a c h , a n d I s t i l l f e l t e m p t y w h e n i t c a m e t o s o m a n y o f t h e o t h e r b r a n c h e s o f a Yo g i c
life. I kept unrolling my mat in hopes that one day I would have an epiphany, a psychic
bloom, something that would awaken some hidden pieces of myself that I could almost
feel, hiding in the background.

Spoiler Alert. I never had that epiphany, and I think that’s a lesson in and of itself. I kept
feeling c a l l e d t o m y m a t . S o m e d ays i t wa s a ro a r , o t h e r s , j u s t a w h i s p e r. I c o n t i n u e d ex-
ploring my own yearnings, as well as adding the information gleaned from teacher train-
ing and further education.

I went on to study with many more teachers, including Christina Sell in San Marcos, TX.
Something about her teaching style spoke to me. It was the opposite of Meghan, despite
being trained in the same lineage. Where Meghan was water in essence, swooping and
soaring through every movement, Christina was stone, sharp and exacting. She broke
down postures so intricately and sequenced with such expertise that my mind was usu-
a l ly b l ow n at l e a s t 2 -3 t i m e s p e r t ra i n i n g s e s s i o n .

But the strangest part for me was, despite her sarcastic and analytical personality, she
was a very spiritual person. We performed Puja (offering) ceremonies, we sang mantra,
we journaled, we chanted, and we shared our rawest insides with the room. It was scary…
but I also liked it.

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 STEPH GÓNGORA (CONT)
While there was never a singular event that broke me out of the cage I had built for
myself, studying with Christina, and later Erinn Lewis, helped me recognize something.
There are many routes to spirituality, and spirituality also looks different on different
people.

Here I was wondering why velvet words didn’t drip from my mouth like Meghan, and why
I wasn’t inspired to research ancient Hindu goddesses like so many of my peers. Just like
all those years of forcing myself into the gym to listlessly perform circuits and take my
15 minutes on the elliptical, here I had been trying to spoon-feed myself someone else’s
version of enlightenment. Someone else’s spiritual refuge.

I ’ l l n e v e r b e t h a t e m o t i o n a l Yo g a t e a c h e r w h o h u g s e v e r y o n e a n d o r g a n i z e s s e q u e n c e s b y
Chakra. There is nothing wrong with them, and in fact, I will admire anyone who genuinely
does that, as well as probably take their class! That used to bother me, but it’s doesn’t
a n y m o r e . M y Yo g a , w h i c h s t a r t e d a s s o m e t h i n g e n t i r e l y p h y s i c a l , h a d s l o w l y d e v e l o p e d
into something more, even if that more was simply acknowledging that I could be true to
my own nature, that I didn’t need to emulate the inner voices of anyone else.

To d a y , m y Yo g a i s m u c h d i f f e r e n t t h a n i t f i r s t w a s . O n t h e p h y s i c a l s i d e , i t ’ s m u c h m o r e
thoughtful, careful. I still value and cherish my Authentic Movement practice, but I also
structure in specific warm ups, strengtheners, and cool-downs. I never skip Savasana
( t h a t ’ s t h e b e s t p a r t ) , a n d I l i s t e n t o m y b o d y , w h i c h b e c o m e s e a s i e r d ay by d ay.

Off the mat, things have changed and I have no doubt they will continue to evolve. There’s
the obvious differences like moving with more awareness. Better posture and less pain.
But there’s also other aspects, vibrating right under the surface.

I might not do daily Puja and I might never offer fire ceremonies to the sacred feminine,
but there’s a feeling of centering, of acceptance for who I am. A small flower of content-
ment that lives just beneath my sternum and seems to allow me to step back from situa-
tions, process, and only then, react.

I feel more connected to the world around me, both it’s inhabitants and elements. It might
sound silly, and at this point, I have trouble even putting some of these changes into log-
i c a l w o r d s a n d p h r a s e s . B u t t h e r e ’ s a s e n s e o f c o m m u n i t y t h a t Yo g a h a s h e l p e d m e b u i l d .
Confidence that I personally can build my community how I see fit. Knowledge that there
are so many fascinating people out there, all on their own journey, and acceptance that
o n ly s o m e o f t h e m f i t i n t o m y s t o r y. T h a t ev e n o u r d i s c o n n e c t i o n i s a c o n n e c t i o n i n t h e
ultimate web of things, and that I must continue to work on myself should I want to be of
any assistance to others.

I g u e s s w h a t I ’ m t r y i n g t o s a y i s t h a t Yo g a h a s i n f i l t r a t e d e v e n t h e s m a l l e s t r o o m s o f m y
life. How I move, how I think, how feel, how I act in this world and with the people that
inhabit it. There is still so much growing to do, and I look forward to it with the reverence
and respect it deserves.

S T E P H G Ó N G O R A • @ CA SA _ C O L I B R I • W W W . CA SA - C O L I B R I . C O M

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 DAVINA DAVIDSON
Oddly, my relationship to a regular prac-
t i c e c a m e a f t e r b e c o m i n g a Yo g a t e a c h e r .
Prior to being a teacher, I would practice
randomly and even at the beginning of my
teaching career, my practice was super
random. It wasn’t until one day when I was
demoing crow pose, and I literally could
not breathe that I realized that I was being
a serious hypocrite. I was preaching self-
care, practice and all is coming, and all of
the fun phrases, yet I was not doing the
work for myself.

I was so embarrassed about how out of

“shape” I was that I refused to practice at
my own studio because I didn’t want my
peers or students to see me struggle! Ego.
To m a k e t h i n g s m o r e c o m p l i c a t e d , a s a s i n g l e p a r e n t p a y i n g f o r a b a b y s i t t e r w a s n o t a n
option… thus Instagram!!! This is actually how I found Steph. Her practice along with many
o t h e r s i n s p i r e d m e t o g e t o n m y m a t E V E R Y D A M N D AY. I t ’ s g o i n g o n t h r e e a n d a h a l f
y e a r s o f a d a i ly p r a c t i c e , a n d I h av e n ev e r f e l t b e t t e r. I a m m o r e c o n n e c t e d t o m ys e l f a n d
others than I have ever been. My practice has taught me how to support myself physical-
ly, mentally, and emotionally, and most importantly, how to love myself.

D AV I N A D AV I D S O N

@ Y O G AW I T H D AV I N A

W W W . Y O G AW I T H D AV I N A . C O M

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 LAMISE MANSUR
I k n e w o f Yo g a a t a n e a r l y a g e , b u t w a s n e v -
er inspired to start a regular practice un-
til I reached college. I kept coming across
p e o p l e o n l i n e t h r o u g h Yo uTu b e v i d e o s a n d
Fa c e b o o k ( I n s t a g r a m w a s n o t a r o u n d y e t )
whose practice looked to me like pure
art. Others I stumbled upon in person who
made it just downright “cool” with all the
arm balances and yogic wisdom.

I became curious about the practice and in-

spired to learn. Growing up, I always shied
away from team sports and any kind of
c o m p e t i t i o n . W h e n i t c a m e t o Yo g a t h o u g h ,
there was no competition except with my-
self. I loved that. I felt safe, and through
that safety I was able to explore my body’s
c a p a c i t y. Ev e r y t i m e I p r a c t i c e d , I s u r p r i s e d
myself with the strength I was building ei-
ther mentally, physically, or emotionally,
and that kept me coming back to my mat
week after week and eventually, day after
d ay.

The practice brought light to a rather dark

time in my life. I would look in the mirror
a n d j u s t h a t e t h e p e r s o n I s aw. A c u l m i n a t i o n t h ro u g h y e a r s o f n ev e r f e e l i n g l i k e I “ f i t i n ”
at school mixed in with hurtful words from several girls and a few heartbreaks was plen-
ty to send me down a spiral of total insecurities. I truly believed that my body was “not
enough,” and therefore, I would never be enough.

Practicing yoga was the only time I forgave myself from all that hurt. It was the only time
I f e l t s o m ew h a t o k i n m y b o d y. I t to o k a l o t o f p r a c t i c e a n d l e a r n i n g f ro m m y t e a c h e r s to
t r u ly u n d e r s t a n d t h a t I wa s s o m u c h m o r e t h a n m y b o d y. T h a t m y p hys i c a l a p p e a r a n c e
was merely one of many facets that comprised my entire being.

To t h i s d a y , Yo g a i s s t i l l v e r y m u c h a h e a l i n g p r a c t i c e f o r m e . I t ’ s m y “ m e t i m e , ” m y p l a y
time, my blow-off-some-steam time, and my “I just need some down time.” I think that’s
t h e b e a u t i f u l t h i n g a b o u t Yo g a ; i t c a n b e w h a t e v e r y o u n e e d w h e n e v e r y o u n e e d i t . A n d
the only tool required is your breath.

LAMISE MANSUR

@LAMISE

LAMISEM@GMAIL.COM

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 ERINN LEWIS
Not knowing what life will offer us in between each practice time makes each breath we
give our attention to vital to cultivating emotional, spiritual, mental, and physical resil-
i e n c y. I b e g a n m y p hys i c a l p r a c t i c e a s a r e p r i ev e f ro m a n x i e t y a n d d e p r e s s i o n , a n d a s a
way to be kinder to myself from years of bulimia, compulsive over eating, and anorexia.
I t wa s n’ t e a sy. I h a d s o m a n y l ay e r s o f r e s i d u e t h a t b l o c k e d m e f ro m s e e i n g m ys e l f a n d
o t h e r s i n a c l e a r way. I wa s s t u b b o r n , j u d g m e n t a l , a n g r y , a n d a f r a i d m o s t o f t h e t i m e .

Those first years of practice were still one

more way to get high, manipulate, com-
pete, numb out, and avoid feeling and
healing. One day, someone I loved told me
I was an addict, and I was going to die. I
raged inside, and yet, deep down, I knew
he was right. Even if my body were to keep
g o i n g , ev e n i f o n t h e o u t s i d e n o o n e k n ew. . .
inside, I was dying.

That was the moment my practice changed.

I began sitting quietly and using prayer; I
surrendered instead of forced, and many
days, that would open me to tears or breath
work in Child’s Pose, or wrapped myself in
a blanket to rest for half the class if that’s
what I needed. I began to deeply listen IN.
And I began to trust myself. There was a
quiet, steady, clear voice within me that
wasn’t trying to micro -manage, control,
or lead from fear or jealousy, but from a
place of deep okayness. I was ready to
stop holding on for dear life.

As I got quieter, I could hear more, feel

more, and for the first time, live my life
i n m o r e g e n u i n e way. N o l o n g e r a s l av e to
my emotions, I could see I was not in com-
petition with anyone else; it was okay to
be kind, and it was okay to speak truth. It was also okay that not everyone liked me. The
resiliency that my practice has gifted me also gifts my daughters. This part is the most
special. I get to see, in my own lifetime, a new way of being that is slowly untangling
c y c l e s o f s a m s a r a f ro m m y a n c e s t r y. A n d m y c h i l d r e n s e e t h e i r m a m a m o d e l i n g a l ov i n g ,
clear, honest way of being.

My practice is quieter than before. I’m no longer looking to get high. I’ll do short se-
quences based on my emotional needs, or to move energy in my body so I’m grounded
a n d ava i l a b l e f o r p e o p l e i n m y l i f e . I y i n a n d b r e a t h e . I m e d i t a t e ev e r yd ay. I t l o o k s l i k e
prayer, and brushing my daughters’ hair, listening to my grandmother describe how she’s
baking a cake, the same cake she’s been baking for 30 years. It looks like teaching from
the well of my own life and not being afraid to be seen as imperfect and human.

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 ERINN LEWIS (CONT)
W h a t I h a v e c o m e t o k n o w o v e r 1 8 y e a r s o f p r a c t i c e i n a l l i t s f o r m s i s t h i s : Yo g a i s n o t a
t h i n g y o u d o , i t i s w h o y o u a r e . Yo g a i s n ’ t a b o u t u n d o i n g o r d o i n g , f i x i n g o r m a k i n g b e t t e r ,
Yo g a i s a b o u t b e i n g a n d p a y i n g a t t e n t i o n . I t h a s n o t h i n g t o d o w i t h t o u c h i n g o u r t o e s o r
balancing upside down. And everything to do with being seen and seeing from our awak-
ened hearts.

W e d o n’ t h av e to d o i t p e r f e c t ly . . . t h e r e’ s r e a l ly n o way to d o i t p e r f e c t ly. A n d w e c a n
g i f t o u r s e l v e s a n d e a c h o t h e r m o m e n t s o f Yo g a a l l d a y l o n g . B y b e i n g w i l l i n g t o b e s e e n
o r p a u s i n g l o n g e n o u g h t o l i s t e n t o s o m e o n e s h a r e . To t a k e a c h a n c e a t s h a r i n g o u r s e l v e s
w i t h o u r w h o l e h e a r t s a n d t o o f f e r o u r a t t e n t i o n i s t h e Yo g a . I d o m y b e s t t o h u m b l e m y
ego, stay teachable, and listen for the message in the circumstances and conditions that
life brings without seeing those circumstances or conditions as a threat or a promise.

I still have daily moments where I fall back into being afraid and confused. What’s changed
i s t h a t I d o n’ t b a i l o u t o n m ys e l f w h e n I f e e l t h a t way. M y t e a c h e r r e m i n d s m e to c o n t i n -
u e t o c u l t i v a t e m y w a r r i o r h e a r t a n d t a k e i t o n e d a y a t t i m e . To d a y , i t ’ s n o t a b o u t g e t t i n g
high, it’s about getting free.

My offering to you is start where you are, as you are, with compassion for the human
being that unrolls the yoga mat or settles on to the meditation cushion, with all of your
humanity and divinity wrapped into one.

May all beings, including you and including me, be happy, healthy, and free.

Love,

Erinn Lewis

@ S U K H A Y O GA A U S T I N

ERINNLEWIS.COM

S U K H A Y O GA A U S T I N . C O M

FB ERINN LEWIS O GA

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 SOFIAH THOM
M y l o v e f o r Yo g a d i d n ’ t c o m e e a s y . B e i n g a d a n c e r , a l r e a d y c o n n e c t e d t o m y b o d y , I h a d
a f e e l i n g t h a t I w o u l d L O V E Yo g a , y e t i t t o o k y e a r s o f t r i a l a n d e r r o r w i t h d i f f e r e n t t e a c h -
ers until I actually “got it”!

T h e f i r s t e x p e r i e n c e o f Yo g a w a s i n c o l l e g e a t a g e 1 9 . A t t h e t i m e , I j u s t c o u l d n ’ t r e l a t e t o
the snorting noises my teacher would make in this “thing” she called the “breath of fire.”

I w o r k e d w i t h m y s e c o n d Yo g a t e a c h -
er at Naropa University, where we
spent the entire year learning how
to breathe. I don’t even recall do-
ing asana! Needless to say, being a
mover, I got bored. I simply could not
r e s o n a t e w i t h Yo g a a s o n l y b r e a t h .

In 2000, after Graduating from Naro-

pa in Dance Therapy, I went on a jour-
ney to India to study Temple Dance
a n d Yo g a . T h e r e I f o u n d a R u s s i a n
Ta n t r a T e a c h e r i n R i s h i k e s h w h o w a s
hugely popular with the foreign trav-
e l e r s , a n d I d o v e i n t o a Yo g a i m m e r -
sion with him. It was here that I was
f i n a l l y a b l e t o r e s o n a t e w i t h t h e Yo g a
teachings and understand why the
breath is so important. I could feel
my breath linked with movement. I
connected to the asana and the phi-
l o s o p h y o f Ta n t r a a n d b e g a n t o f e e l
myself evolving in my practice.

A few weeks into my immersion, I

discovered that some of the trainees
w e r e h av i n g s ex w i t h o u r t e a c h e r ! I f e lt t h e t e a c h e r wa s t a k i n g a dva nt a g e of h i s l e a d e r-
ship role by sleeping with students who looked up to him as a guru. The discovery raised
a r e d f l a g f o r m e a n d a g a i n m a d e m e q u e s t i o n Yo g a .

This teacher made me realize I was not into guru worship, but instead more into under-
standing the divinity within myself. I took this as a sign to leave the ashram and continue
o n m y p a t h . I w e n t o n m y w a y a r o u n d I n d i a a n d c r e a t e d m y o w n d a i l y Yo g a p r a c t i c e f r o m
what I had learned combined with my innate wisdom.

In my own practice, I got to experience moments of bliss and samadhi, as they call it in
Yo g a . I r e c o g n i z e d t h e g u r u w i t h i n m y s e l f a n d t h e i n n e r g u i d a n c e t h a t i s a l w a y s h e r e
within.

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 SOFIAH THOM (CONT)
Y e a r s l a t e r , I d i s c o v e r e d A n u s a r a Yo g a , a n o t h e r f o r m o f Ta n t r a Yo g a , w h i c h r e g a r d s t h e
body as a tool for the divine. The first principle is to “open to grace,” and as soon as I
f e l t t h i s p r i n c i p l e i n m y b o d y , I k n e w t h i s w a s m y Yo g a ! I w a s a l r e a d y t e a c h i n g g u i d e d
movement classes I called “Embody Grace”. The parallels of Anusara and my personal
practice inspired every cell of my body to say YES to Anusara and to going deeper on this
p a t h o f Yo g a a n d e v e n t u a l l y b e c o m i n g a t e a c h e r a n d e v e n a t e a c h e r ’ s t e a c h e r .

I trained in Anusara and witnessed my personal practice and teaching evolve in an organ-
i c f u s i o n o f Yo g a a n d d a n c e . O v e r t h e y e a r s , I d e v e l o p e d m y o w n s t y l e o f Yo g a i n c o r p o r a t -
i n g e x p r e s s i v e h e a l i n g a r t s , d a n c e t h e r a p y , Ta n t r a Yo g a , a n d g o d d e s s embodiment. I now
offer a certification program in Temple Body Arts™ for women on the path of awakening.

T h e e v o l u t i o n a r y p a t h o f Yo g a c o n t i n u e s t o h e l p m e g r o w i n t o m y f u l l p o t e n t i a l . M y l o v e
f o r Yo g a l e d m e t o c r e a t e D a n y a s a Yo g a R e t r e a t h e r e i n C o s t a R i c a w i t h m y h u s b a n d a s a
space to support others in transformation and awakening through yoga and healing arts.

SOFIAH THOM

WWW.SOFIAHTHOM.COM

W W W . D A N YA S A . C O M

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 SYDNEY RING
I s t a r t e d m y Yo g a p r a c t i c e i n a n e f f o r t t o h e a l f r o m t h e w o r s t b o u t o f d e p r e s s i o n I h a d
ever faced, after the loss of my grandmother - to whom I was very close. She was the
Matriarch of my family, and one of my biggest role models. Losing her was a shock to my
system. However, one of the things I admired most about her was her joyful spirit, and her
desire to always keep learning. I vowed to honor her life with my own, and so my journey
to self-awareness began.

It was not an easy start. I was for-

tunate enough to have people I love
e n c o u r a g e m e t o g o t o Yo g a c l a s s -
es with them. Looking back, I am so
proud of myself for even showing
up to those first few, as I clearly re-
member the anxiety and dread I felt
preparing to go to the studio.

Many of us come into our practice

because of a trauma or loss, such as
I did, and it makes for a much more
emotionally challenging battle than
a physical one. Ego tried again and
again to take control of my practice
until I attended my teacher training -
about 1.5 years into my regular prac-
tice. It was transformational, incred-
ibly humbling, and enlightening. It is my passion as a teacher to remain an enthusiastic
student, ever eager to explore the boundaries of my practice and my mind. My asana
(physical) practice has evolved many times already in the small amount of time I have
b e e n l i v i n g m y Yo g a , a n d I a n t i c i p a t e i t w i l l d o s o m a n y t i m e s m o r e b e f o r e m y t i m e i s u p .

It has become so much more than an hour long practice on a rubber mat. It is a way of
life. By practicing kindness and mindfulness in my every day interactions with others,
self-discipline and moderation in my lifestyle choices, and honoring my physical body in
w h a t e v e r w a y i t n e e d s , I L I V E m y Yo g a . F i n d i n g t h e p r a c t i c e a n d w a y o f Yo g a h a s h e l p e d
me to begin to return to my true self; joyful, playful, affectionate, and enthusiastic about
w h a t l i f e h a s t o o f f e r.

SYDNEY RING

@ I N L OV E W I T H A B EE R N E R D

Y O G A W I T H S Y D N E Y AT X@ G M A I L . C O M

FB Y O GA W I T H S Y D N EY

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 SAVANNAH GONZALEZ
Yo g a b e g a n t o w e a v e i t s w e b a r o u n d m e i n m i d d l e s c h o o l a n d h a s c o n t i n u e d t o u n v e i l
i t s d i f f e r e n t s t r a i n s o f m e d i c i n e e v e r s i n c e . T h e w a y i n w h i c h I ’ v e e x p e r i e n c e d Yo g a h a s
taken different forms - first as an outlet of movement in the midst of a depression, then
as a way to root down when I felt a wave of anxiety, and now as therapeutic routine to
restore my shoulder after a car accident.

A s I c a m e u p o n t h e n e e d f o r t h e d i f f e r e n t l i m b s o f Yo g a a t d i f f e r e n t t i m e s . I b e g a n t o
r e a l i z e t h a t Yo g a i n a n d o f i t s e l f s h o u l d b e a n i n d i v i d u a l i z e d p r a c t i c e f o r e a c h p e r s o n .
I i m a g i n e d h o w m u l t i f a c e t e d I w a s , a n d t h e n c o n s i d e r e d h o w m u l t i f a c e t e d Yo g a a n d i t s
s i s t e r s c i e n c e - A y u r v e d a - w a s . I k n e w i f I w a s t r u l y u s i n g Yo g a t o b e i n b a l a n c e w i t h
m y s e l f a n d m y e n v i r o n m e n t , i t w a s i m p o r t a n t t o f i n d t h e p e r f e c t Yo g a f o r m e r a t h e r t h a n
the sugary spoonful everyone else was ingesting.

The combination of my own experience and yearn to be a part of the healing field has led
me to the lineage of TKV Desikachar, son of Krishnamacharya.

Whether you practice Ashtanga, Sivananda, Iyengar, or Viniyoga (vinyasa), Krishnamach-

arya was the source of the original teachings. It blows my mind how one person’s teach-
ings have cued so many different practices. I’m humbled to have landed under a direct
s t u d e n t o f T K V. H i s w a y o f t e a c h i n g i s d o n e b y a s s e s s i n g s t u d e n t s t h r o u g h t h e p a n c a m a y a
model, and then giving them a unique combination of pranayama, asana, meditation, vi-
sualization, and chanting.

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 SAVANNAH GONZALEZ (CONT)
F o r t h e p a s t y e a r a n d a h a l f , I h a l f b e e n s t u d y i n g t o b e c o m e a Yo g a T h e r a p i s t a n d w i l l
c o n t i n u e t o d o s o u n t i l I ’ m a p p r o v e d b y t h e I AY T ( I n t e r n a t i o n a l A s s o c i a t i o n o f Yo g a T h e r -
apists). I’m 500 hours deep into the therapeutic applications of yoga, and I’m just now
b e g i n n i n g t o s e e c l i e n t s i n a Yo g a t h e r a p y c l i n i c .

What started out as an asana practice is quickly turning into a way for me to teach in-
dividuals how to support themselves through obstacles such as chronic pain, stress &
fatigue, anxiety, depression, and digestion. My passion lies in the field of healing for the
sake of natural expression. Whether you want to express yourself through writing, music,
Yo g a a s a n a , o r s o m e o t h e r m e d i u m , p r a n a s h o u l d b e m o v i n g f r e e l y e n o u g h t h a t y o u a r e
able to.

I think it’s beautiful that we don’t need extreme strength or flexibility to practice touch-
i n g u p o n t h e i n n e r w o r k s o f o u r s e l f . B u t i f w e w a n t t o e n t e r a d v a n c e d a s a n a s , Yo g a o f f e r s
the opportunity for us to enjoy that in a healthy way as well.

S AVA N N A H G O N Z A L E Z

@ S AVA N N A S A N A

W W W . S H A K T I Y O G AT H E R A P Y . C O M

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 ERIN KELLY
M y Yo g a j o u r n e y s t a r t e d i n 2 0 0 1 , b u t I h a d m a n y s t a r t i n g a n d s t o p p i n g p o i n t s a l o n g t h e
w a y a n d s i n c e t h e n . I f e l t Yo g a w a s s o m e t h i n g m y m i n d a n d b o d y n e e d e d , b u t I w a s o n l y
able to digest bits and pieces over the years.

I didn’t realize it at the time, but I was planting the seeds for future growth. My dai-
l y Yo g a p r a c t i c e t r a n s c e n d e d i n 2 0 1 2 a s I w a s r e c o v e r i n g f r o m a b a t t l e w i t h s u b s t a n c e
abuse. As my body cleansed, my practice flourished.

The importance of daily meditation, coupled with a desire to build a relationship with my
breath to movement, allowed for a deeper understanding of how to heal myself from the
inside out.

E R I N K E L LY

@ E R I N K E L LYA R T

W W W . E R I N K E L LYA R T . C O M

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 PETER MALDONADO
M y J o u r n e y w i t h Yo g a s t a r t e d a b o u t 2 - 3 y e a r s a g o . A t t h e t i m e , I w a s a b o u t 5 y e a r s s o b e r
from alcohol and hard drugs. I was blessed to get sober at an early age, but I came to a
point in my recovery where I was starting to get “stale” with my spiritual practices. I was
an avid weight lifter, and I had always separated my physical exercise from my spiritual
p r a c t i c e s . O n e d a y a v e r y c l o s e f r i e n d o f m i n e i n v i t e d m e t o a Yo g a c l a s s , a n d f r o m t h e
very first class, I was hooked.

This was exactly what I was looking for; something to challenge me physically, yet also
expanding my spiritual practice. I quickly
b e c a m e i n v o l v e d i n t h e Yo g a c o m m u n i t y
in Austin, Texas, and was greeted with so
much love and acceptance. And the best
part of it was that I felt NEW again. New to
my recovery, new to my spiritual practice.

W h e n I s t a r t a Yo g a p r a c t i c e , I f e e l t h e s h i f t
in my demeanor from the first breath; some-
thing as simple as breathing and having a
teacher guide the practice does so much
for me. I don’t know how many times I’ve
l e a r n e d l i f e l e s s o n s w h i l e o n m y Yo g a m a t ,
whether that’s letting go, getting vulnera-
ble, learning to back off, learning to push
through, and discovering new strengths, as
well as over all self discovery through my
practice.

I a m s o g r a t e f u l f o r t h e Yo g a p r a c t i c e , e s -
pecially since I’ve witnessed people in re-
covery relapse after being sober for multiple years. I’m not sure if I was heading towards
a r e l a p s e b e f o r e I f o u n d Yo g a , b u t I c a n t e l l y o u t h a t i t r e n e w e d m y s p i r i t u a l i t y a n d h a s
c a t a p u l t e d m e i n to a d e e p e r u n d e r s t a n d i n g o f m y s p i r i t a n d b o d y.

PETER MALDONADO

@ T X S O B E RYO G I

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 VICTORIA HUGHES
M y j o u r n e y t o Yo g a c a m e t h r o u g h m a r t i a l a r t s . F o l l o w i n g i n t h e f o o t s t e p s o f m y o l d e r
brother, who was a champion fighter, I began a martial arts practice at age ten. What
ev e n t u a l ly c a m e to p a s s wa s a d h a r m i c j o u r n ey. O u r t e a c h e r to o k g r e a t c a r e to t e a c h
principles of energy and movement. This included how to calm the mind, meditate, and
connect to our inner wisdom. He taught that our opponent is a reflection of ourselves,
a n d t o h o n o r a n d r e s p e c t yo u r o p p o n e n t a s yo u r g r e a t e s t t e a c h e r.

I dedicated years to hard practice and competition. It was where I felt strong, and where
I r e c e i v e d m y d h a r m a , b u t i t wa s s t a r t i n g to h u r t m y b o d y. T h e h a rd c o r e d i s c i p l i n e i n h i -
erarchy and combat psychology was also starting to affect my mind.

E v e n t u a l l y , I e n d e d u p w o r k i n g i n N e w Yo r k C i t y a n d i n a n o t h e r m a r t i a l a r t s s t u d i o t r a i n -
ing to compete. These people were fierce. We weren’t looking in the mirror anymore. We
w e r e j u s t p h ys i c a l ly h u r t i n g e a c h o t h e r. I c a m e t o t h e e n d o f t h i s d h a r m i c p a t h . S o , I l e f t .
N ow w h at ? Jo i n a g y m ? Y e s . I d i d . A n d t h e g y m of f e r e d YO G A . It wa s t a u g ht by a p e a c e f u l
and flexible old man.

He wore short shorts and his testicles were totally visible. I spent a lot of time in class
wondering if he knew this, and then bringing my awareness back to my breath. This was
1 9 9 7. I w a s 2 7. I w a s i n n e e d o f a d i s c i p l i n e t h a t c o m b i n e d a p h y s i c a l a n d s p i r i t u a l p r a c -
tice. I craved inspiration and meaning. Something truthful. It was the beginning of my
j o u r n e y t o Yo g a .

I ’ v e p r a c t i c e d m a n y d i f f e r e n t s t y l e s o f Yo g a o v e r t h e l a s t t w e n t y y e a r s . I p r a c t i c e d Yo g a
t h ro u g h b o t h o f m y p r e g n a n c i e s , a n d i t h e l p e d m e to f e e l s t ro n g i n m y b o d y. I f e l t s u r-
p r i s i n g l y e m p o w e r e d i n s t e a d o f v u l n e r a b l e . W h a t I l o v e m o s t a b o u t Yo g a , t h e d h a r m a
t h a t r e a l l y d r e w m e i n , i s t o n u r t u r e a n d h o n o r m y s e l f i n e v e r y m o m e n t . Yo g a h e l p e d m e
release a need inside that wanted to please other people, to push my body further than
it was willing to go, and to release the conditioning of doing what I am told to do. I sud-
denly had control over everything in my life. This seemingly simple practice on the mat
of honoring myself on my journey transitioned into other aspects of my life and gave me
the confidence to say “no” when “no” is my highest good.

The dharma of martial arts had paved the way to a visceral understanding of energy and
a s t r o n g s p i r i t u a l p r a c t i c e , a n d Yo g a h a s e x p a n d e d t h i s p a t h w i t h f o r g i v e n e s s , k i n d n e s s ,
and compassion.

I n t h e b e g i n n i n g , I h a d n ’ t c o n s i d e r e d t h a t m a r t i a l a r t s o r Yo g a w o u l d b e c o m e a w a y o f l i f e .
To d a y , t h e d h a r m a I c o n t i n u a l l y s e e k i s u n f o l d i n g a n d t e a c h i n g m e o n a j o u r n e y t h r o u g h
Yo g a . M u c h l o v e a n d p e a c e o n y o u r j o u r n e y s . N a m a s t e .

VICTORIA HUGHES, RN

W W W . E L E M E N T R E I K I YO GA . C O M

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 FURTHER INSPIRATION
“ I s t r u g g l e d t o f i n d a n y s o r t o f f i t n e s s ro u t i n e p o s t h i g h s c h o o l ( a f t e r p l a y i n g s p o r t s ) . I ’d
d o t h i n g s h e r e a n d t h e r e b u t n o t h i n g s t u c k . A b o u t 2 . 5 y e a r s a g o , I t r i e d o u t a Yo g a c l a s s
again and not only loved the fact that it focused on showing myself what my body was
capable of – its potential – but also the amazing mental health benefits. Not only am I
stronger and healthier than I’ve ever been, but I’m happier and deal with the stress of
my doctoral program (and the abyss of post PhD life) in a way that I know wouldn’t have
b e e n p o s s i b l e w i t h o u t Yo g a . I t ’ s d e f i n i t e l y c h a n g e d m y l i f e , w h i c h i s a b i g p a r t o f w h y I ’ l l
be doing YTT starting Feb!” @ P H DYO G I

“ I s t a r t e d Yo g a l a s t y e a r o n J a n u a r y 1 s t , a s a N e w Y e a r R e s o l u t i o n ( l a m e … I k n o w ) . I w a n t -
ed to just look healthier, but it has transformed my daily life in SO many ways. I am now
healthier, more open to new things. I now practice every single day and will continue
to do so for the rest of my life. I have fallen in love with getting to know how my body
moves and wants to function. With the help of some amazing people on Instagram™, it
has helped me grow my practice and learn new skills! I am planning on getting my YTT
this year, 2017, and begin teaching at my local studios and hopefully, my end goal is to
o w n a Yo g a s t u d i o w h e r e I c a n s h o w t h e w o r l d j u s t h o w a m a z i n g Yo g a i s , f o r e v e r y o n e a n d
ev e r y b o d y. ” @ T I N Y . K I R S T Y

“When I first started, it was off and on, but then this past spring (2016) is when I dras-
t i c a l l y c h a n g e d m y l i f e s t y l e . I b e c a m e V e g a n a n d i n c o r p o r a t e d Yo g a i n t o m y d a i l y p r a c -
tice. I just loved the self-discipline, and how it makes me feel. It has helped me with my
self-acceptance, and has given me both mental and physical strength. Namaste.”
@ N A M A S T AY 5 2 8

“ I c o m p l e t e l y f e l l i n l o v e w i t h Yo g a 2 y e a r s a g o a f t e r n e e d i n g s t r e s s - r e l i e f i n m y l i f e a n d
to reconnect with myself! It calms my mind and brings me to a place of peace and se-
r e n i t y . Yo g a t e a c h e s m e p a t i e n c e a n d h u m i l i t y w h i l e s t r e n g t h e n i n g m y m i n d a n d b o d y .
Namaste.” @ A N I K E LG I N

“ I s t a r t e d Yo g a f r o m s i m p l y s t r e t c h i n g a f t e r m y w o r k o u t s . O n c e I f e l l i n l o v e w i t h s t r e t c h -
i n g , I t u r n e d t o Yo g a a n d w a s o p e n e d t o a n o t h e r s i d e o f m y b o d y . I h a v e o n l y b e e n p r a c -
t i c i n g Yo g a f o r a f e w m o n t h s , b u t i t w i l l b e a l o n g - t e r m l i f e s t y l e f o r m e i n d e f i n i t e l y . Yo g a
g i v e s m e t i m e to m ys e l f to r e f l e c t + m y b o d y b e n e f i t s g r e a t ly. S l ow ly l e a r n i n g w i t h f o c u s
has given me the best outcomes.” @ B R I TT _ L I V I N G _ F I T

“ M y Yo g a p r a c t i c e h a s h e l p e d m e b u i l d a n a p p r e c i a t i o n f o r m y b o d y a n d i t s p o w e r i n s t e a d
of view it as a burden or something that held me back in life. Just a few years ago, I would
have found it impossible to hold this view point, but as I get deeper into my practice, I
connect with my healthy mind and goals on a deeper level as well.” @ C E C E O H 4

“ I s t a r t e d Yo g a s o t h a t I c o u l d b e a b e g i n n e r a g a i n . A f t e r w e i g h t l i f t i n g f o r c l o s e t o a d e -
cade, I was beginning to have expectations of what numbers I should be hitting each day,
and I was punishing myself if I wasn’t hitting them. When I step onto the mat, I have no
expectations of myself, and I’ve made my practice just about feeling myself instead of
f i g h t i n g m y s e l f . ” @ J AY C I L O O W H O

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FURTHER INSPIRATION (CONT)
“I saw pictures of people doing really cool “fancy” asanas on Instagram™ and that left me
wo n d e r i n g i f I co u ld d o t h e s a m e o r n ot . T h at c u r i o u s i ty o p e n e d a d o o r to a w h o l e d i f f e r-
e n t w o r l d a n d l i f e I n e v e r t h o u g h t I w o u l d b e l i v i n g . Yo g a p r a c t i c e i s n o t j u s t a “ w o r k o u t ”
for me (yes, it has made me physically and mentally stronger than I was and what I ever
thought I could be), but to me, it is a discipline and principle I live by, which has taught
m e t o l o v e a n d h o n o r m y s e l f . Yo g a , f o r m e , i s a w a y o f l i f e . ” @ D O N _ L O C K E D _ 1 3

“ I s t a r t e d Yo g a m o s t l y a s a p h y s i c a l p r a c t i c e , a s m a n y p e o p l e d o . W h a t i t m e a n s t o m e
n o w … s o m u c h m o r e . A s a Ty p e 1 D i a b e t i c , i t o f t e n f e e l s l i k e a c o n s t a n t b a t t l e i n m y o w n
b o d y . Yo g a g i v e s m e a w a y t o w o r k W I T H m y b o d y i n s t e a d o f a g a i n s t i t . ”
@ ST E P H A N I E H A L L 94
“ I s t a r t e d Yo g a w h e n I w a s r u n n i n g a l l t h e t i m e , a n d I w a n t e d Yo g a t o b e j u s t s o m e t h i n g I
did once a week as an active rest day thing, however, I fell in love with the practice, and
i t b e c a m e a n ev e r yd ay p r a c t i c e f o r m e b e c a u s e I l ov e d ev e r y t h i n g i t h a d t o o f f e r. F ro m
t h e p h y s i c a l t o t h e m e n t a l a s p e c t s , Yo g a m a d e m e s t r i v e t o w a n t t o b e a b e t t e r p e r s o n t o
t h e p e o p l e i n m y l i f e a n d m y s e l f a s w e l l . Yo g a i s m y e v e r y t h i n g n o w . ” @ Y O G A _ R I A

“ I n e v e r h a d t h e j o y t o f e e l g r o u n d e d b e f o r e I t r i e d Yo g a ! I h a d n o i d e a o f w h a t t o e x p e c t ;
I r a n d o m l y g a t h e r e d t h e c o u r a g e t o j o i n a Yo g a c l a s s a n d c o n v i n c e d m y s e l f t o g i v e i t a
go. And I’ve never looked back! It’s in my opinion a way of getting to know one’s soul and
b o d y – e v e r y o n e s h o u l d h a v e t h e c h a n g e t o t a k e p a r t . I n Yo g a , t h e r e ’ s n o c o m p e t i t i o n ,
it’s not about pressuring yourself to fit into ideas like most sports. It’s a way to move and
breathe while you listen to your body and the world around you.” @ V E J L I I I N

“ W i t h 5 k i d s a n d t h e b e a u t i f u l c h a o s t h a t e n s u e s , Yo g a i s m y p e a c e a n d m y s a n c t u a r y t o
be the mom and wife and human I want to be.” @ YO G I _ LOV E L I E S

“ I i n i t i a l l y s t a r t e d Yo g a a s a h i g h s c h o o l c h e e r l e a d e r l o o k i n g t o i m p r o v e m y f l e x i b i l i t y a n d
s t r e n g t h . A l m o s t 1 0 y e a r s l a t e r , I a m n o t a r e g i s t e r e d n u r s e a n d f i n d I n e e d Yo g a t o k e e p
m e g r o u n d e d m e n t a l l y w h i l e s t i l l m a k i n g m y b o d y f e e l a m a z i n g . Yo g a h a s b e e n a b l e t o
follow me through so many aspects of my life because of its versatility and many styles.”
@ A S H _ J O N E S _ YO G I

“ Yo g a b e c a m e a d a i l y p r a c t i c e f o r m e d u r i n g a t i m e w h e n I h a d a l o t o f s e l f d o u b t : f o r
myself as a deaf person in a hearing world, as a woman in a patriarchal society, and as a
p e r s o n i n t h i s t u m u l t u o u s t i m e . T h r o u g h Yo g a , I h a v e f o u n d p e a c e i n m y l i f e t h a t I h a v e
never had before and will continue to practice for the rest f my life. I cannot express the
place that my mat has become for me other than the word: home.”
@ D E A F M O U N TA I N Y O G A

“ I s t a r t e d d o i n g Yo g a d a i l y a b o u t 4 m o n t h s a g o w h e n I j o i n e d m y f i r s t I G Yo g a c h a l l e n g e
as a way to hold myself accountable to this practice that seemed to be able to quiet
my mind after what was a very tough and uprooting few months. I continue this practice
b e c a u s e i t i s t h e p a t h w a y b a c k t o m y s e l f . W h e n I p r a c t i c e Yo g a , t h e r e i s l i t t l e e l s e I c a n
think about or focus on other than my mind/body/spiritual link. It continues to strength-
en my whole body and mind in so many ways, and I have a newfound confidence in my
b o d y a n d w h a t i t i s a b l e t o d o f o r m e w h e n t r e a t e d w i t h l ov e a n d h o n o r. ” @ A CA N A L E S 0 7
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FURTHER INSPIRATION (CONT)
“ I s t a r t e d Yo g a o n I n s t a g r a m . I w o u l d r e c o r d m y s e l f a n d h a d n o o n e e l s e t o c o m p a r e m y -
self to. So I truly saw my progress as my body slowly showed me what it can do. It has
become a routine, but not a routine at the same time. Mentally and physically, I just crave
to practice. It basically keeps me balanced and complete. And the best part, I can prac-
tice almost anywhere and almost anytime!” @ A P P L E M A B E L

“ I s t a r t e d p r a c t i c i n g Yo g a a b o u t 2 m o n t h s a f t e r I w a s d i a g n o s e d w i t h R h e u m a t o i d A r t h r i -
tis. I had high pain levels almost daily and damaged joints in my wrists. I continued doing
s o m e f o r m o f Yo g a e v e r y d a y a n d f o u n d t h a t i t h e l p e d a l o t w i t h c o p i n g w i t h t h e p a i n ,
building strength in my body, and also gave me a feeling of joy and relaxation. I will nev-
e r b e a h a n d s t a n d j u n k i e b e c a u s e o f m y p h y s i c a l l i m i t s , b u t t h a t ’ s o k . Yo g a i s d e f i n i t e l y
for everyone!” @ YO GA M A . L I S A

“ I s t a r t e d Yo g a a y e a r a g o a s a w a y t o b r o a d e n m y o v e r a l l f i t n e s s p r a c t i c e s . I h a d j u s t
run my 6th half marathon and needed something different. Here I am, a year later, a 200
RYT, and I practice at least 5 days a week for over an hour, the others, maybe 5 minutes
or more. I get on my mat everyday, even if just to breathe and stretch. There is no bet-
ter form of mental, emotional, and physical exercise and wellbeing I could ever imagine
g i v i n g m y s e l f o r a n y o n e e l s e . ” @ T H E J E S S I C A K WA T T

“ I s t a r t e d Yo g a t h i s l a s t y e a r ( F e b r u a r y 2 0 1 6 ) . I t h a s c h a n g e d m y l i f e ! I w o u l d s a y Yo g a
beckonded me through a lot of synchronicities nudging me toward it. I also have real-
l y b a d l o w b a c k p a i n , w h i c h o n l y o n c e I i n c l u d e d Yo g a , h a s h e l p e d m e m a n a g e w i t h o u t
medications. The balance I feel as I grow in my practice has helped me realize a more
abundant, joyous, and loving life.” @ A . Z E N . R O S E

“ I s t a r t e d Yo g a a s a t h e r a p y t o o l a f t e r g e t t i n g h i t b y a c a r c r o s s i n g t h e s t r e e t a s a p e d e s -
trian. I needed a way to be gentle to my body while calming the mind. It was life changing
f o r m e s o I a m n o w a c e r t i f i e d Yo g a t e a c h e r . ” @ H O U S T O N S T R E T C H C O A C H

“ M y a u n t g o t m e s t a r t e d i n Yo g a a l m o s t 2 0 y e a r s a g o , b u t I d i d n ’ t r e a l l y g e t i n t o Yo g a
u n t i l 1 4 y e a r s a g o . I l o v e h o w Yo g a n o t o n l y c h a n g e d m y b o d y , b u t h e l p s c a l m m y m i n d .
T h e Yo g a j o u r n e y o f m i n e h a s b r o u g h t m a n y g r e a t e x p e r i e n c e s , p e o p l e , a n d o p p o r t u n i t i e s
that have made my dreams come true, and has given me the gift to help others.”
@ R YA N N E C U N N I N G H A M

“ A t 1 6 , I t o o k m y f i r s t Yo g a c l a s s . I n s t a n t l y , I l o v e d t h e s e n s e o f p e a c e o f m i n d I g o t b y t h e
end of class. During my teen years, I struggled with severe anxiety and depression that
m a d e i t d i f f i c u l t t o f u n c t i o n a n d r e l a t e t o o t h e r s . I u s e d Yo g a a s a t o o l t o h e l p m e r e l a x
a n d l e a r n t o l o v e m y s e l f . Yo g a b e c a m e a d a i l y p r a c t i c e f o r m e a n d o p e n e d m e u p t o a l l
of the amazing things I had to love about myself. I am not 20 and find that as I continue
to practice, my self love and peace of mind deepens.” @ H O P E F O R R E ST

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FURTHER INSPIRATION (CONT)
“I had been looking for new ways to manage my back pain from scoliosis and
had been looking for an alternative to home workouts. After doing research and
b r o w s i n g I n s t a g r a m ™ , I t h o u g h t I ’ d g i v e Yo g a a s h o t . S i n c e I b e g a n m y Yo g a j o u r -
ney (Aug 2015), I never thought my body could do some of the things I’ve learned.
My back pain has significantly decreased and I’ve learned so much about my
b o d y a n d h a v e b e c o m e m u c h h e a l t h i e r . ” @ H E AT H E R N I C O L E H A U C K

“ I s t a r t e d d o i n g Yo g a w h e n I w a s g o i n g t h r o u g h a v e r y b u s y a n d t o u g h t i m e a t
w o r k . T h e Yo g a c l a s s w a s t h e o n l y h o u r o f t h e d a y w h e r e I d i d n ’ t f e e l c o m p l e t e -
ly overwhelmed. Since then, I realized that my job was unhealthy for me, and I
e v e n t u a l l y d e c i d e d t o b e c o m e a Yo g a t e a c h e r m y s e l f ! ” @ N I R VA N AY O G I

“ S t a r t e d Yo g a t o h e l p e a s e R A p a i n a n d s y m p t o m s , a n d I h a v e g a i n e d s o m u c h
more from it! (49 yr old going on 30).” @ B R I G H T E R DA Z E

“I’ve always been an active person since I was young. I first decided to take a
Yo g a c l a s s i n U n i v e r s i t y . A f t e r t h a t , I s t a r t e d d o i n g i t m y s e l f , j o i n e d a s t u d i o , a n d
just full in love with it! My mat is a place I can go where everything disappears
for a little while, I can connect with who I am, and stay grounded.”
@BRIANNALEMOINE

“ I s t a r t e d Yo g a o n a w h i m – I w a s b o r e d a f t e r w o r k a n d G o o g l e d “ B e g i n n e r ’ s Yo g a . ”
I was instantly hooked on the feeling of being in my body, rather than just in my
head. Nearly two years on, I still consider myself a beginner, but my practice is
a l m o s t d a i ly , a n d I f e e l s o m u c h h e a l t h i e r f o r i t , p hys i c a l ly a n d m e n t a l ly. I a p p r e -
ciate my body so much more now – and I’m beginning to learn how to handstand
j u s t b e f o r e m y 3 0 t h b i r t h d a y . I l o v e t h a t I c a n c o n t i n u e l e a r n i n g Yo g a . I l e a r n o n e
pose and another becomes more accessible; it’s never ending, which is so beau-
t i f u l . T h a t ’ s w h a t Yo g a i s t o m e , f o r e v e r b e i n g a s t u d e n t a n d l e a r n i n g s o m e t h i n g
n ew. ” @ A M Y _ L O U I S E _ R E A D

“ I b e g a n m y Yo g a j o u r n e y F e b r u a r y 2 0 1 6 . M y g o a l w a s t o s e t i n t e n s i o n s o n m y
m a t ev e r yd ay. 1 4 2 d ays i n to m y p ra c t i c e , I f o u n d o u t I wa s p r e g n a n t w i t h m y f i r s t
child. Seven years earlier, I had a partial hysterectomy due to endometriosis
and chronic pain. After 6 years of trying to conceive, we find ourselves here, 29
w e e k s p r e g n a n t a n d s t i l l s e t t i n g i n t e n t i o n s e v e r y d a y ! E v e r y o n e c a n Yo g a . ”
@ TA B S _

“ I a m v e r y n e w t o Yo g a , a n d s t a r t e d g e t t i n g r e a l s e r i o u s a b o u t i t 2 m o n t h s a g o . I
love how much it challenges my body, I love the meditation, and how empowering
i t i s . I p l a y r o l l e r d e r b y ( 4 y e a r s n o w ) , a n d Yo g a i s w h a t I n e e d e d t o b a l a n c e o u t
m y l i f e . ” @ Y O G AT T E M P T S

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FURTHER INSPIRATION (CONT)
“ I s t a r t e d Yo g a b e c a u s e I f o l l o w e d s o m e Yo g a a c c o u n t s h e r e o n I n s t a g r a m ™ a n d
always wanted to be as flexible and graceful as them. I was sad that I didn’t do
any gymnastics when I was a kid and thought that I would never be able to do
w h a t a l l t h e Yo g i s w e r e d o i n g . B u t I f o l l o w e d m o r e a c c o u n t s a n d o n e d a y , i t h i t
m e . I c a n l e a r n Yo g a t o o . T h a t I c a n d o a l l o f t h e a m a z i n g t h i n g s i f I ’ m j u s t w i l l i n g
t o w o r k t o w a r d i t . A n d s o I d i d . I s t a r t e d m y Yo g a j o u r n e y , a n d t h e f i r s t c h a n g e I
n o t i c e d wa s m y m i g r a i n e s a n d b a d p o s t u r e g e t t i n g b e t t e r. I h a d s o m e w e e k s a n d
even months at the beginning where I wasn’t on my mat much and neglected it
a lot. But since September, I’m on my mat regularly, and it has become about so
much more than just being flexible. It’s medicine, it’s a stress reliever, it’s med-
itation, it’s calming. I almost can’t imagine my life without it anymore.”
@ YO G . A L I N A

“ I s t a r t e d R a j a Yo g a ( w h i c h i s o n l y m e d i t a t i o n ) a t t h e a g e o f 1 6 a n d d i s c o v e r e d
Yo g a p o s e s a t 2 0 . I ’ m n o w a l m o s t 2 1 , a n d p r a c t i c i n g b o t h s i d e s o f Yo g a b r i n g s m e
so much balance. I feel like it was two perfectly equal wings, and they help me
stay balanced, focused, happy, and united. I sincerely think I would be a totally
d i f f e r e n t b e i n g i f Yo g a w a s n ’ t p a r t o f m y l i f e , e s p e c i a l l y k n o w i n g t h a t I s t a r t e d
during the most important years of my life. It brought me consciousness, calm-
n e s s , a n d s p i r i t u a l i t y. ” @ J U L I E TT E E T PA S R O M E O

“ I s t a r t e d p r a c t i c i n g Yo g a i n h o p e s o f i t h e l p i n g m e o u t o f m y n i n e y e a r d e p r e s -
sion. Within less than a few months, my life changed and I have been depression
free for four years! My daily practice and medidation have changed my perspec-
tive on life, and I cannot thank this magical practice enough.”
@ _ Y O G AW I T H C A R E

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 ACKNOWLEDGEMENTS
RABAH RAHIL for his creative genius in photography and graphic design.
To e a c h a n d e v e r y o n e o f m y p a t i e n t e d i t o r s , b o t h i n c o n t e n t a n d g r a m m a r .

My amazing husband, BEN HOUSE, for his patience with the countless hours
spent pouring over my computer to try to get this book organized.

E AC H A N D EV E RY T E AC H E R A N D / O R ST U D E N T who shared a piece of their truth

i n t h e I n s p i r a t i o n S t a t i o n s e c t i o n . Yo u a r e s o b r a v e .

MEGHAN C U R R I E , for starting my journey as a yoga teacher with her 200 HR

training.

C H R I ST I N A S E L L and G I O C O N DA P A R K E R for continuing my journey with their

300 HR training.

Every yoga teacher whose class or workshop I attended that contributed to my

own practice and/or a certain drill in this book.

And finally, EV E RY S I N G L E O N E O F YO U – for motivating me with your excitement

to work diligently on this book, and for inspiring me with your desire for growth,
on and off the mat.

Thank you.

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 ADDITIONAL ACKNOWLEDGEMENTS
A B i g T H A N K YO U to b ot h O m S u i t e O m C a b i n a s i n D o m i n i c a l , C o s t a Ri c a & V i s t a C e l e s t i a l
in Uvita, Costa Rica, for letting us use your gorgeous locations to shoot this book.

O M S U I T E O M • @ O M S U I T E O M CA B I N A S
W W W . O M S U I T E O M CA B I N A S . C O M

Three comfy and cozy cabinas tucked in the heart of

Dominical, Costa Rica. Om Suite Om is an ideal spot for
those looking to explore this fun little surfing town, or
just enjoy some well-deserved R&R.

Each cabina is furnished with stunning photographs and

furniture made by local artisans, and guests are invited
to use the airy shared kitchen, enjoy the ocean breeze
from their private deck, and explore the yoga platform, all
w i t h i n a g a t e d a n d g u a rd e d l i t t l e c o m m u n i t y.

V I S TA C E L E S T I A L • @ V I S TA C E L E S T I A L • W W W . V I S TA C E L E S T I A L . C O M

Vista Celestial is a boutique hotel and yoga retreat cen-

ter high above the south pacific coast of Costa Rica. En-
j o y i m p r e s s i v e v i e w s o f t h e o c e a n a n d “ W h a l e ’ s Ta i l ” f r o m
your private villa Jacuzzi or the gorgeous infinity edge
pool by the modern and chic common area.

Explore wellness, yoga, and fitness on the stunning jun-

gle deck nestled deep within primary rainforest, or take
a stroll through the 5 hectares of property, where you’re
sure to see colorful wildlife and local organic fruit/veg-
gies that have been planted and are regularly harvested
for your supper!

Vista Celestial is the ultimate in wellness and relaxation,

offering you pristine and private accommodations to re-
l a x , d e t ox , a n d e n j oy.

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FURTHER READING SUGGESTIONS
GENERAL BOOKS

• H o w Yo g a Wo r k s b y M i c h a e l R o a c h & C h r i s t i e M c N a l l y
• L i g h t o n Yo g a b y B . K . S . I y e n g a r
• T h e L a n g u a g e o f Yo g a : C o m p l e t e A t o Y G u i d e t o A s a n a N a m e s , S a n s k r i t
Terms, and Chants by Nicolai Bachman
• Yo g a A s M e d i c i n e : T h e Yo g i c P r e s c r i p t i o n f o r H e a l t h a n d H e a l i n g b y Yo g a
Journal and Timothy McCall, MD
• T h e H e a r t o f Yo g a : D e v e l o p i n g a P e r s o n a l P r a c t i c e b y T . K .V. D e s i k a c h a r
• Siddhartha by Hermann Hesse
• Spirit Junkie by Gabrielle Bernstein

T RA I N I N G / T E AC H I N G

• T e a c h i n g Yo g a b y M a r k S t e p h e n s
• Yo g a A d j u s t m e n t s – P h i l o s o p h y , P r i n c i p l e s , a n d T e c h n i q u e s b y M a r k
Stephens
• Yo g a S e q u e n c i n g : D e s i g n i n g T r a n s f o r m a t i v e Yo g a C l a s s e s b y M a r k S t e p h e n s
• A s h t a n g a Yo g a : T h e P r a c t i c e M a n u a l b y D a v i d S w e n s o n
• Yo g a A n a t o m y b y L e s l i e K a m i n o f f

P H I LO S O P H Y / S P I R I T UA L I T Y / H I STO RY

• A u t o b i o g r a p h y o f a Yo g i b y P a r a m h a n s a Yo g a n a n d a
• T h e S e c r e t P o w e r o f Yo g a : A Wo m a n ’ s G u i d e t o t h e H e a r t a n d S p i r i t o f t h e
Yo g a S u t r a s b y N i s c h a l a J o y D e v i
• Bhagavad Gita: A New Translation by Stephen Mitchell
• The Wisdom of No Escape and the Path of Loving-Kindness by Pema
Chodron
• L i v i n g Yo u r Yo g a : F i n d i n g t h e S p i r i t u a l i n E v e r y d a y L i f e b y J u d i t h H a n s o n
Lasater

P R A N AYA M A ( B R E A T H W O R K )

• T h e Yo g a o f B r e a t h : A S t e p - b y - S t e p G u i d e t o P r a n a y a m a b y R i c h a r d R o s e n
• L i g h t o n P r a n a y a m a : T h e Yo g i c A r t o f B r e a t h i n g b y B . K . S . I y e n g a r
• Asana Pranayama Mudra Bandha by Satyananda Saraswati

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THE BEGINNER’S GUIDE TO YOGA SERIES
A VA I L A B L E IN PRINT AND E-BOOK F O R M AT ON

W W W . CA SA - C O L I B R I . C O M

THE BEGINNER’S GUIDE TO

HANDSTAND
A complete guide to standing on your hands! Over 100 pages of warmups,
full body strengtheners, alignment cues, and more. From myths about
handstands to proper alignment and anatomy by body part, this book
contains everything I used and continue to use on my handstand journey.

Ideal for yogis, calisthenics enthusiasts, aerial arts practitioners, functional

fitness fanatics, acrobats in training, and anyone interested in progressing
their inversion practice!

Hundreds of high quality photos, detailed instructions, and MORE!

THE BEGINNER’S GUIDE TO

HANDSTAND PRESSING
A complete guide to finding your float and working toward pressing to
handstand. From carefully selected warmups to full body strengtheners
and prop assisted pressing, The Beginner’s Guide to Handstand Pressing
covers everything you need to progress your inversion practice.

Over 130 pages of high quality color photos, detailed “How Tos,” and even
a mini and full flow to help you find press-related activation throughout
your practice. Alignment cues, partner drills, restorative work, and MORE.

This manual is the natural sequel to The Beginner’s Guide to Handstand,

and is best suited for those regularly working on inversions.

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INCOMING BOOKS IN THE BEGINNER’S GUIDE TO YOGA SERIES

T H E B E G I N N E R ’ S G U I D E T O B AC K B E N D S ( F E B 2 0 1 7 )

THE BEGINNER’S GUIDE TO ARM BALANCES

THE BEGINNER’S GUIDE TO LOTUS

THE BEGINNER’S GUIDE TO F O R E A R M S TA N D

THE BEGINNER’S GUIDE TO H E A D S TA N D

THE BEGINNER’S GUIDE TO SPLITS

THE BEGINNER’S GUIDE TO H E A LT H Y H A M S T R I N G S

THE BEGINNER’S GUIDE TO HIP OPENING

AND MORE

VOTE FOR YO U R F AV O R I T E AT C A SA - C O L I B R I . C O M / VOT E

339
Sneak Peek – The Beginner’s Guide to Backbends

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 Partner Drill – Locust lifts
Learning to “muscularize,” recruit, and activate the muscles along the spine can help make
backbends more of an active stretch than a passive dump. Belly down backbends without the
use of our hands force us to use spinal muscles to create a bend and are excellent drills when
learning to awaken the Erector Spinae muscles.

Start lying down on the belly, arms extended in front, next to the ears, palms face down, tops
of the feet pressing into the floor.

Supporting partner squats behind and gently presses their knees into the back of your calves,
placing their hands just above their knees for extra support (but not on the back of your knees).

Using the support and grounding from the squatting partner, firm the belly, press pubic bone
gently into the mat, engage the quads, and using the power of the back, inhale to lift arms/
shoulders/chest/belly off of the floor.

Hold for a breath at the peak, then descend and repeat.

Suggestion: 2 sets of 10. If have you have a naturally flexible spine, there is usually a mid-
dle section that is more difficult or “sticky.” Find the sticky spot and hold there.

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 Chair Assisted Camel – Ustrasana Variation
Perhaps one of the times that props are at their most useful is during back bending classes and
workshops. While we so often dump into the naturally flexible parts of your spine (putting strain on
that joint over time), props can help you find a more even arch by bringing the focus to new or tighter
spinal segments.

Set up your metal folding chair so that the back and two back legs are touching the wall.

Start on your shins, hip distance apart, so that when you are upright (neutral hips, no flexion or exten-
sion), your pubic bone is approx 2-3 inches from the front of the chair. (1)

Grasp the underside of the front of the chair with the palms facing up, actively pulling toward you and
down. You should feel the chest puff up a bit just from this motion. (2)

Pull navel to spine, magnetize the shins/inner thighs toward the midline, and gently begin to pull the
chest upward, keeping the grip and pulling on the chair. (3)

As you begin a light camel backbend, think about first lifting the sternum to the sky, with the head
staying neutral on the neck (don’t dump it back). If anything, press the back of the head gently back-
ward to activate the cervical spine (looks like giving yourself a mild double chin). (4)

You may lean the hips slightly forward into the front of the chair, but the chair itself will stop you from
simply dumping into the lumbar and jutting the hips far forward.

With every inhale, think about puffing and then curling the chest up and slightly back, and with every
exhale, think about muscularizing or activating the muscles around your spine on your upper and mid
back. If comfortable, you may gently release your head back. (5)

Keep moving in this fashion, creating an even and solid arch with your body, pulling the chair toward
you and down to reaffirm the desire for lift, and if there is ever discomfort in the low back, rise back
up slowly and carefully. (6)

1 2 3

4 5 6

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