ABOUT YOGA HUMANS .............................................

1
INTRODUCTION ............................................................ 2
PRINCIPLES OF SEQUENCING ................................5

BUILDING BLOCKS OF A YOGA PRACTICE .......10

DEVELOPING A "MAIN SEQUENCE' ....................15
LINEAR SEQUENCING ............................................... 16
PEAK POSE SEQUENCING ...................................... 20
.... 22
NONLINEAR SEQUENCING .....................................
................ 23
LADDER FLOWS ..........................................................
.................. 25
WEAVING FLOWS .......................................................
........................ 27
GOAL ORIENTED SEQUENCING ...........................
S"..................... 31
SEQUENCING WITH "MINI-FLOWS".....................
........................ 33
USING VINYASA TO RESET ......................................
.......................... 35
TIMING AND PROPORTIONS ..................................
ROUPS ........... 37
CLASS LEVELS AND STUDENT GROUPS
................. 40
ACCOMODATING REQUESTS ................................
............... 41
IMPROVISING AS YOU GO ......................................
... 42
HOW TO MEMORIZE YOUR SEQUENCE............
CONCLUSION ............................................................... 43
ADDITIONAL READINGS AND RESOURCES ... 44
Yoga
Y oga H Humans is led by Izzy M a r t e n s a n d K y l e S h r i v a s t ava, who
b o t h tea
both teach, write and creat e i n W a s h i n g t o n D C . T h e s e humans
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strongly believe in the u n i q u e o p p o r t u n i t y f o r g r o wth and
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advancing pr actitioners by p r o v i d i n g t h e m w i t h c r e a t i v e tips and
h e l p f ul tools as they continu e o n t h e i r y o g a j o u r n e y s .
helpful

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s t u d ent tools, anatomy & m o v e m e n t , a n d y o g a c la s s themes.
student
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Yoga is a journey. Every time we get on the mat, we’re going on an
adventure. We’re committing time to an experience. We’re following
a story. A great yoga class rises and falls like a narrative in which
we’re the characters. It surprises, challenges, and ultimately
changes us. This means that yoga teachers are a mix between
guides and authors. We guide students through a class, observing
and adapting along the way. However, we also determine what path
is created. How it twists and turns. What scenery it traverses. While
related, these are different skills. One is about directing students
and other is about storytelling. Both skills are needed in a great
yoga teacher, yet, it's easy to focus on being a great guide and
forget to cultivate our ability to construct a beautiful class.

This tool is designed for anyone who wants to learn to create their
own yoga classes. Whether you're a new teacher, trying to cobble
together one of your first flows, an experienced veteran looking for a
refresher, or a practitioner hoping to go deeper into your own
personal practice, we hope and believe that this guide will provide a
light help you along your way.

In the following pages we’ll review principles of sequencing, specific

approaches to creating flows, and various class structures. We’ll also
delve into topics such as the timing and proportions of a yoga class,
accommodating requests, improvisation, and catering to multi-level
students. In each section we’ll do our best to provide a mix of
underlying ideas and practical tools, so that teachers and
practitioners are able to reflect on their current practices, and jump
right in to creating new and innovative sequences.

Before we jump in, let’s take a moment to quickly define what we

mean by “sequencing” and why it’s important? By sequencing, we’re
referring to the process of intentionally, logically, and purposefully
linking yogic postures (asana) with transitional movements to
create a yoga practice. This means that sequencing implies
deliberate movement (intentional), in which the body is positioned
with underlying reason (logic) and an ultimate goal (purpose).

Sequencing is an essential skill because it provides the structure for

the experience that practitioners have in a yoga class. An effective
sequence has a logic that allows practitioners to easily follow and
feel as though they’re learning and growing. It also incorporates an
understanding of biomechanics that ensures practitioners are safe
and healthy in their movement. A sequence is like the spine of a
yoga practice–it links all the other components of class together.
Therefore, having a well-built spine (sequence) is critical in
maximizing the efficacy of the other components of a yoga class
(such as setting, clarity, pace, safety, etc.)

As you’re probably aware, not all styles of yoga require creative

sequencing. Many approaches such as Ashtanga or Bikram Yoga
use their own preset combinations of postures that were sequenced
by their founders. Many others, such as Baron Baptist’s Power
Vinyasa Yoga follow a set order in terms of pose groups, while
allowing teachers and practitioners to adapt and modify as they see
fit. We appreciate these schools of practice, and encourage
practitioners to learn from the master sequencers that created
them. However, in this guide, we’ll mainly be addressing teachers
and practitioners who would like to create their own flows from
scratch. For this reason, we won’t go into depth on each of the
many existing schools and styles of yoga. Nevertheless, we welcome
thoughts and approaches from all yoga philosophies.

While this guide is relevant to multiple styles of teaching and

practice, we consider it most closely related to Vinyasa yoga–one of
the broadest and most popular styles practiced in the West today. A
great entry to thinking mindfully about sequencing is the word
Vinayasa itself. Vinyasa comes from the Sanskrit terms “nyasa”
which means “to place” and “vi” which means “in a special way.” This
approach originated from renowned South Indian teacher Tirumalai
Krishnamacharya, widely recognized as the father of modern yoga.
By Vinyasa, Krishnamacharya was referring to the quality with which
students move through postures as well as the intentionality behind
designing a holistic and transformative experience through yoga.
This meant that linking postures together effectively and ordering
them in a purposeful sequence was considered equally as important
as the postures themselves.

We can liken this approach to building a yoga practice to building a

bridge. There are so many elements needed to build a sturdy bridge.
The wood or metal materials (asana) that form the substance of the
bridge are certainly important, however, they’re useless without the
screws, welding, and connective materials (transitions).
Furthermore, if you only build the first half the bridge (failing to
complete a practice) people will not arrive at their destination. If you
only build the second half of the bridge (jumping in without
preparation or integration), people may jump to reach the far ledge
and fall, risking injury. Lastly, if you build in the wrong location, your
targeted population won’t benefit (not meeting students where
they are or catering to their individual needs). This is all to say that a
yoga practice is a cohesive package that requires teachers to apply
their own knowledge and expertise in order to construct something
safe, effective and sturdy. The bridge, and the practice of yoga, only
achieve their goals when every piece and component are working
purposefully together.

Following in the footsteps of teachers who have established

sequences and approaches is one way to understand this fluidity
and purpose. However, if you would prefer to learn how to build your
own bridge, then let's get started.
There are many different approaches to sequencing (some of which
we’ll discuss in the next section) each of which maintains its own
theory and focus. However, there are several broad principles that
apply across most, if not all approaches. Regardless of whether a
school of yogic thought emphasizes a certain element of yoga –
such as precise alignment, slow or fast movement, meditation, etc –
these principles remain relevant across the practice as a whole. They
could be considered the most basic qualifications that, taken
together, create a great yoga sequence.

A student-centric yoga sequence is one that

is tailored to the specific practitioners that
will be using it. This takes into consideration
the fact that there are a broad range of
human bodies and each of them have their
own unique capabilities and limits.

One common challenge we see, especially

with new teachers is the desire to copy their
own practice when teaching others. This is an understandable urge.
Why teach yoga if you can’t share the practice you love with others?
However, since most teachers are more advanced than their
students, this desire must be balanced with an awareness of their
student's capabilities. This way we can share progressions and
variations that match the style we enjoy, but cater to different body
types and levels of practice.
I had a friend who was a new practitioner and used to look for the
most advanced classes he could find online. He would struggle
through them (and would consistently find himself injured or
exhausted). One day, we were discussing some basics of sequencing
regarding how different pose categories can lead into one another
and he exclaimed, “I’ve been injuring myself because these teachers
don’t know how to sequence! They haven’t followed any of these
rules.” Well, not quite. The fact is that many “rules” of sequencing
can be broken or bent at different levels. This is why we believe that
being student-centric supersedes the many more specific “rules” of
sequencing. Matching a practice to each student is a guideline that
ensures both safety and advancement.

Thinking about safety begins with our first

principle of being student-centric and
matching a class to each student's abilities.
However, it also means following some basic
guidelines that apply regardless of ability.
These include (but are not limited to):

Yoga can put a lot of stress on the muscles, joints, and connective
tissues of the body. This means it’s essential to ease into difficult
postures or movements with a thorough warm up. Furthermore,
make sure that the warm up addresses the specific areas that you
will be working later in the class. If you’re doing a handstand
practice, warm up the wrists. If you’re doing a backbending practice,
warm up the spine. Cooling down is also critical. A proper cool down
will gradually calm the mind and return the body to its resting state.
It can also serve as a time for “prehabilitation” (prehab) movements,
that will address deficits in stability and range of motion, ultimately
reducing the frequency of injury.
Memorizing postures and cues isn’t enough to safely sequence (or
cue for that matter). It’s important to also have a scientific
understanding of how the body is put together. For example, take
the cue “pull your shoulder blades down the back” in a pose like
Downward Facing Dog. This is something yoga teachers have
taught for years. However, understanding the biomechanics of the
shoulder will show that when the arms are overhead, completely
pulling the shoulders down will cause glenohumeral instability
(instability in the shallow ball and socket joint of the shoulder).
Instead, you want to laterally rotate the scapula (meaning pulling
the outside edge of the scapula up and relaxing the inside edge
near the trapezoid slightly down). Safe sequencing means never
taking something you hear for granted. Always do your own
research.

Counter poses effectively help us find balance. Neutral poses allow

our body to safely return to its natural position. To sequence safely,
you should learn how to use each of them effectively. For example,
after intense backbending, it's important to find a neutral position
so that the spine can readapt to its natural state. Instead, after
backbends we commonly hear the cue, “pull your knees into your
chest,” which can lead to injury since this cue immediately puts the
spine in an extreme opposing condition. Similarly, moving from
Shoulder Stand to Fish Pose, entails moving from an extreme
weight bearing position of flexion in the cervical spine, to an
extreme weight bearing extension. This can also lead to injury. In
such cases, neutral poses need to be taken first, or counter poses
need to be less extreme. This isn’t to say that counter poses don’t
play an important role in balancing out a practice. They just need to
be used in the appropriate way and at the appropriate time. Again,
this comes down to doing your own research about the way the
body is meant to move.
 3. Purposeful
Whatever you decide to do in a sequence,
know why you’re doing it. For example,
many approaches advocate for working on
poses in the same family (backbends,
standing poses, forwards folds, etc.)
together, before moving on to the next
family. Perhaps the reason for this is that it
allows you to warm up into the area,
maintain focus, and prevent harmful movement patterns. While
many may say this is the “correct” way, moving in a different way –
for example moving dynamically between standing and grounded
postures – isn’t necessarily wrong. It’s only wrong if you don’t have a
good reason for wanting to do it. From other sports, we know that
dynamic compound movements can effectively build balanced
strength (think Burpees, or Turkish Get-ups). Understanding this, a
yogi may want to experiment with unconventional approaches to
sequencing that borrow this logic. However, we must avoid
stringing random postures together without any underlying
hypothesis – this can become dangerous. Recognizing the purpose
and reasoning behind each posture and movement is a prerequisite
to creatively sequencing.

4. Balanced
Lastly, great practitioners and teachers strive
for balance. This is distinctly different from
trying to do everything. Every practice
doesn’t need to be a full yoga experience
with meditation, breath work, strength
training, mobility training, etc. Instead,
balance means designing a practice that
provides practitioners with an overall feeling
of equilibrium. I like to think of balance in
three ways:

YOGA HUMANS PAGE 8

The first is finding balance with the outside world. Maybe this
means calming the nervous energy from political or social events.
Maybe it simply means taking time to cultivate presence at the start
of class.

The second is finding balance in the body. This starts with taking
postures on both sides and focusing on areas of tension to even out
tightness or immobility. It also means observing your own practice
over time to notice movement patterns and favored positions, then
compensating accordingly.

The third is finding balance in energy. This means intentionally

guiding the energy of a practice along in a way that's beneficial. If
the energy is brought up, it must be brought down. If you’re
focusing on meditation, balance it with movement. If you’re
focusing on endurance, balance it with relaxation.

For detailed cues to this flow, click [here]

YOGA HUMANS PAGE 9

Now that we understand these high-level principles
ciples of sequencing,
let’s take one step down to the mid-level el and discuss the
component parts that sequences often have. These can be thought
of as building blocks.

Notice that below, the fourth block is simply y termed “Main

Sequence”. This is not a technical term nor does it indicate a higher
level of importance. It is simply there as a placeholder
er because this
part of a practice has a very high degree of variability depending
nding on
your approach and objectives. Since designing a Main Sequence ce iis a
primary focus of this guide, we’ll dedicate the entire next section to
discussing it.
For detailed cues to this flow, click [here]
Yoga invites us into a very specific and intentional mental
ntal state o
of
calm and awareness. However, this state of mind needs to o be
tapped-into. When we begin a practice, we bring everything ing that
we’ve mentally accumulated throughout the day with us onto ou our
mats. We therefore need a transition period between our regular
lives and our yoga practices, in which we’re able to bring our focu
focus
to our breath and intention for practice. The grounding andnd
integration portion of a class serves this purpose.

When preparing a grounding and integration, think about what

“mental prerequisites” will be necessary to fully benefit from the
practice ahead. Is there a specific theme that you want students to
focus on? Are there events happening in the world that you know
will preoccupy the students if unaddressed? Do you notice a
nervous energy in the room that may benefit from some calming
breath work? Or perhaps a sluggishness that could be addressed
with heating breath.

It’s up to you to gauge what the students need and provide it. You
can think of this as adjusting an emotional and mental thermostat.
Turning the dial until you find a perfect state of equilibrium that will
allow students to move with their breath and maintain their focus.

Once the emotional and mental “temperature” has been een set, we
need to do the same with the physical body. Note that this his is
separate from the warm up (which comes next). In the e Mobility and
Gentle Movement section, we’re not necessarily trying heat
g to fully hea
the body. Instead, we’re aiming to prepare the muscles,les, joints, and
connective tissues. Many practitioners will have been in static
positions for hours before entering a class (sitting at a desk, laying
in bed, etc.) Therefore, we need to gently find the range of motion
in each joint before adding speed, repetition, or heavy load. We
need to slowly open up tight areas of our musculature before we
can safely activate, contract, or expand them.

PAGE 11
Mobility and Gentle Movement should generally include some sort
of spinal movement (cat cows are popular, another fun option is
spinal waves), as well as movement in any parts of the body that you
will focus on later in the practice. For practices that bear weight on
the hands, wrist movement will be essential. For practices that are
heavy in squats and lunges, hip mobility movements should be
included. Get to know the specific needs and challenges of your
students to further tailor this section.

After gently introducing movement to the body, the next section of

practice should actually increase the heart rate and blood flow. The
purpose of this is to prepare the body for more vigorous s physical
exercise. In many Vinyasa-based practices, this often takes
akes the form
of Sun Salutations. Sun Salutations are effective as a warm-up for
rm-up fo
several reasons. They emphasize repetition, they move practitioners
through multiple types of postures (standing, folding, lunging,
inverting), and they recruit a good bit of strength in the upper body
and core (High Plank, Chaturanga, Downward Facing Dog).
Furthermore, they’re accessible enough to allow practitioners to
focus on linking their movement with their breath, and familiar
enough that students are often able to move in unison with one
another.

However, these aren’t your only option. If you’re able to replicate

these same qualities in your warm up you never need to do a Sun
Salutation again in your life (although you’ll probably still want to!).
The point is, any movement can serve as a warm up as long as it is
increasing heart rate. The only real measurement of success is
whether or not it sufficiently and safely prepares the students.

By Main Sequence, we’re referring to all the stuff that happens iin
between the warm-up and the cool down. This is where re the creative
juices really start flowing and the Main Sequence cann look many
different ways. We’ve dedicated the entire next section
on to
explaining some of the options in more detail.

PAGE 12
Just as it is important to slowly transition into your physical
sical
practice, it's critical to slowly transition back out, as well.
l. This is
separate from Savasana, because the cool down requires es a
progressive reduction of movement as opposed to an immediatemmediate
static rest.

Cool downs are critical, specifically within the context of a yoga

class, because they represent the end of the practice’s narrative arc.
In yoga, we’re not solely looking at the physiological effects of
moving the body in specific ways, we’re creating a holistic mind-
body experience. Therefore, we can see a cooling period as an
opportunity for the emotional, mental, and physical body to
conclude its work and process the effects of practice. Cool downs
also provide an opportunity for more passive, static stretching while
the body is warm, which will help increase overall flexibility and
range of motion.

Lastly,
stly, a cool down can be a great place for prehab exercises,
meaning exercises designed to address and prevent specific
imbalances or e emerging injuries. (Compare this to a rehab exercise,
exercise designed to address injuries that already exist.
which is an exerc
address those concerns before the injuries happen!)
We want to addre
This is particularly rrelevant to more strength-based practices or arm
balancing practices. F For example, the pistol squat (squatting down
on one leg with the o opposite leg extended in front) can be very
taxing on the ankle a and knee. However, specific ankle mobility
exercises are often o overlooked in a regular yoga practice. We even
extend the knee beyond the ankle,” which will
hear cues to “not exte
mobility in the long run. Therefore, a prehab
further limit our mob
exercise during a c cool down for a practitioner working on the pistol
squat may be a ssupported low lunge with the knee gently pulsing
forward beyond tthe ankle. Similarly, controlled articular rotations
(CARs) of the aankle while prone would be another option. Use the
cool dow
down to think about which parts of the body need a bit of extra
TLC.
C

PAGE 13
We often hear that Savasana is the most important pose e in a
practice. We also see students who are short on time orr eager to
end their practice skipping Savasana or cutting it short (particularly
when in the virtual environment). So why is Savasana important
portant and
how can we communicate that importance to practitioners? ?

The most “scientific” explanation concerns the shift from the

activation of our sympathetic nervous system (fight, flight, or freeze)
to our parasympathetic nervous system (rest and relax). This
basically means that when we stop movement in our practice and
move into Savasana, our body begins to calm down. However, to be
a bit critical, this would probably happen regardless of whether we
lay in Savasana or go home and sit on the couch (unless you have a
few screaming kids awaiting you at home).

The more esoteric, albeit meaningful benefit of Savasana concerns

becoming present with the mental state of relaxation. When we
leave immediately following a practice, our body will calm down,
but we will have missed the moment to soak-in the new-found calm
and quiet cultivated in the mind; we miss out on fully experiencing
the effects of our hard work. Therefore, Savasana is a "Presencing"
exercise as much as it is a cooling one. It gives our mind time to
process our experience and allows us to internalize a state of calm,
which we can then carry with us as we continue about our lives.
Yoga, at its core, is a form of preparation for meditation. It puts you
in the ideal physical and mental condition to experience
concentration with ease. Savasana is the first gateway to
recognizing that emotional state.

Now that we’ve overviewed the general components of a yoga class,

let’s get into a bit more detail about what we’re referring to as the
Main Sequence, and how it can be put together.

PAGE 14
DEVELOPING A
"MAIN SEQUENCE"
Creating the middle portion of a yoga class, or as we’re calling it
here the “Main Sequence,” is often a complex challenge. There are
many ways to go about it, and as long as you are keeping the
overarching principles of sequencing in mind, there isn’t one “right”
way. As a reminder, the Main Sequence occurs after the Integration,
Mobility & Gentle Movement, and Warm Up sections. In the next few
pages, we’ll discuss some common approaches to sequencing this
central portion of a practice, including linear and non-linear
progression, and sequencing models such as “ladder” and “peak
pose” flows.

Before we get into this section, we would just like to reiterate our
third principle of sequencing which reminds us that sequencing
must be purposeful. We must have a basic knowledge of the poses
and pose families, including an understanding of their physical and
energetic effects. While understanding the poses and pose families
aren’t the focus of this guide, there are numerous books that
describe them in detail. We’ve included a few of our favorites in the
Additional Reading section at the end of this guide. Knowing these
effects, as well as the biomechanics of each posture and transition,
will give you the vocabulary you will need to appropriately combine
movements into an effective sequence.

We’ll begin by discussing two ways a yoga sequence can

progress: linear and nonlinear. Please note that these terms
are used inconsistently in the yoga world, and we’re therefore
discussing them within the context of our own definitions
provided here.

YOGA HUMANS PAGE 15

Linear sequences progress in a relatively simple arc
in regards to their intensity. Aside from movements
designed to reset between sides (such as Vinyasas),
linear sequences generally don’t excessively repeat
poses or revisit those that have already been done.

Linear sequences are perhaps the most common

approach in the yoga world. For example, in Power
Yoga, after Sun Salutations practitioners move
through a warrior series, followed by a balancing
series, followed by a triangle series, then back-
bending, abdominals, hip-opening, and forward
folding, before closing. The practice, therefore,
follows a straight line from beginning to end.

There are two main ways to sequence with a linear

approach. The first is at the “pose family” level and
the second is at the “pose” level.

PAGE 16
Linear Sequencing at the Pose Family Level
When sequencing at the pose family level, teachers will choose a
predetermined order for the pose families (i.e. standing, balancing,
back-bending, etc.), using a specific logic. For example, they may put
a “core” series right before a “back bending” series to help students
maintain core activation in their backbends in order to avoid
compressing the lumbar spine. This type of sequencing requires an
in-depth knowledge of how the pose families work together. To get
you started, below we've provided a list of some common pose
families, and a typical way to order them during a class. Please note
that families are combined in many different ways by different
teachers and schools of thought. Think about why you may put one
family before another and how you may order these in your
sequences.

Notional Pose Families Sample Family

Order
Arm Balances Hip Openers
Backbends Inversions 1. Standing poses
2. Core work
Balancing Poses Lateral Bending
3. Arm balances
Binding Postures Seated Postures 4. Inversions
Chest Openers Shoulder Openers 5. Backbends
Core Work Standing Poses 6. Twists
Forward Folds Twists 7. Forward folds

When sequencing with this approach, teachers must also pick the
order of the individual poses within each family. For example, within
the family of Balancing Poses, a sequence may move through
Standing Hand to Big Toe, Dancers Pose, then Standing Figure 4. This
means that they’re also sequencing at the pose level. However, we
describe this type of sequence as being at the family level since it will
go through all the poses in the “balancing family” before moving onto
the next family.

YOGA HUMANS PAGE 17

 Provides a clear overarching structure. The progression may be easier
to follow than one that frequently transitions between pose families.
The approach used by many established and traditional schools. You
can borrow your approach from other schools of thought and the
sequences will be familiar to some practitioners.
M ay be easier for students to follow. Since there is less dynamic
movement, students will understand transitions more quickly. Think
about the difference between moving from Triangle to Pyramid (same
f amily), as opposed to moving from Triangle to Dancer's Pose (different
families).
A l lows you to cue more nuanced differences between postures. This is
b ecause the movements between postures in families aren’t as broad,
al lowing you to explain subtl e differences in the shapes.
A l lows for deeper opening and focused strength-building. This is
b ecause you continually get deeper into each pose family before
moving on to other focuses/parts of the body.

Can feel repetitive. After a while, it may end up feeling like you’re teaching
the same class over and over again since there is less freedom to creatively
combine postures.
Less benefit from dynamic movement. Recent science has found that the
static, passive flexibility we get from long holds is not as beneficial as the
active range of motion we get from movement. When you keep all
movements within one family, you generally aren’t moving quite as much or
as dynamically.
Limits creativity. Being limited by the number of poses in each category may
make it difficult to come up with creative flows, if that’s your intention.

Sequencing at the pose level means that poses from different families are
combined one after another. This typically allows for a bit more dynamic
movement and creative transitioning. For example, you might move from Chair
Pose (Utkatasana) into Boat Pose (Navasana), thus moving from a standing
pose into a core-focused pose. In this mode of sequencing, we're thinking less
about the families the poses are part of, and more about how the poses might
creatively or naturally fit together. There are hundreds of individual yoga poses
that now exist, so the combination-possibilities are endless!

In a moment, we’ll walk you through a classic way to sequence at the pose
level, which is by creating a Peak Pose Sequence. But first, here are some pros
and cons of linear sequencing at the pose level.

PAGE 18
Greater level of freedom and creativity. Since you can stack poses
f rom different families, this approach creates more freedom to be
creative.
More opportunities for creative transitions. With bigger movements
come more interesting transitions.
More of a movement-based practice. Exercise science is increasingly
t elling us that movement is superior to static poses. Using different
pose families generally promotes more movement.
Practices may feel more interesting to students. Since there are more
o pportunities to creatively combine different poses, these sequences
generally feel newer to stud ents.
More opportunities to integrate non-traditional or cross-disciplinary
postures/movements. Incor porating movements from other athletic
diciplines is easier when not restricted by traditional pose families.

Structure of the class may be harder to follow for students. Since sequencing
at the pose level has more variation between poses it may be more difficult for
students to follow along.
More risk of improper sequencing causing injury. When teachers are given
more freedom in how they combine poses, there's a higher risk that they'll be
combined in an unsafe way.
Cueing may be less detailed due to greater degree of movement between
poses. Since moving between pose families requires more broad movement, it
may be more difficult to provide the very specific and targeted cueing that you
may give when making small, subtle movements.
Departing from more “traditional” and established approaches requires a
greater level of knowledge to do correctly/safely. Ultimately, practices that
depart from traditional schools require sequencers to have a greater knowledge
of the human body since there are fewer clear guidelines to follow.

For detailed cues to this flow, click [here]

PAGE 19
One common approach to sequencing that is linear and pose-
level is peak pose sequencing. This entails choosing one “peak
pose” to center a class around. Peak pose sequences both
physically and mentally prepare students for challenging
postures by breaking them down into easily digestible portions.
By the time practitioners get to the peak pose, they are not
only physically warm and open enough, but also have the
necessary understanding of the pose's component parts. This
allows students to work into postures that otherwise may feel
inaccessible.

While your peak pose should be appropriate for the

practitioners in your class, it should also present a challenge
that they may come across in their usual practice . The postures
leading up to the peak pose should be focused on opening and
engaging the parts of the body necessary to successfully find
the peak pose. Similarly, the postures following the pose are
focused on relaxing and stretching the parts of the body
worked by the peak pose.

Revolved Half Moon Pose Dedicated to Handstand

(Parivrtta Ardha the Sage Variations (Adho
Chandrasana) Koundinyasana (Eka Mukha Vrksasana)
Crow (Bakasana) Pada Chin Stand
Baby Grasshopper Koundinyanasana I) (Ganda
(Parsva Bhuja Firefly Bherundasana)
Dandasana Variation) (Titibasana) Compass Pose
Archer's Pose Grasshopper (Parsva (Surya Yantrasana)
(Akarna Bhuja Dandasana) Scorpion Variations
Dhanurasana) Flying Pigeon (Vrschikasana
One-Legged King (Eka Pada Variations)
Pigeon (Eka Pada Galavasana)
Rajakapotasana)

PAGE 20
When peak pose sequencing, think about each aspect of
the peak pose. How is the body positioned in the shape?
Where does it require strength? Where does it require
flexibility? Where does it require anatomical knowledge? Is
there a specific emotional state that will help practitioners
reach the pose? Which related, but more-accessible
postures exist? Write down the answers to each of these
questions. Then, think about how to incorporate poses that
address the areas of the body that need to be prepped to
access a peak pose.

For example, if you pick Revolved Half Moon as your peak

pose, your sequence leading up to it might include Twisting
Warrior to allow students to feel the active twist in the mid-
back; Standing Splits to feel the lift of the back leg with the
upper body leaned forward and the hips closed; Twisted
Triangle to feel the sensation of elongating the spine while
in the twist; and regular Half Moon to cultivate comfort
balancing on one leg. While these poses wouldn’t
necessarily be back to back, they demonstrate the idea of
breaking down the aspects of a difficult posture so they can
be shown and practiced separately.

Write down each of the component parts, then begin to

organize them in a way that flows and builds. Which poses
require the most opening? Perhaps those should go later in
the practice. Which movements are very technical and
nuanced but not particularly difficult? Maybe those could
be taught in a short lecture at the beginning of practice.
Soon the postures will begin to fit together into a logical
and meaningful peak pose sequence.

PAGE 21
In a nonlinear sequence, the intensity of the
practice may ebb-and-flow more than in a linear
sequence. You may build energy quickly, then cool-
down slightly, and then build the intensity back up
again, all within the Main Sequence portion of the
class. In a nonlinear sequence, you may also choose
to more frequently repeat or revisit poses that
you’ve already done. The graph below shows a
nonlinear sequence. See how it both increases and
decreases in intensity at various moments, and
repeats itself three times (the circle of movements
expanding with each repetition).

Nonlinear sequences typically fall into the “non-

traditional” category of yoga sequencing, meaning
there are likely many more types than we’ll discuss
here. For the sake of this guide, we’ll discuss two
sequencing approaches that we consider non-
linear: Ladder Flows and Weaving Flows.

PAGE 22
Ladder flows build throughout the course of a class. They
begin with a short sequence, perhaps even just a few poses.
Then, that sequence is repeated and added on to, to create a
slightly longer sequence (the second rung of your ladder).
Then, once again, the first two sequences are repeated and a
third, slightly more complex sequence, is added. This pattern
continues throughout the Main Sequence portion of class,
until practitioners move into cooling sequence. Between each
rung of the ladder, practitioners will typically perform some
variation of a vinyasa or other grounding movement to reset
and clearly divide the sections.

Low Lunge on Fingertips (Anjaneyasana Variation)

Low Lunge (Anjaneyasana) with back knee down and arms overhead
Half Split with Arms Back (Ardha Hanumanasana Variation)

Low Lunge on Fingertips (Anjaneyasana Variation)

Low Lunge (Anjaneyasana) with back knee down and arms overhead
Half Split with Arms Back (Ardha Hanumanasana Variation)
High Crescent Lunge
Extended Side Angle with Arms Overhead (Utthita Parsvakonasana
Variation)
Half Squat with Toe Stand (Skandasana Variation)

Low Lunge on Fingertips (Anjaneyasana Variation)

Low Lunge (Anjaneyasana) with back knee down and arms overhead
Half Split with Arms Back (Ardha Hanumanasana Variation)
High Crescent Lunge
Extended Side Angle with Arms Overhead (Utthita Parsvakonasana
Variation)
Half Squat with Toe Stand (Skandasana Variation)
Twisted Lizard Lunge (Parivrtta Utthan Pristhasana)
Folded Leg Forward Bend (Triang Mukha Eka Pada Paschimottanasana)
Seated Leg Cradle (Hindolasana)
Eight Angle Pose (Astavakrasana)

For detailed cues and photos of this flow, click [here]

PAGE 23
Ladder flows are a great approach to combine with peak pose
sequencing. Since you’re using repetition, these sequences
effectively warm and open the body to prepare practitioners for
challenging postures. For example, in a linear peak pose
sequence, practitioners may hold Triangle, Pyramid, and
Revolved Triangle to prepare for Eka Pada Kaundinyasana I,
which is an effective preparation. However, in a ladder
sequence, practitioners may move through Triangle, Pyramid,
and Revolved Triangle three or four times as they repeat their
ladder before finding the peak with Eka Pada Kaundinyasana I,
which is going to be an even more effective opening.

There are a few approaches that can be taken to create a ladder

flow. The first and perhaps simplest, is to create a regular linear
sequence (at the pose level), and then break it up into
convenient parts. The number of parts will depend on how long
you want the practice to be. From there, you choose what you
want to be the base of the ladder, and what you want to add on
from there. A second approach is to create a collection of short
sequences or grouped movements, and then combine them
into a ladder. With this approach, you must be careful to
intentionally combine the poses in a way that is safe and
logical. Assure not to overwork any specific part of the body or
create imbalances as you piece together movements. We
recommend the first approach, as it allows you to think more
holistically about the overall practice.

Allows practitioners to Some students may find

warm and prepare the the repetition of the
body for difficult postures ladder redundant or
Creates a familiarity with boring
the movements through Can take a long time to
repetition complete
Enables a more Rungs of the ladder can
movement-based class feel disjointed if the
since repetition generally practice is poorly
reduces hold time developed

PAGE 24
 Weaving flows are sequences that work around a certain
theme – whether that be a pose or a series of movements.
This central theme is basically a motif that repeats
throughout the class and holds the practice together.
Returning consistently to one movement or one pose will
allow practitioners to use repetition as a means of building
endurance and gain a deeper understanding of whatever
movement they are repeating. Weaving flows allow
practitioners to feel the same movement at different points in
their practice (noticing different levels of openness, flexibility,
strength and fatigue), which will give them a more nuanced
understanding of how their body works and how to deepen
their expression of each pose. Below, we've provided a sample
set of flows that you'd see in a "weaving class". Notice that
certain poses repeat themselves, but perhaps at slightly
different moments.

Sample Weaving Flow

Repeated movements in orange

Flow 1: Flow 2: Flow 3:

Downward Dog Chair Chair
Dolphin One-legged Mountain One-legged Mountain
Forearm Plank Figure Four Warrior III
Sphinx Warrior III Standing Splits
Forearm Plank Crescent High Lunge
Dolphin Warrior II Twisted Crescent
Downward Dog Reverse Warrior II
Downward Dog Downward Dog
Dolphin Dolphin
Forearm Plank Forearm Plank
Sphinx Sphinx
Forearm Plank Forearm Plank
Dolphin Dolphin
Downward Dog Downward Dog

PAGE 25
Weaving sequences are slightly different from sequences
that use Vinyasa to reset between groups of movements.
Though, a vinyasa is an example of a set of movements
being consistently woven into a practice. The distinction is
that in a weaving sequence, all postures and movements
are meant to compliment the central theme in some way.
However, thinking about the way a Vinyasa is generally
peppered into different points in a yoga class is a great way
to imagine how a weaving flow might continue to come
back to that same movement time and again.

When weaving, you can return to the poses or movements

as frequently or as infrequently as you’d like. The point is,
that just as with a peak pose sequence, the central
movement is being used as a guiding light to inform the
other movements and postures that surround it.

Allows students to return Can be difficult to keep

to a pose while in different
mental and physical states
throughout the practice
Helps build endurance
through repetition
Makes sequences feel
grounded and familiar
Can be easy to remember
both for teachers and for
students who may want to
practice it again later
the deviations from the
central pose relevant and
logical
The progression through
the class may be more
difficult to feel when
consistently returning to
the same posture or
group of movements.
May cause excessive
fatigue in overworked
parts of the body

PAGE 26
 Next we’ll discuss is goal-oriented sequencing. Now,
this is a slight misnomer because, ultimately, all
sequencing is goal-oriented. However, we list this
separately because it can be its own “starting point”
when thinking about sequencing.

For example, with a peak pose sequence, we may

start by thinking about what we want the peak pose
to be. With a goal-oriented sequence, our primary
concern isn’t any one pose. Instead, the focus is on
accomplishing a specific goal or effect, such as
grounding, hip opening, or stress relief. Therefore
sequencing within this category can be either linear
or nonlinear.

So what are the different types of “goals” that

teachers focus on? Let’s explore.

Each pose in yoga is associated with different subtle effects. These

effects can be used to group poses together. Here are three
examples:

Grounding sequences create a strong sensation of rootedness and

connection to the mat, floor, or earth. They help us find balance and
solidity. Emotionally, they provide confidence, strength, and calm.
Grounding poses maintain a solid connection between the body
and the mat (generally through the soles of the feet or seat). A
grounding sequence, may start in Mountain Pose (Tadasana), then
move through Warrior poses, low lunges, and other movements
that provide an unshakable sense of solidity and balance.

PAGE 27
Centering sequences are those that increase our mind-body
awareness and bring us into the present. They allow us to relinquish
our anxieties and distractions, creating focus and a strong sense of
identity. A centering sequence may start with a seated mindfulness
meditation, followed by a balanced standing series (perhaps
immediately performing movements on their opposing sides as you
go), ending with movements that work both sides of the body
simultaneously (pendulum, camel, bridge, etc.). Holds will likely be
longer and focus will be repeatedly brought back to the breath,
present moment, and sensations in the body.

Enlivening sequences will focus on building energy and feelings of

empowerment. They may involve open-body positions such as
variations with cactus arms, and dynamic movements that allow
practitioners to feel strong and capable.

There are many other subtle effects and emotions that may be used
to guide a sequence. To think of others, try reflecting on how past
classes have made you feel and how you can replicate that emotion.
Similarly, try thinking about what you think your students need and
what their reasons for coming to class are.

Another goal-oriented type of sequence is one that attempts to

reflect a specific theme. For example, you may want to encourage
students to “slow down, so that they’re able to speed up,” meaning
promoting conscious movement and a calm mind, so that they’re
able to accomplish more and eventually move more efficiently. You
can check out more on that specific theme [here]. We have a lot of
different other themes you can also check out [here].

Similarly, you can create your own theme based on anything you
personally find interesting or exciting. Perhaps you’re trying to
balance the energy from some big recent event, or share something
new from a podcast you recently listened to. For some guiding
questions on how to create your own themes, check out our article
[here].

PAGE 28
Theme-focused sequences will generally begin with a short
explanation, quote, or talk. This can take place at the start of
practice while the students are in a comfortable seat or on their
back. You’ll then want to think about the types of postures and
movements that correspond with your theme and sequence
according to the previously discussed principles. At the end, be sure
to return to the theme as you close so that students are reminded
of the message, and are able to take the experience of their practice
with them into the rest of their day.

Anatomical/Biomechanimcal sequencing focuses on a specific part

of the body, specific type of movement, or specific health benefit.
These sequences allow students to better understand the physical
reasoning and logic behind different movement patterns and
postures.

You could look at the structure and function of specific body parts,
such as the deep stabilizer muscles in the neck. This could mean
beginning with an explanation of how deep stabilizers contribute to
posture and the effects of underutilizing them, followed by a brief
activation of the stabilizers while prone. The practice could then
bring attention to the neck in various postures where it tends to
sag, such as Downward Facing Dog and Plank variations. You could
then end with stretching out the primary mover muscles in the
neck that get overworked and fatigued when the deep stabilizers
are weak.

On the other hand, you could simply focus more generally on the
anatomy of a specific region of the body. For example, you may
want to focus on opening the hips from different angles. This may
mean using Controlled Articular Rotations, finding hip flexion and
extension, abduction and adduction, and internal and external
rotation. A similar approach could be taken for other complex joints
like the shoulders.

PAGE 29
Lastly, a goal for class may be to focus on the needs of a specific
population. For example, trauma-sensitive classes will focus on
creating a sense of safety in the body and be careful to avoid
postures that are potentially triggering for their practitioners;
classes for first responders may focus on grounding and relaxation;
corporate classes may focus on opening the shoulders and
extending the neck after hours on the computer. When sequencing
for needs, be sure to clearly identify and understand the
perspectives of your target population. Part of the beauty of yoga is
that it can be tailored to so many different audiences. However, it
requires due diligence and candid questioning to ensure that our
assumptions about what different populations need are accurate.

PAGE 30
 SEQUENCING USING
"MINI-FLOWS"
The final way we suggest sequencing a yoga class (and perhaps our
favorite) is with "mini-flows." Mini-flows are short sequences that are
comprised of roughly 5-10 poses. Sequencing with mini-flows involves
logically and purposefully stacking these sequences to create a full
practice. Two or three mini-flows can be put together to create a main
sequence. However, you could also use the mini-flow approach for
others parts of a class. For example, you might have a mini-flow for
each of the sequencing areas we've discussed.

Grounding and Integration Main Sequence

Mobility and Gentle Movement Cool Down
Warm Up Savasana

You can also get creative with how you stack and repeat different
mini-flows. For example, in your main sequence you may repeat a
short mini-flow several times, then move through a second mini-flow,
again with several repetitions, then end by going through both mini-
flows one after another. This is just one of many possible options.

On Yoga Humans, we post weekly mini-flows that you can use in your
classes. Below, we have created a sample 60-minute yoga class that
was built using some of the mini-flows from the website. Each section
is hyper-linked, so you can visit the site to see photos and cues, as well
as access a printable PDF of the mini-flows to keep by your mat.

For detailed cues to this flow, click [here]

YOGA HUMANS PAGE 31

 Sample Class Using Mini-Flows
Phase in blue
Mini-flow in orange

Grounding / Integration | Starting Slow and Steady

Mobility and Gentle Movement | The Complete YH
Wrist Warm Up
Warm Up | Awaken the Spine, followed by Sun
Salutations
Main Sequence | Unlocking the Shoulders, followed by
Mandala Magic x 2 (first round through move slow,
second time through link one breath to one
movement).
Cool Down | Classic Cool Down
Final Savasana

ULTIMATELY...
There are an unlimited number of approaches to sequencing and each
will vary slightly depending on the beliefs and experiences of their
creators. Linear, nonlinear, and goal-oriented sequences represent three
broad categories that we have the most experience with, and that we see
most often in our yoga community. However, as you’ve probably noticed,
even within these frames, there exists a lot of space for customization and
variation. We invite you to take these ideas and make them your own. As
long as you follow the basic guiding principles at the beginning of this
document, feel free to be creative. Don’t let anyone tell you you’re doing it
wrong, simply because your approach differs from their beliefs. As such,
we can continue the prolific spread, growth, and advancement of yoga as
a practice that we’ve seen in the past several decades. Below, we'll provide
you with a few more tips and things to consider as you play with creating
your yoga sequence.

YOGA HUMANS PAGE 32

As we mentioned at the beginning of this guide, the term Vinyasa
simply means “to place in a special way,” which has broad
implications regarding the quality of movement in yoga and the
overall arch of a yoga practice.

However, when we colloquially say Vinyasa, we’re often referring to

the sequence that moves from Chaturanga/Knees-Chest-Chin >
Upwards Facing Dog/Cobra > Downward Facing Dog. This is most
commonly used to reset between working different sides of the
body in a yoga practice. Perhaps more importantly, it's a call to
return to the breath-body connection through a series of familiar
movements. With that said, Vinyasa can really describe any series of
movements that are used in this manner. If you want to get creative
with your sequencing, you might choose to play with the structure
of the vinyasas you teach in class. Here are some of our favorite
examples:

Examples of Creative V i n y a s a s

Example #1: Example #2:

1. Malasana 1. Plank
2. Kneeling 2. Lower to belly
3. Reverse Nordic (lean 3. Locust
upper body back) 4. Child's Pose
4. Chair 5. Downward Dog
5. Downward Dog

PAGE 33
But can you use a Vinayasa at other times? Yes! Vinayasa doesn’t
need to be limited to a means of transitioning from the right to left
side of the body. Instead, think of them as a tool to be used any time
that you need a definitive end to a series of postures, or any time
that the class needs a call to return to their mindful breathing. This
could mean doing a ladder flow where you perform movements on
the right side of the body, then the left side of the body, then use a
Vinyasa before moving into the next rung of the ladder. Similarly, it
could mean working on a specific family of poses (like arm balances)
then using a Vinyasa before moving on. Feel free to get creative
(and strategic) about using Vinyasas beyond the typical right to left
transition.

YOGA HUMANS PAGE 34

 TIMING AND
PROPORTIONS OF A
YOGA CLASS
While the time you spend in each “section” of a class may shift
depending on your unique goals and style, we wanted to provide
some basic guidelines for those looking for a place to start. Since
class lengths differ, we’ll speak in terms of percentages of an overall
class, and give recommendations based on a 60-minute practice.

Integration - 5-15% (or 3 to 10 minutes)

The length of your integration will depend partly on what your
focus for the class is. If you’re including breath work, meditation,
or a short lecture, then this will likely extend for longer. If the class
is eager to jump into movement, perhaps it’s a little shorter.
Regardless, we recommend all teachers take at least several
minutes to allow the students to mentally arrive in the room and
commit themselves to being present for the practice ahead.

Mobility and Gentle Movement - 8-10% (or 5 to 7 minutes)

This is to gently warm up the joints, connective tissues, and

smaller muscles before you get into any big movements. It doesn’t
need an excessive amount of time, but it's important that it
remains its own part of the practice.

Warm Up - 15% (around 10 minutes)

This length can depend on what your Main Sequence looks like
and how quickly it jumps into more challenging postures. We
generally like the warmup to last until you start feeling a gentle
sweat and elevated heart rate.

YOGA HUMANS PAGE 35

Since this can look so many different ways, there’s also a lot of
variability in how long it can take. Just be sure to leave time at the
end of the practice to unwind.

This can be a crucial time to both calm the body, but also to get
into some more passive stretching after the muscles are warm
and open. This can be one of the most gratifying parts of practice
so assure that it's not cut short due to lacking time management.

There are a lot of recommendations for how long to take

Savasana. Generally, it's agreed the longer you can take, the
better. This could mean 5 minutes (because you have to get out
the door) or a full 15 minutes, perhaps in a gentle class. For online
teachers, we also recommend at least 5 minutes of Savasana
together, while verbally encouraging to stay in Savasana after the
class ends.

Overtime, you’ll begin to understand how you naturally proportion

your yoga classes. If you are looking to teach a strong and sweaty
class, you’ll likely spend more time in the warm-up and central
practice portion of the class. If you are looking for a fluid, gentle
class, you might spend a more even amount of time in all of the
areas. Don’t be afraid to play around and ask students for
feedback on what works for them!

PAGE 36
 Since we’ve discussed the importance of tailoring a
class to the group you’re working with, let’s take a
minute to go over how a class may change depending
on the “level” being offered. In most Western vinyasa
studios, classes are divided into levels 1, 2, and 3
(sometimes 4). Unfortunately, what these levels mean
varies greatly between styles, cities, studios, and even
individual teachers. These levels may roughly translate
into beginner, intermediate, advanced, which is
almost equally as ambiguous since the exact level of
progression that’s ideal is going to depend a lot on
the student’s body type and other athletic experience,
age, etc. You could have a “Level 1” student with a lot
of strength who is able to do advanced arm balances,
or a “Level 3” student who is naturally very flexible but
doesn’t understand complex cueing language. The
point here is that before getting too caught up in the
classification of a class, observe and listen to your
students.

YOGA HUMANS PAGE 37

But wait, if I need to observe and adapt, how do I prepare in
advance? Your sequence doesn’t need to change (at least not at
its core), because your class level is changing. Instead, it’s
important to learn the progressions of each posture so that you
can adapt the same flow to any level of practitioner. For example,
here's the same short-sequence in three different forms for Levels
1, 2, and 3.

Level 1 - Warrior II, Reverse Warrior, Extended Side Angle (with

Forearm on Leg or palm to a block), Anjaneyasana (back knee
down, hands at heart center), High Plank, Knees-Chest-Chin,
Cobra, Downward Facing Dog.

Level 2 - WWarrior II, Reverse Warrior, Extended Side Angle (with

ffloor
hand to fl oor on inside/outside of leg), Anjaneyasana (drop the
hips down and fo fforward,
rw arms overhead), High Plank, Chaturanga,
Upward Facing Dog Dog, Downward Facing Dog.

((sink
Level 3 - Warrior II (s in deeper into the front leg, Extended Side
Birds of Paradise, Anjaneyasana (sink deep,
Angle (with bind), Bird
overhead with a slight backbend), plant hands
palms together overhe
ffloat
and fl directly into Chaturanga, Upwards Facing Dog,
oat back direct
Downward Facing Dog.

As you can see, the “p“plan” didn’t change. Simply the execution. In
order to do this in rreaction to your observations of each student's
it’s important to learn the progressions for each
level and needs, it’
variations that you can offer to students.
pose and the varia

You'll
Y also need to think about pace and cueing. For a Level 1
'll als
audience, you may take a slightly slower pace with more detailed
cues to allow for safe and focused movement. Remember that
these practitioners will be less likely to know poses from their
names alone. For a level 3 audience, you can expect the students
to be able to move more quickly if needed, and cueing may focus
more on detailed adjustments rather than basic shapes. Naturally,
Level 2 will be somewhere in the middle.

PAGE 38
A note on All Levels Classes:
We love teaching All Levels Classes. They give an opportunity for
newer practitioners to see what they can aspire to and attract a
diverse and while rounded community. However, what’s important
to remember when teaching all levels is that it's all (not any)
levels. This means you need to provide specific cues for every level
that is in the room, rather than teaching an intermediate class
and expecting beginners to step up, and advanced practitioners
to modify on their own. This will generally mean a bit more
talking.

One method for doing this is by leading through the progressions

for each posture from easiest to most challenging. At each step,
you can then instruct students by saying “if this feels challenging,
stay here, if you’d like to take it one step further, then…”. This will
allow each student to find their own limit. Regardless of how you
cue, it's generally best to avoid terms like “more advanced” or
“easy/hard”, since these are very relative terms that typically
discourage or disparage newer students.

A final note on Level 3:

The potential exception to this section, is that sometimes very
advanced practitioners are able to break the general rules most
classes adhere to for safety purposes. For example, someone who
is working on mobility in short intervals multiple times a day may
not need as lengthy a warm up, or someone who is training a
specific arm balance or the strength of a specific muscle group,
may purposefully overburden that area to stimulate growth. These
practitioners typically have a very good intuitive sense of what
they need and are able to sequence accordingly. Similarly, some
online classes (such as the one described in the “student-centric”
portion of the principles of sequencing section) are sequenced
with very advanced practitioners in mind, and therefore adhere to
a different set of principles that allow for advancement in very
specific and targeted areas. These types of sequences may not be
adaptable to All Levels (or lower level) classes because they’re
structured specifically for advanced practitioners.

PAGE 39
For new teachers, asking students for requests can often feed some
anxieties around sequencing. How do you fluidly integrate requests
into your predetermined sequence? While there are many ways,
here are a few guiding thoughts.

Make some extra time: If it feels like too much to try and weave
something into a flow that you feel already fits together perfectly,
just use some time at the start or end of class to work on requests. If
students wantt hip opening, maybe you just make your cool down
nts w
hip-focused.
p-focused. If they’d like to open the shoulders, maybe your gentle
movement and mobility se section pivots towards scapular mobility
exercises, arm rotations, and sstretching overhead.

there: Most practices touch on most parts

Emphasize what’s already there
Furthermore, students generally request
of the body in some way. Furthe
fairly common movements and ffocus-areas (hips, shoulders, neck,
the path of least resistance (which is
forward folds, etc.). Therefore, th
sometimes most effective) is to ssimply emphasize what’s already in
your plan as it happens. This will allow students to feel heard, while
also reducing any stress you have around last minute adaptations.

Think about similar poses: BBy quickly thinking about what similar
planned, you can often find places to slip in
poses you already have plann
example, if someone is interested in working their
new requests. For example
Forearm perhaps you can throw it in after a Dolphin pose
earm Stand, perh
that you already
d have planned. If weren't planning on doing
Dolphin, then maybe you stack both Dolphin and Forearm Stand
after a Downward Facing Dog once students are warm.

PAGE 40
Some teachers prefer to create their classes as they teach, as
opposed to preparing in advance. This has its own benefits and
detriments, which we'll quickly discuss below.

Pros: Not having to think about a predetermined/memorized

sequence as you teach may allow you to focus more on your
students and more fluidly add in suggested postures or movements.
Furthermore, if you’re teaching a significant number off class
classes each
week (particularly if it's with the same group of students),
dents), you may
not have time to prepare a new sequence e for each class. This
approach will cut down on the amount of needed
eded pre-class prep. For
very experienced teachers, this may be a preferable
ferable methodology.

Cons: For newer teachers, improvising sequences

equences may lead towards
overusing favorite postures and movements
ents since there is less time
to think creatively. Furthermore, when creating
reating sequences on the
fly, teachers may offer fewer variations and options because their
mental capacity is already working on thinking about what comes
next.

Ultimately, we don’t think one method is objectively better. Each

teacher just needs to understand their own comfort level, ability,
and circumstance. However, we should recognize e that we all have a
limited amount of “brain power,” meaning the number er of things we
can think about while teaching is finite. If we dedicate a portion of
that brain power to creating a sequence on the spot, we’ll be able to
focus that much less on other things (whether they be observing
students, offering assists, offering variations, etc.). Therefore,
consider how much energy it takes for you to create the type of
sequence you want to teach.

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 HOW TO MEMORI ZE
YOUR SEQUENCE
One of the most daunting parts about sequencing is figuring out how
to memorize the sequence you want to teach and deliver it smoothly
during class. Regardless of whether your class is 30 or 90 minutes long,
there are a lot of yoga poses to keep in your mind!

Here are four tips that will help you memorize your yoga sequence:

1. Write it out and use shorthand. Write your sequence down as

you create it and develop a system of shorthand to save time. For
example, instead of “Extended Side Angle” you might choose to
write “ESA.” By writing down your class, you’re giving yourself a
great tool to study the class with and solidify it into your
memory.
2. Break the class up into "mini-flows." One of the easiest ways to
memorize a long class is to break the class up into mini-
sequences. It’s much easier to memorize a string of 10 poses,
than feeling like you have to memorize 50!
3. Feel it in your body. Even if you don’t have time to do the full
flow, practice doing it more quickly than you would in class at 20-
30% of your full effort. Feeling it in your body will help your
teaching in countless way.
4. Don't be afraid to freestyle. As we discussed above, don't be
afraid to freestyle if need! Some of the best teaching moments
involve surprises!

You will figure out your unique approach to sequencing and teaching.
Maybe for you that’s memorizing each movement, or maybe it’s going
into a class with a great intention in mind and seeing where the
movements take you. As long as the postures are safe and the students
are happy then all approaches are the right approaches!

YOGA HUMANS PAGE 42

CONCLUSION
Sequencing is a wonderful balance between art and science.
Ultimately, each practitioner has to find the right method for them.
Hopefully, this guide provided some ideas and guidelines for your
next sequence. Whether you think in terms of linear and nonlinear
sequences, focus on class themes, or simply do your own thing
while following a few broad guiding principles, we’re here to
support you in your practice. If you’d like even more inspiration we
also consistently publish creative 10-pose mini-flows on our website
for you to use or adapt, so feel free to come and check them out.

The beauty and challenge of sequencing is that it provides so much

opportunity for creativity and innovation. However, it is
simultaneously bound by guiding principles and rules (to which
there is often a fair amount of disagreement). We like to think of it
as a bit like painting. While colors can be thrown together in any
way imaginable, it takes considerable skill and practice to create a
masterpiece. That being said, great art certainly doesn’t always look
the same. Best of luck as you create yours. We’re honored that
you’ve taken the time to read this guide and that we can share in
your journey.

Thanks for learning with us!

YOGA HUMANS PAGE 43

Here are links to some great reads from our library on yoga
sequencing, teaching, philosophy, and practice in general.

Our Favorites on Asana Practice:

Yoga Sequencing: Designing Transformative Yoga Classes

by Mark Stephens
21,000 Asanas by Daniel Larceda
The Yoga Toolbox by Integrative Yoga Therapy

Our Favorites on Philosophy:

The Yoga Sutras of Patanjali Sri Swami Satchidananda
A New Earth by Eckhart Tolle
The Heart of the Buddhas Teaching by Tich Naht Hanh

Other Great Resources:

Light on Life by B.K.S. Iyengar

The Heart of Yoga: Developing a Personal Practice by
T.K.V. Desikachar
Teaching Yoga by Mark Stephens
Asana Pranayama Mudra Banda by Swami Satyananda
Saraswati
Yoga Therapy by A.G. Mohan and Indra Mohan
Yoga: The Spirit and Practice of Moving through Stillness
by Erich Schiffmann
Yoga Anatomy Coloring Book by Kelly Solloway

A f f i l i a t e D isclosure: Yoga Humans is reader-supported. We may earn a small

c o m m i s sion from purchases made through these links from the Amazon
A f f i l i a te Program. These enable us to continue bringing you free and
d o n a t i on-based resources like this guide. Thank you for your support!

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